Translation from Chinese

Xu Xu (1908-1980) was one of the most widely read Chinese authors of the 1930s to 1960s. His popular urban gothic tales, his exotic spy fiction, and his quasi-existentialist love stories full of nostalgia and melancholy offer today’s readers an unusual glimpse into China’s turbulent twentieth century.

These translations--spanning a period of some thirty years, from 1937 until 1965--bring to life some of Xu Xu’s most representative short fictions from prewar Shanghai and postwar Hong Kong and Taiwan.

The Afterword illustrates that Xu Xu’s idealistic tendencies in defiance of the politicization of art exemplify his affinity with European romanticism and link his work to a global literary modernity.

西方學者的道家與道教研究起於十九世紀後半，當時大部分的功勞是翻譯［道德經］與［莊子］兩書。二十世紀初［正統道藏］問世後，學者不斷地鑽研不同的經典，保括［南華真經］的不同版本。二十世紀初到現在出現各種各樣的翻譯版本。西方學者的研究傾向於解說與分析［莊子］故事的寓意及其道德觀。明朝的注疏者程以寧，以內丹學解說［莊子］的短文，且證明［周易］所奠定的理論有著密切關聯。作者提出，翻譯［莊子］此類的書，得加上註解才能仔細地解釋文字隱涵之意，否則讀者難以深入理解。

In the West, studies on Taoism as a religious and cultural movement began with translations during the second half of the nineteenth century of the Daode jing and the Zhuangzi. After the Taoist Canon (Daozang) was made public between 1921 and 1923, scholars have pursued exegetical work of different scriptures contained in the Canon, including further versions of the Nanhua zhenjing or Zhuangzi. Different translations of this work have been published since the beginning of the twentieth century. In Spanish, there are three works directly translated from the original text in Chinese. Among them, the translations of Carmelo Elorduy S.J. and Iñaki Preciado Idoeta have used annotations and commentaries of Chinese authors from antiquity to modern times, contributing greatly to the field. This paper discusses the content of these two works, and analyses the translation of both authors. I propose that, when translating Zhuangzi and other Taoist works, it is necessary for the translator to include annotations in the translation, so as to clarify the meaning of obscure terms that would otherwise be ignored.

ABSTRAK
Keberadaan idiom pada karya-karya sastra berbahasa Mandarin mampu menambah nuansa yang ingin disampaikan oleh penulisnya. Tentu menjadi tantangan bagi penerjemah untuk mempertahankan nuansa tersebut di dalam hasil terjemahannya. Salah satu karya sastra berbahasa Mandarin yang mengandung idiom adalah sebuah cerita pendek karya Lu Xun yang berjudul 《狂人日记》Kuángrén Rìjì. Cerita pendek ini telah diterjemahkan ke banyak bahasa, termasuk bahasa Indonesia, yaitu Catatan Harian Seorang Gila. Hal pertama yang harus dilakukan dalam menerjemahkan idiom ke bahasa sasaran adalah mencoba mencari padanannya. Namun, jika tidak ditemukan padanannya, maka penerjemah dapat ‘menghilangkan’ kiasan tersebut dengan cara menuliskan kembali makna yang terkandung di dalamnya. Bahkan, jika bentuk terjemahannya berupa terjemahan harfiah, maka teks menjadi datar dan tidak sempurna. Terdapat dua permasalahan yang disampaikan dalam makalah ini, yaitu 1) apa sajakah bentuk terjemahan idiom yang terdapat dalam cerita pendek Catatan Harian Seorang Gila  tersebut, dan 2) apakah terdapat penyimpangan makna dari terjemahan idiom tersebut. Sehingga, makalah ini bertujuan untuk 1) mengetahui bentuk terjemahan idiom bahasa Mandarin ke bahasa Indonesia, dan 2) mengetahui kemungkinan penyimpangan makna yang terjadi. Diharapkan makalah ini dapat bermanfaat bagi upaya penerjemahan idiom pada umumnya, dan penerjemahan idiom bahasa Mandarin pada khususnya. Dengan demikian, pengetahuan akan padanan idiom bahasa Mandarin-Indonesia dapat bertambah dan menghindari kemungkinan penyimpangan makna dari terjemahan tersebut.
Kata kunci: idiom bahasa mandarin, penerjemahan idiom, penerjemahan idiom bahasa Mandarin
ABSTRACT
The existence of idioms in Chinese literary works can add the nuances conveyed by the author. Maintaining the nuance in the translated text is certainly a challenge for the translator. One of the Chinese literary works that contains idioms is a short story written by Lu Xun entitled "狂人日记" Kuángrén Rìjì. The short story has been translated into many languages, including Indonesian, Catatan Harian Seorang Gila. The first thing that must be done in translating the idioms to the target language is trying to find the equivalent idioms. However, if it has no equivalence in the target language, the translator can 'eliminate' it by writing its meaning. However, if the form is a literal translation, the text becomes flat and imperfect. There are two issues presented in this paper, 1) what are the forms of idiom translation contained in the short story Catatan Harian Seorang Gila, and 2) is there any deviation of the idiom meaning from the literally translated text. Thus, this paper is aims at 1) determining the form of Chinese idiom translation into Indonesian, and 2) determining the possible deviations of meaning that occurs in the translated text. This paper can be useful for translating idiom in general, and translating Chinese idioms in particular. Thus, the knowledge of Mandarin-language equivalent idioms in Indonesia can grow and the possibility of deviation meaning of the translated text can be avoided.
Keywords: Chinese idiom, idiom translation, Chinese idiom translation

Este artigo objetiva instigar uma breve discussão e reflexão sobre a questão da (in)traduzibilidade da poe-sia chinesa ao português. Para isso, primeiramente serão feitas algumas considerações sobre as línguas chine-sas e a necessidade de situá-las em seus tempo-espaço adequados. Em se-guida, haverá uma pequena revisão do que tem sido discutido por alguns teó-ricos ocidentais e chineses acerca da tradução poética e da tradução da poe-sia chinesa para línguas ocidentais.

This article aims to initiate a discussion and reflection on the issue of (un)translatability of Chinese poetry into Portuguese. First, some considera-tion will be given to the Chinese lan-guages and the need to locate them in their appropriate context. That will be followed by a short review of some points of view presented by some Western and Chinese theoreticians on poetry translation and on the transla-tion of Chinese poetry into Western languages.

O presente trabalho apresenta certos aspectos poéticos, tais como sílabas, rimas, entre outros, dos jueju de Dufu, dos haiku de Matsuo Bashô e dos haicai de Guilherme de Almeida. Para tal, faremos comparações entre os três tipos de poemas acima referidos. Em seguida, examinaremos se as teorias de Tong Jun(2000) sobre a tradução de haiku japonês para a língua chinesa podem ser usadas, também, na tradução dos haicai de Guilherme de Almeida para a língua chinesa. Ao final, propomos sugestões para a tradução de jueju para a língua portuguesa baseando-nos na comparação e na análise desses tipos de poemas.This paper presents certain poetical aspects such as syllables, rhymes, among others, of Dufu`s jueju, Matsuo Basho and Guilherme de Almeida`s haiku. To do this, we will make comparisons between these three types of poems. Then, we examine whether the theories of Tong Jun (2000) on the translation of Japanese haiku into Chinese language can be also used in the translation of Guilherme de Almeida haiku into the Chinese language. At the end, we propose suggestions for jueju translation into Portuguese based on the comparison and analysis of these types of poems.

Chinese translation of "The Liberty Coerced by Limitation: On Subtitling Fengming: A Chinese Memoir";Journal of Chinese Cinemas (2019): 250-266, corrected and improved by the author, translated by Ma Ran.
[Chinese Abstract] 这篇论⽂涉及了翻译理论的历史，其中的例证不乏译者对自⼰是如何将⽂本从⼀种语⾔转换为另⼀种语⾔的思考，以及他们是如何运用象征⼿法来对译者的任务进⾏理论化的⼯作。作者曾主修日本⽂学、中国美学与当代哲学，也是⼀位资深的字幕翻译家。在这篇⽂章中，她诠释了自⼰为王兵的《和凤鸣》翻译字幕的经验。她首先提出了⼀个有关电影翻译的普遍规则，即面对时间空间上的极度限制， 字幕制作者常常感叹他们必须与诸多限制相互抗衡， 并羡慕那些看似拥有更⼤自由度的⽂学翻译者。但字幕的严格制限也能创造某种自由。秋⼭的⽂章用《和凤鸣》的字幕来说明翻译实践中潜在的实现自由的可能性。.

No presente artigo, os autores apresentam algumas das peculiaridades da traducao poetica no par chines-portugues atraves de uma proposta de traducao coletiva para o poema Jin xiāng (進香), do poeta chines Yao Feng. A fim de debater diferentes interpretacoes e impressoes sobre o poema e algumas das caracteristicas da lingua e poesia chinesas, a traducao esta apresentada em tres versoes: uma feita individualmente por cada um dos tradutores e uma versao final feita coletivamente. Para fundamentar nossas opcoes de traducao, levantamos uma discussao sobre algumas das tendencias teoricas mais debatidas na traducao poetica do chines para linguas ocidentais, momento em que tambem abordamos a necessidade de uma nova proposta de traducao que valorize, em especial, a sonoridade e tonalidade da lingua chinesa.

La traducción de noticias en chino al español exige un conocimiento previo de la situación sociopolítica, cultural y lingüística de la región de donde provenga el texto. El traductor habrá de hacer frente a dificultades de tipo léxico y sintáctico, que se reflejan en la lengua a modo de diferencias en el orden esperado, longitud de las frases, separación de las ideas y lógica al estructurar las diversas partes de un enunciado. A través de un análisis detallado de la estructura sintáctica de los titulares y enunciados de noticias se presentan diversos problemas de traducción derivados de las diferencias sociolingüísticas entre chino y español y el uso de dos términos que puedan presentar dificultades de traducción: aihua 矮化 (rebajar, humillar) y qiangsheng 嗆聲 (protestar).

為了正確翻譯中西新聞，譯者必須對於當地社會、文化以及語言擁有足夠的了解與認識。在翻譯過程當中譯者將面對文法及詞彙的障礙，如片語順序、句子長度、訊息分割以及結構邏輯的差異都是譯者必須克服的問題。透過新聞標題及內容的仔細分析，本文介紹中西新聞翻譯的各種問題，並對於兩個媒體常用的詞彙「矮化、嗆聲」做分析。

The idea of the Muslim world is examined against the backdrop of a vast body of national and geographic material. As a rare intellectual treat, the study inducts the reader to a politically engaged and historically informed interpretation of the imaginary of the Muslim world. A must-read for scholars studying Islam in the globalized Muslim world from a multidisciplinary perspective.

No presente artigo, os autores apresentam algumas das
peculiaridades da tradução poética no par chinês-português através de uma proposta de tradução coletiva para o poema Jìn xiāng (進香), do poeta chinês Yao Feng. A fim de debater diferentes interpretações e
impressões sobre o poema e algumas das características da língua e poesia chinesas, a tradução está apresentada em três versões: uma feita individualmente por cada um dos tradutores e uma versão final feita coletivamente. Para fundamentar nossas opções de tradução, levantamos uma discussão sobre algumas das tendências teóricas mais debatidas na tradução poética do chinês para línguas ocidentais, momento em que também abordamos a necessidade de uma nova proposta de tradução que valorize, em especial, a sonoridade e tonalidade da língua chinesa.

THE Qingming Festival is upon us and most foreign media conveniently translate it as "Tomb Sweeping Day." This is sweet and simple, but maybe a greater service to global knowledge could be done if China's key concepts weren't translated at all, but adopted.