1894年,英國浸禮會傳教士李提摩太英譯了真諦漢譯本《大乘起信論》,並於1907年由上海廣學會出版。此譯本是繼日本學者鈴木大拙出版的譯本以來的第二個全譯本,卻沒能引起學界的足夠重視。本文基於一手史料,分析了此論的作者、整體內容以及核心概念「真如」在李氏的神學思想體系裡通過其英譯本如何再次重構與呈現。本研究的發現如下：李氏受到英國傳教士比爾「偽基督論」的啟示,從此論構建出世界宗教聯合後所獲得的「正義」,而這種正義正是上帝國的主要特徵,也是上帝國得以建立的前提。為充分證明並散播此構想,他通過譯本將原文的「真如」概念以上帝之名義重構,為讀者呈現解讀後不同於鈴木的全新譯本,為其建立上帝國的抱負作了思想準備。

This essay proposes complexity and computational network analysis as fitting paradigm and methodology for studying contemporary literary translators’ agency. Grounded in the rhizomatic structure of networks, this approach unearths the importance of translation-based literary barters for the robustness and stability of a translation sub-system, in our case the sub-system of contemporary poetry translation from American and Canadian English into Romanian. Using a mixed- method approach that combines close reading (qualitative analysis) and distant reading (quantitative analysis), the research shows that translators possess an essentially connective mind and that their own interests and network of personal connections are salient in starting and maintaining a substantial exchange of inter-cultural transfers in a transnational context. Complexity thinking provides the premises for demonstrating that translation is highly sensitive to its initial conditions of production, thus is reliant on translators, and the computational network analyses prove consequential for documenting the role of translators in initiating and carrying out literary translation projects.

戊戌政變後,康有為在清廷緝捕下逋亡海外,不斷尋求海外武裝力量干涉,助其勤王之舉。為獲取英國支持,不諳西語的康有為在英籍譯者陳恩榮的陪同下遠赴英國,之後在文島休養期間,陳恩榮短暫待在康有為身邊直至返回香港。對這位康有為海外流亡時身邊的「特殊」譯者,現有研究並未觸及,更無法經由譯者的角色與動機正確認識其作用,挖掘背後的歷史痕跡。得益於新史料的出現,這位譯者在歷史中逐漸顯形。本文以香港歷史檔案館、香港公共圖書館數碼館藏及其它開放資源庫所藏相關報紙和電函為核心史料,考察譯者陳恩榮生平與其在康有為身邊的多重身分,解讀作為香港富商何東代言人的陳恩榮為康有為譒譯的動機,並透過這一譯員鈎沉英國之行中香港商界與流亡政客各自懷揣著的不同目的和佔據的立場。希望能引起學界對康有為海外流亡時身邊譯者關注,以及進一步挖掘勤王運動中翻譯現象的興趣。

Metaphor translation has been a matter of concern in translation studies because its interlinguistic transfer can be impeded by cross-cultural and crosslinguistic differences. Since the inception of Conceptual Metaphor Theory (CMT), which focuses on the conceptual structure of metaphorical language, a range of studies have emerged to investigate metaphor translation from a cognitive perspective, presenting an eclectic mix of research questions and methodologies. This paper is targeted at illustrating what the cognitive approach has offered to translation studies by providing a critical overview of recent research in metaphor translation from a cognitive perspective. It is pointed out that cognitive theory can get to the heart of metaphor, an essential cognitive device for meaning-making, as well as translation, a cognitive activity. Illustrations from the literature show that a cognitive approach can account for in-depth conceptual transfer in the analysis of product- and process-oriented metaphor translation. The cognitive approach also provides important insights into translation as cross- cultural communication by offering a redefinition of culture. Within this context, the paper provides multilingual illustrations while paying special attention to translation between culturally-distant languages, e.g., English-Chinese and French-Chinese translation. Lastly, it is argued that there is potential in combining cognitive theory with translation theories such as Descriptive Translation Studies and the Interpretive Theory of Translation.

在「人類世」的語境下動物能動性的翻譯工作面臨新挑戰,特別是人類中心主義向後人類中心主義的認知轉型,提供了實現與動物主體更細膩倫理共感的機遇。本文以「生態翻譯」、「生態語言學」與「敘事動物行為學」等生態取向理論為框架,考察厄內斯特．湯普森．西頓的動物故事集《我所知道的野生動物》（1898）的中文譯本中動物行為、社會規範與家庭價值觀的呈現方式。文章重點分析原作及譯本中擬人化傾向與動物能動性的互動關係,主張在寫實動物故事等類似文本的翻譯中採用生態翻譯方法。該方法避免將動物簡單塑造成自動化的人類文化產物,而是通過解析和揭示原文本中所蘊含的動物能動性,或從該文類旨趣推演其能動性。最後,本文提出若干翻譯策略,將動物能動性定位為生態翻譯實踐之不可或缺要素。

十九世紀中國文學作品英譯史的現有研究中,學界對幾位知名漢學家的探討頗為豐富,可是應當注意到,包括文學翻譯在內的十九世紀英國漢學的發展同樣離不開大量在華西人的積極參與,其中許多人的貢獻仍未得到足夠關注。本文的研究對象李思達（AlfredLister,1842-1890）就是這樣一位還不為人所知的譯者,他於1865年以香港翻譯官學生身份來到香港,在殖民地政府中歷任多職,曾擔任驛務司（PostmasterGeneral）和庫務司（Treasurer）等重要職位。自從來港學習中文開始,李思達便關注中國知識,在不同漢學期刊發表多篇中國研究文章及翻譯作品,尤其傾心於中國文學的翻譯。本文通過發掘史料及文本考析,梳理李思達翻譯中國文學作品的選材、觀念及方法,結合他的殖民地經驗及當時中國研究語境,探討文學翻譯實踐如何發生及展開,其中又展現了怎樣的文學眼光,為我們理解十九世紀中國文學英譯史帶來新的發現。

In early twentieth-century Hong Kong, the rendition of medical terminology in the translated detective stories of Chinese-language periodicals reflected translation as a touchstone of the early exchanges between Western and Chinese medical culture. Among them, the literary translation Qi Wang Hui (1906) is a case in point. In the Chinese version, the Western terms for medical instruments, drugs and diseases, among others, were inconsistently translated. Some of the terms were translated literally, with the original meaning largely preserved, whereas some others were translated using words from Traditional Chinese Medicine. Others were translated as Chinese referents of more general concepts. The different strategies for dealing with the translation of various terms reflected the unbalanced recognition of Western medical knowledge and technology in the Chinese cultural context.

The YouTube Shakespeare phenomenon has been addressed in several studies including those by Christy Desmet (2009, 2014) and Stephen O’Neill (2014, 2015). This paper builds on their work to examine closely the visual, aesthetic and aural strategies of a YouTube video that seeks to make Shakespeare’s As You Like It more accessible to a group of Bengali-speaking students in small town West Bengal, India. The paper examines (a) the means by which the video creator works to activate prior knowledge in his target viewers, (b) the consequent degree of cognitive success he appears to have achieved in terms of summary and explanation, and (c) this video not just as a teaching tool, but as a piece of creative remediation in its own right, and an original contribution to YouTube Shakespeare. The easy access to the visual dimensions of the global popular afforded by immersion in a digital environment both necessitates and enables more flexible and innovative approaches to bringing alive the sometimes archaic language in canonical literary texts, in this case, Shakespeare’s plays. The paper demonstrates how the video allows the creator to harness the capabilities of one of YouTube’s key pedagogical affordances: the digital image, in conjunction with the site’s potent play and gaming possibilities, as well as the sense of community in shared space that it fosters in regular users. The creator’s deployment of images is apparently idiosyncratic; but these images are culled from a wide variety of online loci that are particularly relevant, comprehensible, and attractive to the demographic he addresses. This strategy enables him to use the exciting possibilities of play, exploration, and cross-cultural connection to engage students effectively in a text recognized as challenging in the Indian context. A related broader argument made here pertains to the role of such digital videos in the shaping of the Global Shakespeare that scholars such as Alexa Huang have highlighted in the last decade. Teaching/explainer videos like the one analyzed in detail here, which combine the exoticism and excitement of globally sourced digital images and the youthful power of play with specific local references and an accessible vernacular voiceover can make a crucial contribution towards reshaping a new generation of glocal non-Anglophone iterations of Shakespeare.

全面抗日戰爭時期的中國戰場是第二次世界大戰暨世界反法西斯戰 爭中不可或缺的「東方主戰場」。抗戰時期由國民政府主導的軍事 譯員訓練班是一項旨在配合援華盟軍對日作戰的創舉,亦是抗戰時 期中國翻譯教育的一個縮影。1941 至 1945 年間國民政府軍委會在 昆明和重慶等地通過徵調或招考,陸續培養了四千餘名英語譯員。 他們大多是來自各高等院校的大學生或是英語較好的公職人員,通 過兩至三個月不等的軍事英語和通譯業務培訓後,分配至中緬印戰 區的美軍機關和戰爭前線任「翻譯官」,為抗戰勝利做出過不可磨 滅的貢獻。本文以國民政府軍事譯員訓練班為研究對象,通過梳理 戰時譯員教育的創辦與培養歷程,旨在回溯抗戰時期中國翻譯教育 發展的歷史經緯,探析影響戰爭中語言教育的深層次社會文化因 素,力求為譯學界重讀二十世紀中國翻譯教育史上的特殊一頁,提 供一些可供鑒取的歷史經驗與文化哲思。

While in-between knowledge has proved to be vital for the growth of translation studies, the actual and potential influence of translation theory on other disciplines has received little attention. Its contribution to digital humanities, for example, has been considered mostly in relation to the use of translation as a tool to disseminate knowledge at research events. Although in recent years digital humanities has shown increased interest in languages and linguistic diversity, its techno- linguistic foundations remain limited to English.
Translation supplies digital humanities with an interesting epistemo-methodological problem that challenges monocultural epistemologies in text computing. While distant reading in one language is relatively straightforward, computation across languages faces many challenges, including Anglophone bias, economies of scale, blackboxes, and lack of phenomenological depth. If we can solve these problems, disrupting monolingual practices in knowledge production would be one of many benefits of cross-linguistic computation.
In this paper, I will discuss the affordances of translation by drawing on my ongoing research, including the DRaL (Distant Reading across Languages) project which began with the concerns of how to make digital research epistemologies more inclusive of and more open to languages other than English.

At the turn of the twentieth century, Sir Arthur Conan Doyle’s work was regularly translated into Chinese despite the complexity of the medical terminology that permeates his work. This article considers how references in the Sherlock Holmes stories were rendered in translations published in 1916, thereby bridging the gap between Western and Chinese medical traditions. In particular, it considers how Western medical diagnoses and procedures were grafted onto existing concepts in traditional Chinese medicine (TCM) through analysis of the translation methods used. It reflects on the need to make such medical references accessible to non-specialist readers in order to not impede their reading experience. By comparing early and later translations, the article assesses the extent to which Western medicine (WM) permeates Chinese culture at different points in twentieth century history.

This article intends to investigate how The Wizard of Oz was introduced, translated, and retranslated in China from the 1920s to the 1970s. Inspired by the historical archives mostly from Shenbao 申報, this paper firstly delineates the early acceptance of the Oz story by revealing how it was introduced, synopsized, and advertised in China between the 1920s and the 1940s. In this part, the novel’s early translation versions are investigated, with a particular focus on its title translation—“Lüye xianzong 綠野仙蹤,” to illustrate an initial acceptance of the novel as a story about gods and spirits. In the second part, as the sociopolitical context underwent major changes after the establishment of the People’s Republic of China, the translation of the novel was required to conform to the prevailing socialist realist tenets, and the novel was reinterpreted, retranslated, and reshaped as a piece of socialist realist children’s literature. This part concentrates on a comparative reading of Chen Bochui’s 陳伯吹 three translations (published sequentially in 1942-1943, 1953, and 1979). In investigating the translation history of The Wizard of Oz in China in the given period, this study suggests the nature of (re)translation as a complex process with multiple mediating forces.

本文探討李娟的非虛構敘事作品《冬牧場》的英譯。通過分析原作本身的翻譯和民族誌特徵,指出李娟在《冬牧場》的書寫中承擔了翻譯者和民族誌學者的雙重角色,並認為《冬牧場》的英譯在本質上屬於一種元翻譯行為。基於敘事學經典概念「隱含作者」,本研究通過《冬牧場》中英文本對比發現,英譯本借由一系列副文本干預,呈現出一個更具民族誌學者特質的隱含作者形象,此舉實為譯者強化作品民族誌價值的策略性操作。本研究凸顯了《冬牧場》作為翻譯對象的豐富性與複雜性,揭示了具有民族誌特色的非虛構敘事作品在翻譯中可能面臨的挑戰,同時彰顯出隱含作者概念的重要性,為非虛構敘事翻譯研究提供了一個認識論上的重要案例,並希望為該領域的翻譯實踐提供啟示。

本文考察翟理斯與弗萊徹在十九世紀末及二十世紀初編譯的中國詩歌譯選集,旨在探討翻譯選集中理論與實踐的互動。文章所討論的均為單一譯者選集,兩位漢學家既是編選者,也是英譯者。文章分析他們如何運用各種方法營造選集這一空間：如採用「珍寶」之喻,又如詩篇的選擇與編排、版面之設計、篇名之擬定、韻律之呈現,以及副文本與文本之互動。這些特徵與方法體現的是譯者在特定歷史語境中的話語實踐,他們在翻譯選集這一微觀世界裏,協調不同文化中的知識與價值,探索新的翻譯方法與詩學,並與其他譯者展開互文對話。

1952年,文學刊物《人人文學》在香港誕生。目前學界認為《人人文學》由美國出資創辦,刊物中的文學翻譯也因而被認為是1950年代美國在港翻譯計劃的一環。事實上,《人人文學》並未直接接受美方支持,所以其翻譯活動不是政治宣傳的工具,而是編者黃思騁文學思想的體現。本文使用一些學界鮮少討論的材料,梳理黃思騁的閱讀史,分析其文學知識的建構,並在此基礎上討論他的文學知識如何影響《人人文學》的翻譯選材。希望閱讀史的研究方法可以為研究香港的南來文人提供新路徑。

1960年代上半期的中國高校文科教材編譯工作,為著「調整」方針而發生和展開,對實現教育「調整」發揮了重要作用。在選題規劃上,它貫徹了「調整」中的教育正規化、獨立自主和聯繫實際的思路。在編譯實踐上,它發揮了「調整」中舉國體制的優勢,與原創教材編寫展開良性互動,形成了紮實的學風,培養了一批年輕人才,並團結了舊知識份子老教師。但由於「調整」的局限性,它同樣存在好大喜功、急功近利,以及思想不夠解放等問題。隨著「調整」階段的結束,教材編譯也逐步走向衰落,直到改革開放之後重新啟動。

During the Cold War, Hong Kong occupied a pivotal role as a bridge between the Free World and the Communist World, making it crucial for the United States (U.S.) to counter the spread of communist ideologies. Literary translation emerged as a significant avenue for advancing U.S. foreign-policy objectives by winning over the hearts and minds of audiences worldwide. Consequently, the prevalence of U.S.- commissioned literary translations in Hong Kong became a crucial aspect of Cold War dynamics. Existing scholarly research has primarily focused on the financial support provided by the U.S. to intellectuals involved in literary translations, while overlooking the nuanced perspectives and attitudes of these intellectuals toward such funding. This paper seeks to address this gap by examining the attitudes and reactions of local intellectuals towards financial assistance from the U.S., using Platitude Press (Renren chubanshe 人人出版社) as a case study. It argues that the relationship between the U.S. and local intellectuals during the Cold War era was not one-sided but rather interactive, leading to a more complex and multifaceted history of Cold War activities in Hong Kong.

生成式人工智能模型在處理低資源語言對的專業術語翻譯時,面臨一個根本性限制：高度專業化的詞彙在訓練語料庫中出現頻率過低。本文針對這一問題,提出了一個混合框架,將計算詞典學與神經機器翻譯相結合,以解決系統性的術語不一致現象。該方法包含四階段自動提取流程：基於詞典的匹配、語音相似性分析、統計顯著性檢測以及專有名詞解析。經專家驗證後,這些流程構建出富含元數據的術語數據庫。數據庫支持兩階段翻譯系統：首先通過標準神經微調處理風格和句法,隨後基於元數據（名稱、傳統、時期）進行自動後處理,實現術語控制。在古代語言至中文的聖經翻譯測試中（希伯來語、希臘語、拉丁語）,該系統的術語覆蓋率較詞典基線提升了1.13倍至1.68倍。本框架並非旨在取代商業大型語言模型,而是提供一種互補方法：通過元數據驅動的術語控制彌補現有模型在專業領域的系統性缺陷。此類方法論有望直接整合至未來模型的訓練或推理流程中。該模塊化架構或可擴展至其他具有相似特徵的專業領域,如有限並行語料庫和高術語變異性的法律、醫學及技術領域。

威妥瑪（ThomasFrancisWade,1818-1895）是英國著名外交官和漢學家。1842年6月2日,身為中尉的他抵達香港,隨英軍第98軍團參與中英第一次鴉片戰爭。在香港休整期間,自學中文,並希望成為「一名國際代理人」,即官方譯員。1846年1月,他再次來到香港,並放棄軍銜,擔任外交譯員。直到1852年3月離開,他在香港工作長達六年之久。不過,他在香港擔任譯員的這段經歷幾乎被學界所忽視,大多數中外學者都只處理他的外交官身份和漢學家身份。
本文通過分析大量原始資料—主要為英國外交部檔案,重構威妥瑪在香港「作為一名國際代理人」的經歷。通過分析他翻譯《京報》、研究中國政府和國情、翻譯《海國圖志》的日本篇以及研究中國軍隊,展現他根據政治、外交形勢的變化,主動調整「代理」的身份和範圍,從而影響兩國之間的關係。本文指出,威妥瑪作為「國際代理人」,不僅處理語言文字工作,更積極介入政治、外交,並有自己的政治、外交、文化立場;在「為女王陛下服務」這個大的框架下,藉翻譯和研究等活動,為國家之間的政治、外交利益進行「代理」,足見外交譯員在近代中英政治、外交上所扮演的重要角色。

The theory of Eco-translatology (shengtai fanyixue 生態翻譯學) sees translation processes as part of a system of interdependencies that can be investigated in ecological and biological terms. While explicitly appropriating the principles of Darwinian evolutionism and claiming to draw inspiration from both traditional Chinese wisdom and modern ecological thought, Eco-translatology presents itself as an autochthonous theory with a strong international outreach. Through an analysis of the scholarly endeavor of Eco-translatology, this paper seeks to point out that its tenets resonate significantly with the policies of knowledge production of the contemporary People’s Republic of China and, more generally, with its national ideological agenda. It also intends to show how this self-proclaimed discipline endorses the promotion of a “Chinese discourse” in the field of translation studies, one that would reposition Chinese scholars and theories within the international scientific community, ultimately contributing to the construction and consolidation of its national academic soft power.

Seen through the lens of André Lefevere’s concept of rewriting, a translation is not simply a static text, but a cultural and even a political act exercised by players at both the individual and institutional levels during the translation process. Jesuit missionary-translators in early Qing China especially encountered pressures, challenges and support from their patrons as factors of control in their translations. Joachim Bouvet and his two protégés, Joseph de Prémare and Jean François Foucquet, were the three representative Figurists of the time. The Figurists, a group of Jesuits who focused on the re-interpretation of Chinese classics, advocated the esoteric doctrines of the Dao. Despite both being called followers of Bouvet, Prémare and Foucquet diverged in their separate interpretations of the Dao. Their own preferences and propensities were part of the reason for this, though patronage also played a significant role, which reinforced and supported their personal interpretations of the Dao. This paper will examine two intellectual webs of relationships and auspices, those of Prémare and Foucquet. Examining their correspondences and manuscripts stored in the Vatican Library and the Archives Jesuites de Paris, I will outline the profiles of the two Figurists and identify the institutional or individual support each received. Furthermore, the intellectual webs of their patrons not only made an impact on how each man developed and circulated his knowledge of the Chinese classics, but also influenced how they interpreted the Dao and the Daodejing. Each of their trajectories in associating Christianity with the Dao also made a lasting impact on the next generation of Jesuits in China on their understanding of Dao and Daoism.

《立報》1938年在香港發行,1941年停刊。葉靈鳳是香港《立報》副刊《言林》的編輯,在他的努力下,《言林》顯示出「世界性」特徵。葉靈鳳通過連載翻譯作品支撐起了《言林》的版面構架。從《紅翼東飛》到《狐》,葉靈鳳貢獻給《言林》的一系列譯作,既具有現實意義,也體現出明顯的文學取向。作為新文學家,葉靈鳳翻譯的價值超越了翻譯本身。隨著內地作家南來,香港在戰時成為新文化和新文學的一個中心。《言林》對新文學在香港的開展起到不容忽視的作用。如果考慮到《言林》刊載文字的三類題材內容,那麼國內文學的報導、國外作品的引入都與香港本地文學的建設連在了一起。葉靈鳳的翻譯照應了新文學建設時期對西方作家和文學翻譯的倚重。《早戀》等《言林》的優秀譯作,成為新文學創作的示範,融入了香港的文學歷史。

A word-cloud is a visual representation of text data in which the importance of each word is shown with different point size or color. Word-cloud generators rearrange the content of a given text in free form, emphasizing its most recurring lexical elements, thus promoting an immediate understanding of the text’s main focal points. This tool proves particularly useful when applied to the study of translations: when building upon relatively large numbers of short texts (such as the different renditions of a single piece of poetry), word-clouds can highlight translation idiosyncrasies, reveal convergences and divergences in interpretation, and point back at potentially problematic junctures in the source text. Furthermore, word-clouds can also be considered as texts in themselves, or “meta-translations”: by disrupting the syntactic construction of a text and rearranging its content according to criteria of identity and repetition, word-clouds promote complementary ways of reading that break away from the linearity of writing. Overall, word-clouds provide a useful tool for the reverse- engineering of a source text’s problematics from the raw material given in the translated text. Using Li Shangyin’s poem “Luohua” 落花 (Falling Flowers) and its different English translations as case study, this paper discusses the utility of word-clouds for implementing what Theo Hermans, building upon Appiah’s reflections, advocated as the critical practice of “thick translation.”

勒菲弗爾將贊助人定義為促進或妨礙作品的閱讀、創作和改寫的力 量,並特別指出贊助功能主要表現為一種積極的推動力量。之後的 學者在研究個人和機構的贊助功能時,也多將焦點集中於贊助人促 進作品形成和接受,對其妨礙功能關注較少。本文以《金瓶梅》中 性描寫的英譯為切入點,考察文學審查制度在《金瓶梅》英譯本的 形成、出版、推廣和接受過程中既妨礙、又促進的雙重贊助功能。 雖然表面上看似矛盾,但兩種相反功能共現於同一贊助人的現象恰 恰揭示出了贊助系統的層次性、動態性和複雜性。