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 essay focuses on the spatiotemporal notion of liminality and the way it can be mapped onto translation processes and the role of the translator. The concept of liminality can be traced back to Arnold van Gennep’s (1960) rites of passage and their re-elaboration by Victor Turner (1967 and 1974). It has recently been theorized within the social sciences as a central concept that allows a redefinition of the relationship of structure and agency (Thomassen 2014; Szakolczai 2015). In postcolonial studies (Bhabha 2006) and translation studies, it has been frequently used as a synonym of the notions of in-betweenness and third space (Aammari 2017; Bery 2007; Inghilleri 2017; Johnston 2007). However, despite some common traits, liminality offers a more comprehensive and dynamic approach. The notion of liminality is, furthermore, connected to the spatial metaphors of the door (Simmel 1957), the threshold, the arcade (Benjamin 2002 and 2004) and the gate (Tawada 2003; Sakai 2011), which do not conceive of languages as isolated self-contained units but focus on a possible opening between systems whose character is otherwise left unspecified.

Much has been written about the prominent British sinologists in the history of English translations of Chinese literature in the nineteenth century. It should be noted that the development of British sinology, including literary translation, in the nineteenth century was also marked by the active participation of a large number of foreign residents in China. Their contributions have not yet received sufficient attention. This paper examines the life and work of Alfred Lister (1842-1890) as a translator of Chinese literature who is still largely unnoticed. Since his arrival in Hong Kong in 1865, Lister had served in several offices in the colonial government, including Postmaster General and Treasurer. He had published actively in contemporary sinological journals, with a particular interest in translating Chinese literary works into English. With archival research and textual analysis, this paper examines his selection of source texts and his concepts and translation methods. It explores how the practice of literary translation had developed in the context of his colonial experience and the Chinese research environment in Hong Kong at the time. This paper brings new perspectives to our understanding of the history of English translations of Chinese literature in the nineteenth century.

No complete translation of Feng Menglong’s 馮夢龍 (1574-1646) famous trilogy of short stories Sanyan 三言 exists in Italian. However, over the last hundred years, various translators have been attempting to translate excerpts of Feng’s trilogy, with alternating results. This paper analyzes the existing Sanyan stories available in Italian.
Firstly, this paper tackles the pioneering period at the beginning of the twentieth century, when Feng’s huaben 話本 were first presented to an Italian audience, albeit in a heavily edited form. The earliest Italian versions of Sanyan stories were mostly rewritings and were heavily influenced by the preexisting foreign versions of the stories they chose to translate.
Secondly, after the Second World War, Feng appeared as the author of stories that included anthologies of Chinese literature, again some of which were still translated from other European languages (mostly English and German).
Thirdly, the decade of the 1980s was a period when Italian translators, mostly scholars of Chinese literature, decided systematically to translate from the original texts and produced accurate and readable versions, which are still used as references.
Fourthly, in the last decade, a new generation of Sinologists has undertaken the study of Sanyan, and their translations are mostly inserted inside of scholarly publications.
Finally, this paper shows how the approach to translating Feng has changed over the years, from a quasi-manipulation of the original stories to an extreme respect for the source material. At the same time, the need for a complete version of Sanyan in Italian is called into question at the end of the paper.

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.

Thomas Francis Wade (1818-1895) was a famous British diplomat and sinologist. On 2 June 1842, he arrived in Hong Kong as a lieutenant and then participated in the first Sino-British Opium War with the British 98th regiment. During his convalescence in Hong Kong, he taught himself the Chinese language and hoped to be “an international agent” (an official interpreter). In January 1846, he returned to Hong Kong and gave up his military rank to serve as a diplomatic interpreter. After working in Hong Kong for approximately six years, he left for London in March 1852. However, little research has been done on Wade as a diplomatic interpreter in Hong Kong. Academic attention, both Chinese and English alike, has been mostly paid to him as a diplomat or a sinologist only.
Based on a large volume of first-hand materials, the present article reconstructs Wade’s experience “as an international agent” in Hong Kong. By analyzing his translation of Peking Gazette, his study on the Chinese government and conditions, his translation of the twelfth chapter of the Hai-kwoh Tu Chi, and his study of the Chinese army, this paper shows that he actively adjusted the scope of his role as an international agent in accordance with the changes in the politico- diplomatic situation, thereby influencing the relationship between Britain and China. Casting light on the importance of diplomatic interpreters in shaping modern Sino-British relations, this article points out that Wade, as an interpreter, was actively involved in politico- diplomatic activities through translation and research while in Her Majesty’s service and, as an interpreter, had his own political, diplomatic, and cultural agenda.

As a political novel that advocates violence against the Qing government by then revolutionists, Free Marriage brings severe criticism of the society to the fore. The novel, replete with strong political motivations, is under the guise of translation for two reasons: first, it can attract target readers due to the popularity of the translated works at that time; second, it can evade censorship from the authority. Translation is not an end but a means of “resistance” and even “engagement” for the pseudotranslators. Pseudotranslation is the quintessence and the most radical form of activism translation. By catering to the dominant ideology in society, the pseudotranslator brings the revolutionary or even subversive role of translation during transitional periods into full play.

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.

This paper examines the translation activities of the People’s Dramatic Society (Minzhong Xijushe 民眾戲劇社) established in May 1921 by literary writers and drama professionals who aimed at producing dramatic texts that could be performed on stage after successive failures in staging translated Western dramas since the literary revolution in late Qing China. Through translation, members of the Society made comprehensive investigations of Western theaters and introduced a wide range of theatrical knowledge into China, which in reverse broadened the translators’ vision to encompass different dimensions of theater as a form of integrated arts. As a result, a new way of translation called trans-adaptation (gai yi 改譯 ) that catered for stage performances became popular among drama translators, marking a great step forward in the making of modern Chinese drama.

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.

Part of a larger study on the viability and relevance of symptomatic reading practice to the much broader scope of reception theory and translation criticism, this article investigates a range of discontinuities in two Arabic translations of Gibran’s The Earth Gods, one by the Archimandrite Anthony Bashir and the other by Egypt’s Minister of Culture Tharwat Okasha. Putting to work the methodological assumptions of Venuti’s symptomatic reading, instances of religious correctness and (in)determinacy are examined within the framework of reception theory, specifically Fish’s theory of interpretive communities, to explore how texts work upon individuals to create a community and how a community works upon a text to generate meaning. The analysis ends with a discussion of the temporality of the translators’ interventions and the historicity of reception, with a particular focus on the paratextual reviews of the critical establishment as a situational interpretive community. The symptomatic reading offers pointers as to how the translators experimented with the metaphysical system of Gibran.

In 1886, Li Ruqian 黎汝謙 (1852-1909) and Cai Guozhao 蔡國昭 (dates unknown) translated Washington Irving’s renowned biography of George Washington (1732-1799), which appeared under the title Huashengdun quanzhuan 華盛頓全傳 (A Complete Biography of Washington). It was the first Chinese translation of a biography about George Washington. The translation proved to be a valuable source of information for Chinese readers in the nineteenth century, as it covered the American Revolutionary War and the founding of the Republic, providing insights into American history and politics.
Through the Li and Cai translation, this paper aims to explore how Chinese intellectuals understood and imagined the nature of a modern state during the late nineteenth century. The analysis will be contextualized through a discussion of sovereignty in the history of the interaction between China and Euro-American countries. As Qing China’s foreign relations differed from the Westphalian system of sovereignty featured by the Western “family of nations,” the concept of sovereignty was understood inconsistently. In their interpretation of Western forms of sovereignty, the Chinese translators employed terms such as zizhu 自主 (self-governance), junzhu 君主 (absolute monarchy), minzhu 民主 (republic), and yihui 議會 (parliament), echoing what Henry Wheaton (1785-1848) referred to as “external sovereignty” and “internal sovereignty.” This paper will analyze these terms to uncover changing Chinese perceptions of sovereignty and evaluate their impact on how Chinese intellectuals envisioned a modern state.
The primary approach adopted in this analysis is back translation, which draws on Max Huang’s (2008) work and comparative close reading, enabling a nuanced examination of the differences and contingencies in the meanings of concepts between Western and Chinese contexts. Ultimately, this paper will contribute to our understanding of the political landscape as conceptualized by Chinese intellectuals before the peak of Japanese influence in the early twentieth century.

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.

This paper argues that handy translation strategies and a proper view of the original text, instead of talent and educational background, are the major reasons for good translations, by using the example of Y. R. Chao’s translations of the Alice duology. By reviewing and comparing existing research papers, this paper tries to identify current misunderstandings of the duology as well as of their translations. Then by applying Chao’s translation philosophy (represented by the dimensions of fidelity) to the analysis of the translated poem “Jabberwocky,” tentative answers to existing confusions are provided. Then problems of Chao’s dimensions of fidelity are discussed. In the end, an example is presented to show how translation strategies like those of Chao’s can practically lead to better translations.

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.

The literary idea of “Shangri-la” has today been realized as a geographic space in the Tibetan borderlands of southwest China. The minority peoples who live within this zone that has seen a massive tourism boom are, in effect, now linguistic “prisoners of Shangri-la”: despite possessing their own minority languages, sociopolitical factors dictate that ethnic minority writers often have little choice but to write in Chinese. Nevertheless, there is a way for them to negotiate a way out of the prison-house of language: foreignizing “inner translations” that rewrite, and destabilize, the landscape itself.
This paper asserts that translation is a defining characteristic of the re-negotiation of peripheral spaces within Chinese minority literature. This study focuses on the construction of minority hometown spaces, such as Shangri-la in Yunnan and the Baima areas of northern Sichuan: both these areas are technically Tibetan according to Chinese state classification, yet they possess unique ethnic identities that are constructed in Chinese literature via phonetic translations (often re-translations or re-transcriptions) from the minority language into Chinese. The literary re-translation of local toponyms serves to contest official, Sinicized naming practices, producing nativized place names that act as markers, signposts from which we can see how meanings and mappings of ethnicity, nature, and culture can be shaped and reshaped in translation.

In this study, I apply the concept that “meaning is not located in a source culture or a target culture in a univocal signifying movement; rather, it is being created endlessly in a third cultural space of growing conflict and complexity” (Carbonell 1996, 90) to my investigation of Dutch sinologist Gustaaf Schlegel’s translation strategy. When compiling his Dutch-Chinese dictionary, Schlegel was not simply transferring directly from language A (Dutch) into language B (Chinese), but tapping various sources to find what he called “genuine equivalent.” Schlegel’s dictionary goes beyond his language and culture pair of Dutch and Chinese, citing German and French sources, referencing entries in a Japanese dictionary, and offering comparisons with English interpretations, to provide details that users can understand and associate with. This method helped to create meaning in the third cultural space. This paper analyzes the impact that Schlegel’s knowledge of a complex combination of languages and cultures had on the meaning that was being created in the third cultural space.

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.

Substantial research has been done on the translations in literary periodicals in Shanghai at the turn of the twentieth century, while the literary periodicals in Hong Kong remain largely unattended. This paper will offer a panoramic view of the serialized literary translation in Xinxiaoshuo cong 新小說叢 (Collection of new fiction) (1907-1908) in Hong Kong from “internal dialogics” and “external dialogics.” The case study will focus on the Chinese translation of The File No. 113 by early French detective writer, Emile Gaboriau, in the periodical. Comparison will be made with another Chinese rendition in Xiaoshuo lin 小說林 (Fiction forest). This paper aims to investigate the serialized literary translation in Hong Kong periodicals and make a comparison between the two Chinese versions of the abovementioned case from three aspects, namely the women image, the legal system and jurisdiction, and religion. The study aims to reveal the interaction between translation and society in the two cities.

In 1952, Everyman’s Literature, a literary periodical, was established in Hong Kong. The present scholarship contends that the periodical was financially supported by the US, and the literary translations in the periodical were an inseparable part of the American translation scheme in the 1950s Hong Kong. In fact, Everyman’s Literature did not directly receive the financial support, therefore its translations were not political tools. Instead, the editor Huang Sicheng brilliantly orchestrated the translations to show and promote his literary ideas. Referring to the sources that have been barely broached, this article scrutinizes Huang’s reading history, explores his acquisition of the knowledge of literature, and further discusses the impact of his knowledge system on the choice of the translated texts in Everyman’s Literature. With the perspective of reading history, the paper hopes to open up a new analytical path for the study on the mainland literati in Hong Kong.

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.

Joseph de Prémare was a French Jesuit who went to China in the reign of Emperor Kangxi. He was banished to Guangzhou by Emperor Yongzheng, who had been hostile to Catholicism ever since he was enthroned. In Guangzhou, Prémare translated eight poems from the Shijing into French, all being taken from the sections “Ya” and “Song”. He showed almost no interest in the poems from the more lyrical “Guofeng”. The poems he translated addressed his love of Chinese sage kings and their benevolent rule. His interpretations, typical of Jesuit figurism, were replete with intriguing intimations of Christian doctrine. Prémare employed poetic figurism to connect the Shijing to the Shenjing, or the Bible, in the eighteenth century.

The British Empire was a latecomer in establishing Chinese studies. British Sinologists made strenuous efforts to establish the first program at the University College London in the mid-1830s. The empire did not contribute to the making of it. University College London, the institution where the program was set up, was apathetic about the whole establishment. When the first term ended, University College London was unwilling to continue the program despite the clamor for learning Chinese in the society. The program was finally revived in 1846, only this time at another college at the University of London. Relying on an extensive amount of private and public archival records centering on Sir George Thomas Staunton, this paper demonstrates that it was under his patronage that the Chinese program was reinstitutionalized in London. Known to be an unassuming political figure, Sir George Staunton was determined to rekindle the program. Not soon after the Treaty of Nanking was signed did a scandal of translation break out: an article in the peace treaty was missing in the translated version. The interpreter for the British Empire was accused of being bribed by the Chinese to betray the British Empire. Was it true? Or was this simply a political intrigue to humiliate the British? In fact, during the war, Staunton, being an old Chinese hand and an expert of Chinese translation, had already warned about the vulnerability of the government in view of the chronic lack of competent interpreters. However, as party politics prevailed, his good intentions were ignored. Even worse, he was sidelined. After seeing that the scandal had hijacked Britain’s war glory, he was resolute in fixing the problem. This time he used his own might to set the tone for British Sinology for years to come.

The purpose of this study is to investigate the imagined community created when student translators envisage a target reader for whom they are translating and to highlight pedagogical implications for developing awareness of language and culture in the second language (L2) classroom context. As mediators between source and target culture, language learners dealing with translation, i.e., translation studies students who are also L2 learners of at least one of the languages in the language pair, may also have a role in an imagined community—they have an imagined or implied target reader for whom they are translating, and serve their roles as communicators between the imagined source and target communities. They make connections and fill in the gaps that may be found during the translation of a text from one language and culture to another.
This paper looks at the student contemplations during the process of translation in an imagined community they may imagine themselves to be in. Five Korean into English translation classes were offered to students at a university in Seoul, South Korea. Presenting qualitative excerpts from the data, this paper discusses the imagined community painted by the learners during their process of translation, and how they negotiate the identities of the target audience members with whom they are aiming to communicate.

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 paper offers a critical analysis of the reinterpretation of female authority in William Shakespeare’s The Merchant of Venice by exploring the role of Portia and her transformation in early Chinese translations. First, it provides a brief survey of recent interpretations of Portia’s role in The Merchant to familiarize the reader with current debates and the different readings. The objective is to present a concrete understanding of Shakespeare’s intentions regarding sexual dynamics in order to assess how these elements were recontextualized in Chinese translations for specific cultural purposes. Next, the paper examines the first Chinese translations of the play to determine how faithfully they preserved the original portrayal of female characters. Finally, this paper analyzes Bao Tianxiao’s adaptation, The Lawyeress, considering how deviations from Shakespeare’s original text reflected evolving attitudes toward sexual equality in early twentieth century China and contributed to the creation of a uniquely feminist reading of Portia’s character.

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.

The study of effective and innovative translation pedagogy has been drawing increasing attention in recent years, but the training of adaptive and elastic competence is somewhat overlooked. This study investigates the importance of strategic translation through the theoretical lens of Verschueren’s (1998) Adaptation Theory. The analysis is based on a case study of the 2001 Sino-American Hainan airplane collision crisis, and in particular the pivotal role of different versions of the American “two sorries” letter in facilitating the resolution. It highlights the need to incorporate language adaptation and the interests of all parties in a translation. This study argues that translation is a negotiable and adaptable process, influenced by both overt and covert components, and that this process should be reflected in translation education by fostering the ability to get behind the text to cater to the interests of all interested parties: that is, to cultivate adaptive and elastic competence. The findings suggest that a realistic, balanced, and robust account of adaptation and elasticity is needed for effective translation education.