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.

學界對二十世紀之交上海文學期刊中翻譯的研究越來越多,但對香港同期中文期刊的文學翻譯的研究卻不多。在文獻回顧的基礎上,本文首先從期刊「內部對話性」和「外部對話性」的角度,對香港《新小說叢》的連載翻譯文學進行整體描述;其次,本文對該刊連載的翻譯作品《情天孽障》進行個案研究,並與同一時期同一作品刊載於上海文學期刊《小說林》的《第一百十三案》進行文本細讀與比較。本研究聚焦迄今較少受到關注的香港期刊連載翻譯文學,通過搜尋和細讀現存期刊資料,對期刊中兩個譯文的相異之處進行了梳理和總結,從女性形象、法律思想和司法制度、宗教等維度對兩個譯本進行了分析,揭示了這一時期西方翻譯作品與兩地社會與文化的互動。

This chapter traces the history of machine translation (MT) from the pioneers to the latest research on corpus-based systems. In the early systems of the 1950s and 1960s, rule-based approaches dominated in MT projects, particularly in the United States and the Soviet Union. Early enthusiasm was followed by disillusionment when expected results failed to materialize, giving rise to the ALPAC report in the mid-1960s, which effectively ended most research funding for the next decade. However, in the 1980s MT research was revived with new approaches (mainly so-called “transfer” systems, but also knowledge- based and interlingual systems) and the first operational systems in large corporations and in institutions such as the European Communities. During the 1990s, however, researchers turned to statistical methods, using the increasingly available large bilingual corpora (original texts and their human translations). In the past decade, corpus-based approaches (example-based methods and particularly statistical machine translation) have dominated MT research. Since 1990, there has also been an ever-greater adoption of systems and translation tools by large corporations and institutions and an increasing use of online MT systems by the general public.

一八四零年印行的《意拾喻言》是近代最早的《伊索寓言》漢譯本,在十九世紀廣為流傳,進入二十世紀卻湮沒無聞。本文借助大量一手中英文文獻,考述《意拾喻言》的譯者、源流和傳播情況,澄清學界的一些誤解,並結合這一譯本的「漢化」特色,分析其成功之處。

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。

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。

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.

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.

吳檮是清末民初翻譯界一名重要且神秘的翻譯家。他的譯作不多, 但譯文風格獨特,且具有相當代表性。本文通過對其所有現存作品 及其日文原本的梳理、比照與分析,歸納出構成吳檮譯本獨特文體 風格的三個重要因素：對日文原文排版乃至標點符號等各要素的搬用;「移轉原文呼吸」的斷句方式的借用;盡可能照搬言文一致文 體中漢字語詞的排列形式,並以填充的方式從中生成一個新的文 本。筆者認為,吳檮的翻譯策略或可視為循字迻譯的「對譯」法的 一種實踐形態,但又不止於此。這種「對譯」法是清末文人與日本 言文一致書寫語體相遇這一獨特歷史境遇下的產物,且它更於無形 中開啟了白話文體現代轉型的一種新的可能。

《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。

Adopting the approach of conceptualizing translation with metaphors, this study metaphorizes the Macau News 澳門新聞紙 as the Qing Empire’s imperial gaze. The Macau News is a translation project initiated and organized by Lin Zexu 林則徐 , who was designated by the Daoguang Emperor 道光帝 as an imperial envoy to stem the tide of opium circulating in Canton in 1839. Lin conducted this project to learn about Britain for use in instituting countermeasures to the opium trade. In this process, Lin as well as the Qing government behind him started to look at the world seriously; for this reason, Lin was dubbed “the first person of modern China to gaze at the world.” Such a gaze relied largely on Lin’s translational and intercultural practices and may represent a general way of how the Qing looked at the foreign. To examine this looking relation, the Macau News as one of Lin’s translation projects is investigated with the aid of the existing scholarship of the gaze. Moreover, exemplified by the case study of the Macau News, the gaze is proven of potential to be integrated into translation studies.

Offering to fill in a gap in the modern Chinese theater history, this paper probes into the famous Chinese dramatist Yu Shangyuan’s 余上沅 Qinxian 芹獻 series of articles which was published between 6 January and 23 May 1924 and has been received limited scholarly attention due to its scattered topics and equivocal wording. Via textual analysis and contextual investigation, this paper finds that Qinxian articles are not all original compositions but contain many unmarked translations rendered from the works concerning the “aesthetic paradigm,” an antirealistic theatrical scheme derived from the American New Stagecraft Movement. Based on the aesthetic paradigm, Yu Shangyuan devised a similar theatrical scheme in Qinxian, covering four facets: simple and symbolic stage sets decorated with lines, masses, and expressive lights; powerful anti-Ibsenite artist director; non-Ibsenian poetic drama; and presentational acting. Upon comparing Qinxian with the National Theater Movement’s propositions, this paper finds that the movement’s main arguments largely echo the key notions of Qinxian, indicating the movement’s umbilical tie to Qinxian and, more at large, to the American New Stagecraft Movement. The analysis of Qinxian provides perspectives for the understanding of the aesthetic stance of the National Theater Movement, shedding light on the new insights that translation studies can bring to theater historiography.

In the translation history of the Qing Code, George Jamieson used his translation to map a reform route that was neglected in Chinese legal history. Based on first-hand archival material, this article reconstructs the untrodden route by recovering Jamieson’s vision on the value of Qing family law in the new era. Having outlined the legal and social conditions that boosted his assurance, it proceeds to analyze the message he hoped to convey to Chinese lawmakers by probing his opposition to drastic changes and advocacy for gradual reform. In the face of an imminent legal reform, Jamieson attached importance to “selecting” and “adapting” those parts of foreign law that could accommodate native institutions. His dialogue with modern English law in translating Qing marriage law set a model in this regard.

In this article, the author examines the prefacing of the translation of Wu Zhuoliu’s Orphan of Asia in relation to the notion of Orientalism, first exploring the rewriting of prefaces as a type of Orientalism, by studying the differences between the Chinese and English introductory paratexts. The author questions whether scholars can move away from this prefacing system that produces uneven knowledge. Orientalism, as defined by Edward Said (1978a, 3), is “a Western style for dominating, restructuring, and having authority over the Orient.” Said’s argument extends beyond his original focus of the Middle East as Oriental. For scholars of East Asian studies, Orientalism is also a familiar term. In Dru C. Gladney’s (1994, 94) discussion of national representation in China, the term “oriental Orientalism” is coined to address internal Orientalism. This examination of Orphan of Asia demonstrates how preface writing is a powerful producer of knowledge, and the author argues that Orientalist notions are intermingled within the practice of preface writing. Because Orphan of Asia has multiple translations, it has multiple introductions as well. Hence, it is meaningful to examine these texts and the treatment of the original introductions. It is especially noteworthy that the two former Chinese editions of the classic include a translation of the original Japanese preface and a rewritten Chinese preface, while the English edition presents a new foreword. These trilingual paratexts serve as primary texts, which are taken from the Chinese (1977)1 and the English (2006) renditions.

This essay discusses the Amadis in Translation digital project (http://amadis.newtfire.org), which applies TEI XML encoding to Robert Southey’s 1806 translation Amadis of Gaul, comparing it to Southey’s source, the 1547 Sevilla edition of Garci Rodríquez de Montalvo’s Amadís de Gaula. The project uses computational methods to align the source at the clause level rather than word-by-word, reflecting the radical compressions and changes Southey made to the source. The essay uses the alignment tables generated by the project to assess Southey’s use of emotion in a set of sample chapters. Contrary to what the aesthetics of the Romantic era might have led us to believe, the data show that Southey dampened the use of emotion in the source text, potentially for reasons of taste or national and cultural identity. Our digital project illustrates how computational analysis of translations can revise commonsense predictions about texts and make comparisons between translations precise and quantifiable.

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。

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。

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。

本文旨在重新詮釋莎士比亞作品《威尼斯商人》中的女性權力,探 索其中人物波西亞扮演的角色,以及人物在早期漢語譯本中的轉 化。首先,本文將概述近年學界如何詮釋波西亞在劇中扮演的角 色,闡述當前學術辯論走向和作品的不同解讀,以具體了解莎士比 亞描繪兩性互動的意圖,評估這些元素在漢語譯本中,如何為了特 定的文化目的而被重新詮釋,切合中國語境需要。其次,本文會評 估劇作的早期漢語譯本,以及譯文在重構原著女性角色描寫時的忠 實程度。最後,本文會分析包天笑的改編作《女律師》,並從觀察 此譯本對原文的偏離如何反映中國二十世紀初對兩性平等的態度演 變,並說明譯本如何有助從女性主義角度解讀波西亞的角色。

The Taiwanese government has formulated a policy to develop the society to be bilingual (Chinese and English), and all information relevant to foreigners’ lives should be available in English. This descriptive study aims to discuss the feasibility of the policy and make recommendations from the perspectives of institutional translation and translation policy, with special reference to translation quality control. The European Commission is taken as a reference case. In the first part, the documentation method is employed. In the second, the article samples eighteen websites of the central government of Taiwan for bilingualization in checking with the performance indicator set in the Blueprint of the policy as a comparative content analysis. Two bilingual texts from two websites are selected to evaluate the translation quality using genre analysis and the functionalist approach. Given the future volume and scale of government translation, more resources are called for, while the professionalization of the industry and a quality assurance (QA) system are recommended.

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.

This review provides a critical review of Chunshen Zhu’s monograph, Fathoming Translation as Discursive Experience: Theorization and Application (2021). Zhu aims to develop a “positive mode of translation studies” through his Structure of Meaning (SOM) model, which conceptualizes the making of meaning across three dimensions— compositional, interactional, and experiential. However, this review argues that SOM presents an overly static and idealized view of the translation process that neglects the potential for communicative failure and experimental translation practices.
Drawing on theories from Derrida, Bakhtin, Kristeva, Barthes, Massumi and Robinson, the review identifies several limitations in Zhu’s approach. It argues SOM assumes a metaphysical ontology of fixed authorial intentions that fails to account for the iterable and disseminated nature of textual meaning. Communication is presented as certain rather than acknowledging factors like double reading and the uncontrollability of effects. The model also imposes artificial separations between translation dimensions that obscure their interdependent, performative nature.
The review then considers alternative perspectives that could address these issues, such as conceptualizing translation as iterated meaning-making through the relay of texts’ trace elements. I also examine how recognizing the “death of the author” and the intertextual constitution of texts undermines claims to intrinsic intentions. The importance of embracing communicative instability and experimental practices is highlighted.
While acknowledging that SOM provides a model of normative translation, I argue that Zhu’s static structuralism neglects the productive dynamism of dialogical, performative, and experimental approaches. I aim to prompt revision of rigid ontological assumptions and consideration of translation’s social enactment through heteronymous narrativity. The increasingly narrow specialization of translation studies has recently been recognized as a serious problem. How can anyone possibly understand the field as a whole, when so many scholars are deploying research methodologies that baffle almost everyone else?
While this reviewer does not have a solution to those problems, Chunshen Zhu, in his Fathoming Translation as Discursive Experience: Theorization and Application (hereinafter referred to as Fathoming Translation), claims to. Zhu’s solution is to delineate “a positive mode of translation studies” (15), or positive translation studies for short, which according to him is “explorative, descriptive, analytical, explanatory, and predicative rather than prescriptive” (16), with the wish to build an interdisciplinary network among linguistics, literature, culture, sociology, etc. so as to provide a coherent theoretical model for translation studies. By framing the making of meaning into a three-dimensional structure (SOM, or structure of meaning) before applying it to discursive experience, exploring the concept of Unit of Translation (UT), and ultimately fathoming translation “as cross-cultural text-sign production” (23), Zhu describes his positive translation studies thus: It describes and analyzes translation as a phenomenon of cross-lingual and cross-cultural meaning making, putting forward hypotheses about it in terms of norms (i.e., “normal” rather than “normative” practices) and explaining their workings in the production, operation, and reception of a translation, during which meaning is realized as discursive experience triggered by the text and undergone by the reader in a particular social situation. (15)

In a descriptive approach for a specific study, this article aims to explore the existing translation beliefs, management, and practices of Hong Kong. It first reviews the literature on translation policy and summarizes certain key concepts for application. In the focus case, it is found that the overt bilingual language policy of Hong Kong does not lead to any explicit translation policy. In some other official statements, translation management and practices are mentioned. It carries out institutional bilingualism with bilingual mandatory translation at the official level. For the small percentage of ethnic minorities, mostly South Asians, the government has set up guidelines to provide daily life assistance at departmental levels, including translation and interpretation. Certain non-governmental organizations are also involved. This is a typical case of a “cross-portfolio policy-making” approach to translation policy. The study recommends explicitation of the language and translation policies, along with their rationale, and the integration of the translation policies for minority languages. The Hong Kong case study could serve as a reference for policymakers and researchers, while the application of key concepts helps build the methodology for analyzing translation policies elsewhere.