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“Twentieth-century Chinese translation theory : modes, issues and debates” (Publication, 2004)

Year

2004

Text

Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004). (Benjamins translation library ; vol. 51).
Table of contents :
PART I
1. The traditional approach: Impressionistic theories 3
2. "Modern" theories of the 1920s and 30s 15
3. Theories from a postcolonial perspective 29
4. End of the century: The impact of "new theories" 43
References for Chapters 1-4 6o
PART II
A. Responses to Yan Fu 67
1. Yan Fu: "Preface to Tianyanlun (Evolution and ethics)" (1901)
Tr. C. Y. Hsu 69
2. Zheng Zhenduo: "How to translate literary texts" (1921)
Tr. Leo Chan 72
3. Bian Zhilin: "Literary translation and sensitivity to language" (1983)
Tr. Gilbert Fong 74
4. Ye Weilian: "Debunking claims of Xin, Da and Ya" (1994)
Tr. Ye Weilian 77
Notes to Articles 1-4 89
B. Spiritual resonance 91
5. Chen Xiying: "On translation" (1929)
Tr. Chapman Chen 93
6. Zeng Xubai: "Spirit and fluency in translation" (1929)
Tr. Chapman Chen 98
7. Fu Lei: "Preface to the retranslation of Pere Goriot" (1951)
Tr. May Wong 102
8. Qian Zhongshu: "The translations of Lin Shu" (1963)
Tr. George Kao 104
Notes to Articles 5-8 115
C. Art vs. science 121
9. Zhu Guangqian: "On translation" (1944)
Tr. Leo Chan 123
10. Fu Lei: "Fragments of my translation experience" (1957)
Tr. Leo Chan 126
11. Huang Xuanfan: "Review of Si Guo's Studies of Translation" (1974)
Tr. Matthew Leung 129
12. Huang Xuanfan: "Translation and linguistic knowledge" (1974)
Tr. Matthew Leung 134
13. Jin Di: "The debate of art vs. science" (1987)
Tr. Priscilla Yip 141
Notes to Articles 9-13 147
D. The language of translation 151
14. Qu Qiubai: "On translation - A letter to Lu Xun" (1931)
Tr. Yau Wai Ping 153
15. Lu Xun: "A reply to Qu Qiubai" (1931)
Tr. Leo Chan 158
16. Qu Qiubai: "Again on translation - A reply to Lu Xun" (1932)
Tr. Yau Wai Ping 162
17. Fu Lei: "Letter to Lin Yiliang on translation" (1951)
Tr. Sara Ho 168
18. Yu Guangzhong: "Translation and creative writing" (1969)
Tr. Leo Chan 173
Notes to Articles 14-18 175
E. Literal translation vs. sense-translation 179
19. Liang Shiqiu: "On Mr. Lu Xun's 'Stiff translation"' (1929)
Tr. Evangeline Almberg 181
20. Lu Xun: "'Stiff translation' and the class nature of literature" (1930)
Tr. Leo Chan 184
21. Ye Gongchao, "On translation and language reform" (1931)
Tr. Rachel Lung 188
22. Mao Dun: "Literal translation, smooth translation, and distorted
translation" (1934)
Tr. Leo Chan 192
23. Ai Siqi: "On translation" (1937)
Tr. John Lai 195
Notes to Articles 19-23 198
F. The untranslatability of poetry 201
24. Mao Dun: "Some thoughts on translating poetry" (1922)
Tr. Brian Holton 203
25. Cheng Fangwu: "On translating poetry" (1923)
Tr. May Wong 208
26. Bian Zhilin: "Translation and its positive/negative impact on
modern Chinese poetry" (1987)
Tr. Kellj Chan 211
27. Gu Zhengkun: "On multiple complementary norms and the
translation of poetry" (1990)
Tr. Julie Chiu 214
Notes to Articles 24-27 220
G. Translation theory for China 223
28. Dong Qiusi: "On building our translation theories" (1951)
Tr. Tan Zaixi 225
29. Luo Xinzhang: "Chinese translation theory, a system of its
own" (1984)
Tr. Tan Zaixi 230
30. Liu Miqing: "The basic paradigm of Chinese translation
theory" (1990)
Tr. Han Yang 236
31. Sun Zhili: "Some thoughts on building our nation's translation
theory" (1998)
Tr. Han Yang 240
32. Lin Zhang: "On theories in translation studies" (1998)
Tr. Leo Chan 244
Notes to Articles 28-32 246
H. Creativity and translation 249
33. Zheng Zhenduo: "Virgins and matchmakers" (1921)
Tr. Rachel Lung 251
34. Guo Moruo: "Letter to Zheng Zhenduo" (1921)
Tr. Rachel Lung 252
35. Mao Dun: "The 'matchmaker' and the 'virgin"' (1934)
Tr. Laurence Wong 254
36. Fang Ping: "Miscellaneous thoughts on translation" (1995)
Tr. Orlando Ho 257
37. Xu Yuanchong: "Verbal translation and literary translation" (1995)
Tr. Orlando Ho 261
38. Xu Jun and Yuan Xiaoyi: "For the sake of our common cause" (1995)
Tr. Orlando Ho 264
Notes to Articles 33-38 268
Index 271 (ChanL1)

Type

Publication

Contributors (1)

Chan, Leo Tak-hung (um 2000) : Professor of Translation and Head of the Department of Translation, Lingnan University, Hong Kong
20.9.2016 : Leo Chan wrote : Please quote from book where appropriate.

Subjects

References / Sources / Translation : History and Theory / Translator

Chronology Entries (15)

#	Year	Text	Linked Data
1	1896	[Huxley, Thomas Henry]. Tian yan lun. Yan Fu yi. [ID D10307]. Yan Fu writes in the preface about translation : 1. Translation involves three requirements difficult to fulfill : faithfulness (xin), comprehensibility (da) and elegance (ya). Faithfulness is difficult enough to attain but a translation that is faithful but not comprehensible is no translation at all. Comprehensibility is therefore of prime importance… 2. Terms in Western language texts are defined as they occur, somewhat similar to digressions in Chinese… 3. The Book of changes says : "Fidelity is the basis of writing". Confucius said : "Writing should be comprehensible". He also said, "Where language has no refinement, its effects will not extend far"… My translation has been criticized for its abstruse language and involved style. But I must say this is the result of my determined effort at comprehensibility. The treatise in the book is largely based upon logic, mathematics and sciences as well as astronomy… 4. New theories have been advanced in quick succession, giving rise to a profusion of new terms. No such terms could be found in Chinese. Though some Chinese expressions approximate the original, there are yet discrepancies… 5. The book deals mainly with the schools of thought since ancient Greece. Included are the renowned thinkers of various periods whose thoughts have influences the minds of the people of the West for some two thousand years… 6. The pursuit of truth is akin to the practice of government in that both place a premium on the pooling of ideas… He writes in the preface about Huxley : "The purpose of this book of Huxley's is to correct the abuses of Spencer's 'laisser-faire'. Many of its arguments are in accord with what our ancient sages have said. Furthermore, matters such as self-strengthening and the preservation of the race are reiterated in it. Tha is why I spent the long, wary days of the past summer to translate it. If there were people who regarded it as empty talk and useless to practical affairs, they would certainly be beyond my care." In chapter 13, Yan Fu writes : "Huxley's discussion on the preservation of the society is indeed penetrating. But we should know that his statement that sympathy is the origin of human society has reversed the result to be the cause. Man's motive in forming a society is primarily for his self-interest, which is similar to those of lower animals. Therefore, Huxley's discussion on sociology is not as thorough as that of Spencer. Furthermore, the theory that sympathy is the origin of human society was first advocated by Adam Smith, the economist. It is not a new theory contributed by Huxley." In chapter 14, Yan Fu writes : "What Huxley intends to point out in this chapter is that in order to preserve the society as well as the individual, self-assertion should not be completely abolished." Sekundärliteratur Chen Tzu-yun : Yan Fu decides to use in his translation classical Chinese (gu wen). According to Yan himself, his choice is made on the basis that 'where language has no refinement, the effect will not extend far' and that the classical Chinese has richer vocabulary than that of the vernacular. There are more terms applicable to the new Western ideas. Yan divides the text into seventeen chapters with the result that each chapter is about of the same length. He makes the structure of his translated work similar to that of the tzu genre with which the Chinese literati are familiar. The divergence from the original work is necessitated not only by his desire to make his readers at home, but also by the fact in Yan's time the practice of paragraphing was not popularly adopted. Yan Fu does not translate Huxley's notes on the lecture and makes no acknowledgement of their existence. He is inconsisten in some of his transliterations. There are interpolations, questionable substitutions and sometimes inadverted mistranslations. As a whole, Tian yan lun is a successful translation. Its shortcomings are of little consequence. Politically, the work is significant in that it has filled the need of the time. Literarily, it is the first major translation of Western works. Benjamin Schwartz : The reason why Yan Fu chooses classical Chinese : 1. Classical Chinese is an appropriate medium to interest the literati of his time. 2. A dignified style can prove that Westerners are not inferior to Chinese in matter of literature and political science. 3. Yan's flair for elegance may reflect his own aesthetic bent and his pride in his own virtuosity. 4. The whole bai hua (vernacular) movement still lay in the future.	Document: Schwartz, Benjamin. In search of wealth and power : Yen Fu and the West. (Cambridge, Mass. : Belknap Press of Harvard University Press, 1964). [Yan Fu]. (Schw17, Publication) Document: Chen, Tzu-yun. Yen Fu's translation of Huxley's evolution and ethics. In : Tamkang review, vol. 13, no 2 (1982). [Yan Fu ; Thomas Henry Huxley]. (Hux19, Publication) Person: Huxley, Thomas Henry Person: Yan, Fu
2	1921	Zheng, Zhenduo. Virgins and matchmakers [ID D38995]. … We need to know that translation not only serves to introduce world literature, but is also beneficial to the creation of a new literature in China… Translating a literary work is like creating one : they both have the same impact on the supreme spirit of mankind. Although literary creation is scarce at present, literary translation is hardly any better…	Person: Zheng, Zhenduo
3	1921	Guo, Moruo. Letter to Zheng Zhenduo [ID D38996]. … I believe that translation has to be creative, and I staunchly support this belief. Translation has never been easy – to be creative, a translator must have an in-depth understanding of the thinking and the background of the author, and conduct a thorough investigation of the content and manner of presentation of a piece of work. It is therefore not easy to be a faithful translator. I do also believe that specific research on a great writer or an important piece of work can be made into a lifelong career… I believe that translation should be kept to a minimum, with a quest for quality rather than quantity… I realize that the field of creative writing in China has been very inactive…	Person: Guo, Moruo Person: Zheng, Zhenduo
4	1922	Mao, Dun. Some thoughts on translating poetry [ID D38991]. Is the translation of foreign poetry 'possible' ?... Some say foreign poetry can be translated ; others say it can't ; some say there are things in foreign poetry which can be translated, and there are things which absolutely cannot, and what can be translated is only a makeshift, better than nothing but no more than that. When poetry has been translated, even if the translator is extremely careful and sticks closely to the source text, it can only be the 're-telling' of a poem, and cannot be seen as being the original… The translation of foreign poetry can be a means of revitalizing our own poetry. When we glance through the literary history of other countries, we often see that the introduction of a translated text electrifies a country's literary history into new directions ; at least in the poetic arena, this must have an influence of this kind. From this viewpoint the translation of poetry is of great significance for the literary world, and has an even greater significance for a nation developing a new literature… But it seems that sense-translation should also have its conditions : 1) It should not be an abridged translation… 2) The spirit of the original poem should be there… 3) It should conform to the style of the original poem. If the original poem is tragic and grand, it cannot ever be translated into light and pretty. Apart from this, rhyme and meter and so on are secondary issues, and may safely be ignored. The second question concerning poetry translation is whether poetry should be translated into prose, or translated into the verse forms of one's own nation… A fixed metrical form can never entirely follow that of the original poem, and since it is only partial imitation, it would be better to ignore the form and do a prose translation…	Person: Mao, Dun
5	1923	Cheng, Fangwu. On translating poetry [ID D38993]. … Translating a poem involves verbal transfer from one language to another. Yet because a poem as a totality has to be translated, a crucial point is that the end product should be a poem too. Some may translate a poem word by word, write out the lines separately and call it a translated poem. However, such a translation is only a translation of words, not a translation of a poem… A translated poem should be faithful to its original. A poem, in general terms, is made up of three components : content, emotion and form… Thus, an ideal rendition of a poem should : 1) be a poem, 2) transmit the emotions of the original, 3) convey its content, and 4) retain its form… When translating a poem, a translator should lose himself in his objects, the poet ; he should merge with the poet as one person. He then expresses his simmering emotions with all his strength and honesty. Once when translation Shelley's poems, Guo Moruo said, 'To translate Shelley's poems is to turn me tino Shelley and Shelley into me'…	Person: Cheng, Fangwu
6	1931	Qu Qiubai. On translation : a letter to Lu Xun [ID D38987]. Dear Comrade The publication of your translation of Razgrom (The rout) [by Aleksandr Alexandrovic Fadeev] was of course a truly memorable event in China's cultural life. Translating masterpieces of proletarian revolutionary literature from around the world and introducing these works to Chinese readers in a systematic fashion (especially masterpieces from the Soviet Union, which through concrete images present in an artistic way the 'heroes' of the great October Revolution, the Civil War and the Five-year Plans) – this is one of the crucial tasks of writers working for proletarian literature in China. Producing translations such as those of Razgrom and Zhelezhyi potok (Iron stream) [by Alexander Serafimovich] should be regarded as the responsibility of all Chinese revolutionary writers. Every revolutionary fighter on the literary front and every revolutionary reader should celebrate this victory, even though this is just a small victory… Translation – in addition to introducing the content of the original to Chinese readers – has another important function, that is, helping us create a new modern Chinese language… Since we are engaged in the struggle for a new modern Chinese language, we cannot but set two standards for translation : absolute accuracy and absolute vernacular Chinese. This is to introduce the language of a new culture to the masses… The use of absolute vernacular Chinese for translation does not necessarily mean that we cannot 'preserve the spirit of the original'. Of course, this is difficult and painstaking. But we must never balk at difficulties ; we must make every effort to overcome them… Even if the new words have not yet been completely assimilated, the potential for such assimilation is already there. As for new sentence structures, it is more difficult. Still, sentence structure in the spoken language have changed and improved greatly…	Person: Lu, Xun Person: Qu, Qiubai
7	1931	Lu, Xun. A reply to Qu Qiubai [ID D38988]. My dear Comrade I was very pleased to read your letter on translation. Since the appearance of a flood of translations last year, many people have raised their eyebrows, sighed, and even made sarcastic remarks. As one who translates from time to time, I should have made some comments, though I haven't so far… Take, for an example, Old Master Zhao Jingsheng. On the one hand, he criticizes the translations of treatises written from a scientific perspective, saying that it is ludicrous for authors to be forced to remain anonymous. On the other, he proclaims that the common folk will probably not understand such translations… First we need to decide what sort of readers among the common folk we are translating for. There are roughly three types : 1) the well-educated ; 2) the semi-literature ; and 3) the illiterates. The third group actually cannot be classified as 'readers', and it is the task of paintings, public lectures, drama, and movies to enlighten them. But the same books should not be given to the first two categories of readers, each of which should be provided with reading material appropriate for them. Even for the second group, we cannot give them translations. Adaptations are good enough, but creative works are still the best… Why not Sinicize our translations entirely, and save our readers trouble ? Can an incomprehensible translation be called a translation at all ? My answer is : It is still a translation because it introduces not only new content but also new means of expression… Even in translating works for the second group of leaders, I think we should introduce new expressions and new syntax from time to time… Roughly speaking, our written language cannot yet be infused with the crude dialect of the different regions in China, and it should either be a special vernacular language, or the dialect of one special region…	Person: Lu, Xun Person: Qu, Qiubai
8	1932	Qu, Qiubai. Again on translation : a reply to Lu Xun [ID D38989]. Dear Comrade Translation is still an extremely important issue in China. Since the May Fourth Movement, time and again the issue of translation has been raised, and time and again translation has been the subject of controversy. Yet the problem has not been resolved as far as basic principles are concerned… I have put forward the principle that 'in translating, one should absolutely adopt vernacular Chinese as the standard and achieve accuracy'… To say, as you did, 'accuracy even at the expense of fluency' or 'at present we could tolerate some degree of non-fluency' is to fail to pay heed to the principle that vernacular Chinese should absolutely be adopted as the standard… In translating as well as in writing works of our own, we should of course be bold enough to use new means of expression, new words and new sentence structures… We should not allow ourselves the easy way out and accept everything that is 'not fluent'… We must not only adopt strange-looking sentence structures, but also consider how these structures can 'become our own'. If in translating we just concentrate on 'bringing in strange-looking sentence structures' and fail to consider if these structures can be read aloud by living people… We should adopt a new guiding principle : we must make sure that new words and new sentence structures become alive and that these new means of expression can be assimilated into a living language… The new language should be a language of the masses – a language that the masses can understand and use. As the Chinese language is imprecise, we should make it more precise. As the Chinese language is unclear, we should make it clearer. As the Chinese language is not rich, we should make it richer…	Person: Lu, Xun Person: Qu, Qiubai
9	1934	Mao, Dun. Literal translation, smooth translation, and distorted translation [ID D38990]. …Needless to say, when a translation is incomprehensible, it is not 'literal' and the true meaning of the original is lost. The translator should be completely responsible for the incomprehensibility caused, and we should not lay the blame for it on the principle of translating literally… When faithfulness to the original is achieved but comprehensibility is lost, one translates in vain. Therefore it is proposed that 'rather than striving for fidelity at the cost of comprehensibility, one might as well seek after comprehensibility rather than fidelity'… Rather, with regard to 'literal translation' we would like to note that it is not word-for-word translation, which implies 'not a word more, and not one less'. Because of the different way in which Chinese and Western languages are constructed, strict word-for-word translation is impossible… Literary works also differ from theoretical essays. Some literary works are still comprehensible when translated word for word, though the spirit of the original work might not have been accurately conveyed. Suppose we had two translations of the same original text : one is translated word for word, though the spirit is lost, whereas the other, in not translating word for word, retains much of the original spirit. For me the latter can be called a 'literal translation', and this is the true meaning of the term… New there are certain literary works that are stylistically crude and unadorned. Perhaps readers – some of them, of course – can read with greater ease when the style is embellished, but the original work has actually suffered… For example, a translation may change the style of the original work, so that what is plain becomes polished, and what is awkwardly expressed becomes smooth flowing. When these occur, even if no mistakes appear and everyone read the translation with understanding, the original meaning still gets distorted.	Person: Mao, Dun
10	1934	Mao, Dun. The 'matchmaker' and the 'virgin' [ID D38997]. The fact is that translation is by no means less challenging than creative writing : perhaps it is much more so. In the first place, to translate a work, one must, before one does anything else, grasp the writer's ideas. But just grasping the writer's ideas is not enough ; one must also be fully capable of appreciating the artistic beauty of the original. Yet, even this is not enough ; one must also enter the work in person, as it were, to weep and laugh with its characters. The translator must have the language to get the style of the original across… If the original is a masterpiece, the translator, on reading it for the first time, often feels that the task of translating it should not be difficult ; however, after reading it a second time, he will find the task difficult ; after reading the work three or four times, he will not even dare to put pen to paper…	Person: Mao, Dun
11	1937	Ai, Siqi. On translation [ID D38992]. Among translators, a distinction is made between literal and free translation… However, if 'literal translation' were not misinterpreted as transferring words taken from the dictionary, I would be in favor of literal translation. Although a translation aims to introduce something to the reader, it needs at the same time to remain true to the author. In order to present the author's meaning accurately, the best approach is to retain the syntax of every original sentence… Literal translation does not mean incorporating foreign grammar into the Chinese language indiscriminately… As a matter of fact, the Chinese language lacks precision, always failing to convey the sophisticated content expressed in a foreign language… Talking about using the proper words to express the original meaning in translation, we are not trying to find a way out by using exquisite classical Chinese or the crude vernacular of an earlier period, nor are we resisting progress by sticking to an earlier state in the development of our language. On the contrary, we want so constantly create a new Chinese language, giving it fresh expressive power… We can provide a new definition for what has been called 'sense-translation'. If this term does not imply that the translator freely interprets the original text in his own way, but rather attempts to thorough understand the original sense, we must say that the 'sense' element would also be necessary even for a literal translation. The objective of literal translation lies simply in showing respect for the original ; the translator should therefore not include his own preconceived ideas… For some of our predecessors, translation has to fulfill three criteria : faithfulness, fluency and elegance… Without doubt, literal translation aims at faithfulness… A faithfully translated text must also be able to convey the original meaning as well as retain the 'fluency' of the original text as far as possible… Where it means 'writing elegantly', it implies nothing more than translating a foreign work into antiquated classical Chinese…	Person: Ai, Siqi
12	1944	Zhu, Guangqian. On translation [ID D 38985]. In a literary work, every word has its special character, its unique life. That is why writers either avoid clichés or seek to give clichés new life. Changes in meaning owing to context and positioning are of the utmost importance in literature. "Contextual meaning" is something not always obtainable from dictionaries, but from careful consideration of the immediate textual context… Associative meanings in Western literature are the hardest to grasp and translate. Next in the ladder of difficulty is the beauty of sounds. Words are a combination of sense and sound, two elements which ordinary folk think of as completely separate… All our words have histories ; that is, they grow and change. There is great discrepancy between classical Chinese and vernacular Chinese, and one has to be specially trained to be able to read them. Western languages change even more rapidly ; they witness great changes in contemporary life… Terminology studies in the West is, comparatively speaking, more sophisticated, and evidence can often be found to prove the exact point in time when the meaning of a word changed, or when a word assumed a new meaning… By means of an unfamiliar metaphor, one can give a word a derived meaning that is completely different from the original meaning…	Person: Zhu, Guangqian
13	1951	[Balzac, Honoré de]. Gaolaotou. Ba'erzhake zhu ; Fu Lei yi. 高老頭 [Enthält] : Fu, Lei. Preface to the retranslation of Le père Goriot. Not only is the language of the target text already different from that of the source text ; the conventions of the two texts also differ. Each language has its own characteristics and its distinctive merits, irreparable shortfalls and inviolable precepts… The translated literatures of different countries do vary in quality, yet there have never been English versions in French style nor French versions in English style… The differences between two languages with respect to lexis, syntax, grammar, norms, rhetoric and idioms reflect discrepancies in ethnic modes of thinking, relative degrees of sensitivity, divergences in points of view, customs and traditional beliefs, as well as differences in social background and manners of expression… Although serious flaws have not been spotted in my first translation of Le père Goriot (1944), the dialogues there are flat and boring, the flow of the prose is jammed, the 'new' literary style is unpolished, and the rhythm and charm of the original are largely gone. It is hard to talk of the text's aesthetic unity. This time, I have spent three months retranslating the text but, despite repeated revisions, I am still not satisfied.	Person: Balzac, Honoré de Person: Fu, Lei
14	1957	Fu, Lei. Fragments of my translation experience [ID D38986]. My hesitation [about translating a literary work] has its theoretical foundations. In the first place, because of my love of literature and the high regard I have for all literary activity, I will consider any damage done to a work of art to be equivalent to a distortion of truth… A translator who does not thoroughly understand the original, who cannot empathize with it, will definitely not be able to arouse deep sympathy in his readers. Further, the sympathy and understanding each person is capable of is determined by individual differences in character… One needs to read a literary work that one desires to translate four or five times, in order to become familiar enough with the story to be able to analyze it perceptively, from clear images of the characters, and slowly grasp the profound but intricate ideas buried between the lines of the text… I have revised my translation of Voltaire's Candide eight times, but I am still unsure how much of the spirit of the original I have managed to convey. I feel strongly that : 1. As far as literary genres are concerned, we should translate with a clear sense of our strengths and weaknesses… 2. With regard to the different literary schools, we should know which school we fit best into : Romantic or Classicist, Realist or Modernist ?... The second reason why I need to take translation seriously is my lack of academic preparation. The little bit of everything that I know is of little use when it comes to practical application. Since our literature is written for the whole society and for every individual, it is naturally related to politics, economics, philosophy, science, history, painting, sculpture, architecture, music, and even astronomy, geography, medicine and the divinatory sciences… How distinct the Chinese way of thinking is from the Western ! Westerners are fond of the abstracts ; they love analysis. The Chinese prefer the concrete ; they are strong at synthesis. If we do not completely assimilate the spirit of the work to be translated, but transfer word for word in a stilted manner, the original will not only lose all its beauty, but become abstruse and incomprehensible, thoroughly confusing the reader… I retranslated Jean Christoph not just to correct my own errors ; rather, the classical literary language used in my earlier translation creates a jarring hybridization of styles… The language problem is basically one of aesthetic insight. To raise the standard of translations, we must first work out some objective criteria so that we can tell good translations from bad ones.	Person: Fu, Lei
15	1987	Bian, Zhilin.Translation and its positive/negative impact on modern Chinese poetry [ID D38994]. … We should extract new poetic forms from the natural rhythms of speech, in order to transmit new poetic concepts and emotions appropriately and accurately… Chinese character occupy an independent place, a in traditional poetry, and of building lines with monosyllabic rhythmic units…	Person: Bian, Zhilin

Sources (14)

#	Year	Bibliographical Data	Type / Abbreviation	Linked Data
1	1921	Zheng, Zhenduo. How to translate literary texts. In : Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004).	Publication / ZheZ6
2	1921	Zheng, Zhenduo. Virgins and matchmakers. In : Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004).	Publication / ZheZ7
3	1921	Guo, Moruo. Letter to Zheng Zhenduo. In : Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004).	Publication / GuoM16	Person: Guo, Moruo Person: Zheng, Zhenduo
4	1922	Mao, Dun. Some thoughts on translating poetry. In : Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004).	Publication / MaoD31
5	1923	Cheng, Fangwu. On translating poetry. In : Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004).	Publication / ChenF1
6	1931	Qu Qiubai. On translation : a letter to Lu Xun. In : Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004).	Publication / QuQ11	Person: Lu, Xun Person: Qu, Qiubai
7	1931	Lu, Xun. A reply to Qu Qiubai. (1931). In : Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004).	Publication / LuX217	Person: Lu, Xun Person: Qu, Qiubai
8	1932	Qu, Qiubai. Again on translation : a reply to Lu Xun. In : Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004).	Publication / QuQ12	Person: Lu, Xun Person: Qu, Qiubai
9	1934	Mao, Dun. Literal translation, smooth translation, and distorted translation. In : Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004).	Publication / MaoD30
10	1934	Mao, Dun. The 'matchmaker' and the 'virgin'. In : Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004).	Publication / MaoD32
11	1937	Ai, Siqi. On translation. In : Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004).	Publication / AiS1
12	1944	Zhu, Guangqian. On translation. In : Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004).	Publication / ZhuG16
13	1957	Fu, Lei. Fragments of my translation experience. In : Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004).	Publication / FuL1
14	1987	Bian, Zhilin. Translation and its positive/negative impact on modern Chinese poetry. In : Chan, Leo Tak-hung. Twentieth-century Chinese translation theory : modes, issues and debates. (Amsterdam : John Benjamins, 2004).	Publication / BiaZ2

Cited by (1)

#	Year	Bibliographical Data	Type / Abbreviation	Linked Data
1	2000-	Asien-Orient-Institut Universität Zürich	Organisation / AOI	Cited by: Huppertz, Josefine ; Köster, Hermann. Kleine China-Beiträge. (St. Augustin : Selbstverlag, 1979). [Hermann Köster zum 75. Geburtstag]. [Enthält : Ostasieneise von Wilhelm Schmidt 1935 von Josefine Huppertz ; Konfuzianismus von Xunzi von Hermann Köster]. (Huppe1, Published)