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.

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.

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。

1929 年 5 月 18 日,辛酉劇社愛美的劇團上演了由朱穰丞翻譯、導 演的安德烈耶夫的《狗底跳舞》。此劇是為辛酉劇社公演而重新翻 譯的劇本,但其選材與翻譯方法皆不符合愛美劇團演出的旨趣。朱 穰丞希望以高水平藝術引導觀眾,選擇其認為有價值的劇本,並在 翻譯中試圖展現原劇面貌。本文將使用幾組或被忽視,或不為人知 的史料,通過文本細讀與歷史語境的考察研究此劇的翻譯與演出, 並追溯背後的思想資源。《狗底跳舞》的特殊呈現方式體現了愛美 劇場演出外國劇本時採取翻譯策略的動態性與複雜性。

本文探討克里斯多福•馬克特（Christopher Markert）於1986年出版的《易經》展演式翻譯,如何運用視覺與文字型內副文本,建構出一種文化正當性的假象。馬克特的版本提出若干意識形態論述,以批判西方文化,而這些論述並未見於既有的漢學研究中;與此同時,該譯本又通過多項陳述暗示其曾參照中文材料,並納入大量中國視覺元素,例如脫離語境的漢字,以及幾乎每個跨頁都可見的傳統中國繪畫複製品。藉由熱拉爾•熱奈特（Genette）的副文本理論、皮爾士符號學,以及麥坎內爾（MacCannell）的「展演式真實性」概念,本研究主張：這些內副文本策略並非作為有意義的文本指涉而運作,而是作為「中國性」的符徵,模擬出文本與中文來源之間的指示性連結。本文特別指出,馬克特系統性地以視覺元素充斥版面,營造出一層極具說服力的文化正當性外衣,使這一實際上屬於展演式翻譯的譯本,得以在國際間作為中國經典的真實再現而流通。本研究揭示了一種副文本策略：文化符號被用來營造出文本具有真實性與正當性的表象,從而繞過那種真正建立在來源材料之上的指示性關係,而這種關係傳統上正是翻譯作為一種實踐的基礎。本個案研究通過將副文本分析延伸至文學框架之外,並引入「展演式翻譯」的概念,拓展了翻譯研究的討論範圍,同時表明視覺元素尤其可以作為一種正當化機制,展演出文本原本並不具備的權威。

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。

It is generally agreed that the translation of children’s literature is an under-researched area. With only three books focusing on the subject, even rarer is the research on children’s literature in China, and none of which dwells on the translation of American children’s literature in modern China, not to mention the research on the translation of Nathaniel Hawthorne’s children’s literature. Yet Hawthorne’s children’s literature enjoyed a wide circulation in Republican China (1912-1949), which even overshadowed the translation of his often-quoted classics. Based on André Lefevere’s rewriting theory, this article argues that the translation of Hawthorne’s children’s literature was initiated in late Qing when the dominant culture changed its view of children and the importance of children’s education. But it also benefited from ideological advocacy for child-orientation and from the poetic urgency for the establishment of children’s literature in China. The translation, supported by various forms of patronage, ushered in a period of prosperity in the May Fourth era and greatly affected the creation of children’s literature in China as an independent category. Then, confronted with the nationwide political agenda of the impending war, the translation of Hawthorne’s children’s literature lost its impetus beginning in the late 1930s, although there were some translations or retranslations of Hawthorne’s famous fairy tales sporadically in the 1940s.

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.

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。

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。

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。

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.

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。

Horizontal translation is a cognitive process where the source text is trans- coded into the target text via memory without any conceptual mediation between the two texts. The ability to exploit trans-coding is considered the signature of a skilled interpreter/translator. However, it is unclear when exactly trans-coding may apply and whether it can apply to a whole grammatical construction. In this paper I investigate a situation where trans- coding appears to have applied to a whole grammatical construction when conceptual mediation between the source and the target representation is blocked by non-interpretable alien source concepts. I argue that such trans- coding at complete grammatical constructions is still memory-based, possibly via pattern-associated memory.

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.

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.

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。

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。

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。

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.

蔡思果（1918 – 2004）是當代散文家、翻譯家,聲名籍甚。在四十 多年的翻譯生涯裏,翻譯了書籍二十餘本,短篇故事、單篇散文、 詩歌共約六十篇,成績斐然。其翻譯妥貼而地道,甚具口碑。翻譯之餘,也研究翻譯。他以純正中文為骨幹的翻譯觀膾炙人口。 他部分討論翻譯的專著,數十年來重印不絕。此外,蔡氏也是翻譯老師、文學翻譯批評家。思果雖然在中文譯壇名重望隆,至今卻未有專文探討其翻譯事業、評析其翻譯作品。本文將考諸載籍,爬疏其翻譯生涯,以對其翻譯事業作初步探研。

本文介紹福柯的話語權力理論,論述理論如何影響並運用到女性主義及翻譯中。文章也探析話語權力與女性主義寫作及翻譯的聯繫, 並指出女性主義寫作表現女性話語權,而在女性主義寫作的翻譯中,翻譯可以用來傳遞和強調女性話語權,也可以用來維護男性話語權。

The aim of this essay is to examine how the study of world literature has decisively moved into a new postcolonial direction with the latest investigation of the unnamed Chinese novel on which Goethe formulates his much-quoted world literary imagination. He conceptualizes world literature as a subversive and aspirational imaginary in opposition to the increasingly dominant Hegelian world vision, on the one hand posing itself as an aesthetic cosmopolitanism opposed to French national politics, on the other hand destabilizing the calcifying Eurocentric hierarchy of cultures, languages, literatures, nations, and religions in the 1820s. This world literary imagination is inseparable from the long history of Orientalism, but its newness comes with a pioneering philological representation of China by French Orientalist Jean-Pierre Abel-Rémusat. I illustrate how a hybrid digital methodology in the intersection of German, translation, and postcolonial studies reveals the missing link between Orientalism, Goethe’s notion of world literature, and the Chinese novel.

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.

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。

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.

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。