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"Fables, Chinese."
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Phonological transmission processes in the English translation of Chinese traditional children’s fables: a grounded theory approach
As vital carriers of Chinese culture, traditional Chinese children’s fables embody both aesthetic value and cultural significance in cross-cultural translation. Phonology, as a key feature of their appeal, plays an essential role. However, phonological transmission from Chinese to English remains underexplored, posing challenges in preserving sound-based appeal for target readers. This study addresses this gap by analysing 81 phonologically salient sentences from traditional Chinese fables and their translations, along with 45 reader reviews on Amazon, using grounded theory through open, axial and selective coding. The findings reveal a three-layered phonological transmission model. The Foundation Layer comprises basic elements, including Chinese finals, childlike qualities and the treatment of cultural imagery. The Adaptive Transmission Control Layer captures translators’ adaptive strategies for addressing phonological and structural differences between Chinese and English. These strategies enable aesthetic synergy and enhance cultural communication and identity construction in translated fables, forming the Cultural Efficacy Realization Layer. On this basis, the study constructs the model of Phonological Transmission Processes in the English Translation of Chinese Traditional Children’s Fables, offering a concise analytical framework for understanding phonology in the translation of children’s fables and highlighting its relevance to translation theory and practice.摘要 作为中华文化的重要载体, 传统中国儿童寓言在跨文化翻译中体现出审美价值与文化意义。语音作为其吸引力的关键特征, 发挥着至关重要的作用。然而, 其汉英翻译中的语音传递仍未受到充分关注, 给译文读者的声音审美再现带来挑战。本研究通过分析81条具有语音特征的中国传统寓言语句及其英译文本, 以及亚马逊平台上的45条读者评论, 采用扎根理论的开放编码、主轴编码与选择性编码程序来探究语音传递过程。研究结果揭示了一个三层语音传递模型。基础层包括汉语韵母、儿童化特质以及文化意象的处理等基本要素。适应性传递调控层体现了译者为应对汉英之间的音系与结构差异而采取的调适策略, 在忠实原文与审美效果之间实现平衡。这些策略促成审美协同, 并增强译文寓言的文化传播与身份建构功能, 构成文化效能实现层。基于上述类别, 本研究构建了《中国传统儿童寓言英译语音传递过程模型》, 为理解儿童寓言翻译中的语音处理提供了简明的分析框架, 并凸显其对翻译理论与实践的意义。
Journal Article
Chinese fables : \The Dragon Slayer\ and other timeless tales of wisdom
An illustrated retelling of nineteen fables and tales from China, each of which features a nugget of ancient folk wisdom and introduces aspects of traditional Chinese culture and lore.
Book
Aesop's Fables in Ancient China // 古代中國的《伊索寓言》
At the beginning of the twentieth century, many expeditions were carried out in the Tarim Basin located in the northwestern part of China (East Turkestan). The remnants of the manuscripts of Aesop's fables were found by Albert von Le Coq in the second German expedition in Gaochang (or Chotscho) in the Turfan area during 1904 to 1905. According to archaeologists' research, they can be dated back to the period between the eighth and twelfth centuries and can be subdivided into Iranian and Old Turkish sources. One of the Iranian fables, “The Father and His Sons” told by Mani, the founder of Manichaeism, is especially noteworthy. A similar story was recorded in the mid-sixth centuryWei shu(“Book of Wei”) and was subsequently adopted by the Mongolians in theMenggu mi shi(“The Secret History of the Mongols”). By exploring the historical background of the transmission of this fable and looking into the Chinese historical records of Manichaeism, this paper aims to prove that not only this Aesopian fable entered China around the mid-sixth century in the form of history, but that other fables might have spread during the eighth century, when Manicheans were active in the Tang empire. This means that Aesop's fables circulated in China some one thousand years earlier than when Matteo Ricci first integrated Aesop into his sermons.
Journal Article
Thomas Percy, China, and the Gothic
While Thomas Percy was assembling the materials that were to make up his influential collection Reliques of Ancient English Poetry (1765), he issued the first translation of a Chinese novel in a European language, Hau Kiou Choaan, or, The Pleasing History (1761), and he produced a collection of (mainly translated) essays and extracts under the title of Miscellaneous Pieces Relating to the Chinese (1762). Here, Watt examines the aforementioned literature, asserting that these works are significant as provocative interventions in long-standing debates about the prestige of Chinese civilization, while also analyzing the way that Percy positioned himself in relation to other available means of presenting \"Chinese\" material, as well as to the substantial body of Jesuit missionary sources that were at his disposal. Moreover, the latter part of the discussion traces the continuity of Percy's preoccupations and editorial practices across his diverse publications of the 1760s, suggesting that The Pleasing History and Miscellaneous Pieces were also constitutive parts of his larger and much better-known project to recover and celebrate the integrity of a native and sometimes specifically Gothic genius. Furthermore, briefly considering the wider field of late-eighteenth-century literary orientalisms, Watt also claims that Percy's writings of the 1760s set out a particular position in what was to become a contentious argument over the nature and origins of the stimuli that might rejuvenate British literary culture.
Journal Article
Eurasian Fiction
Histories of the novel range from the narrow to the unbounded. English-language critics have usefully equated the origin of the form with the first English specimens, such as Defoe's Moll Flanders (1722) or Richardson's Pamela (1740). At the other extreme, the novel can be effectively defined as any extended work of prose fiction. The present essay falls in between, arguing for a central category of Eurasian fiction that extends back 2500 years. Having evoked social developments to suggest the novels conditions of possibility, it then deploys the comparison of fiction East and West to account for those developments—in particular, Europe's path to modernity. It thus reverses a standard analytical procedure by proposing an expanded role for cultural explanation of large-scale change.
Journal Article
Glutton for Punishment
When Chinese people tell stories about Chinese food, the tales quickly begin to sound remarkably formulaic. This essay seeks to explore that phenomenon, understand it, and explode it. From the standard opening and concluding phrases to the stock figures of disguised benefactors and Cinderella-types, these storytelling conventions serve to illuminate a passel of archetypes. Some are universal (the nature of craving, how a sovereign's absolute control over any individual subject belies his dependence upon the mass of them), and others possess Chinese characteristics (the longing for immortality, the tension between virtuoso technique and folk authenticity).
Journal Article
Identifying Daoist Humour
About 20 years ago, an important article was published by Christoph Harbsmeier concerning the sense of humour displayed in some of the canonical texts of classical Chinese philosophy, such as theLunyu論語 (Confucius’sAnalects), theMengzi孟子 (Works of Mencius), theHanshi waizhuan韓詩外傳, theZhanguo ce戰國策, theLüshi chunqiu呂氏春 秋, theHanfeizi韓非子 and theZhuangzi莊子.¹ Harbsmeier did not, however, include the Daoist text theLiezi列子 in his discussion; nor has it since been addressed, despite the richness of its ironic devices and its vividly humorous character sketches. In this chapter, I focus on
Book Chapter
Far and Away?
Friday, August 8, 1591, was a noticeable and still tangible day in Lipsius’s outstanding antiquarian scholarship.¹ The high standards he had already reached did not pass unremarked by then, because of his appealing detailed monographs on Roman law and institutions, on gladiatorial games, and on Roman amphitheaters. For having left Leiden University and having arrived in Liège in June 1591, Lipsius, in this new and last period of his life, started on that very day to compose a new work which he had planned some five years before. In the manuscript version, still preserved today in Leiden University Library, he
Book Chapter
THE IRON HOUSE OF NARRATIVE
In popular and academic circles alike, what has come to be referred to as “social Darwinism” has long since been dismissed as a dead letter. Of course, we can only welcome the demise of the politics of unfettered capitalist oligarchy, scientific racism, and imperial expansion with which the monism of figures such as Herbert Spencer and Ernst Haeckel has been associated, if often in a grossly simplified manner. Yet to dismiss the lingering hold of such discourses on the globalizing neoliberal “consensus” of the past three decades would be premature. And while the role and ramifications of social Darwinism in
Book Chapter