生态翻译学视角下北京故宫博物院外宣资料英译研究(英语作文)

ContentsTOC\o"1-3"\h\u591Introduction 128013ChapterOneAnOverviewofEcologicalTranslatology 3155271.1DefinitionofEcologicalTranslatology 3152731.2Three-dimensionaltransformationinEco-translatology 4238731.2.1Linguisticdimension

5119251.2.2Culturaldimension

588191.2.3Communicativedimension 5124741.3Relationshipsbetweenthethreedimensions

69197ChapterTwoABriefIntroductiontoMuseumPublicityMaterials

774722.1Thedefinitionofmuseumpublicity

7291852.2Languagefeaturesofpublicitymaterials

8179682.2.1Linguisticfeatures

IntroductionAsaniconicrepresentationofChinesecivilization,thePalaceMuseuminBeijingstandsasalivingtestamenttothenation'sprofoundhistoricalandculturalheritage.Itsvastcollectionofimperialartifacts,architecturalwonders,andhistoricalnarrativesencapsulatesoverfivecenturiesofChina’simperialpast.ThepublicitytranslationsofthePalaceMuseumarenotmerelylinguisticconversionsbutcrucialculturalbridges,actingasaprimarymediumthroughwhichtheinternationalcommunitygainsinsightintotraditionalChineseculture.However,currentEnglishtranslationsofthePalaceMuseum’spromotionalmaterialsarefraughtwithchallenges.Culturalimageryisoftenlostintranslationduetotheabsenceofequivalentculturalreferencesinthetargetlanguage.Languagestructurestendtobeoverlyliteral,failingtocapturetheaestheticandrhetoricalnuancesoftheoriginalChinesetext.Moreover,theintendedcommunicativeimpactfrequentlyfallsshort,resultinginmisunderstandingsormisinterpretationsamongforeignaudiences.Theseissuesnotonlyimpedeeffectiveculturaldisseminationbutalsohinderthemuseum'sabilitytoengagewithglobalaudiencesonameaningfullevel,potentiallyunderminingtherichculturalvaluethatthePalaceMuseumrepresents.Eco-translatology,centeredaroundthe“translator-centered”paradigm,offersagroundbreakingapproachtotranslationstudies.Byconstructingatranslationecosystemfromtheinterconnecteddimensionsoflanguage,culture,andcommunication,thistheoryemphasizesthetranslator’sroleindynamicallyadaptingtoandselectingbetweenthesource-languageandtarget-languageenvironments.Itrecognizesthattranslationisnotastaticprocessbutadynamicinteractionwithinacomplexecologicalsystem,wherethetranslatormustconsidervariousfactorssuchasculturalbackground,socialcontext,andaudienceexpectations.Thisholisticperspectiveprovidesafreshlensforthestudyofpublicitytranslation,enablingamorenuancedunderstandingofthecomplexinterplaybetweenlinguistic,cultural,andcommunicativefactors.Italsohighlightstheimportanceofbalancingfidelitytothesourcetextwiththeneedforeffectivecommunicationinthetargetlanguage,offeringnewpossibilitiesforimprovingthequalityofculturaltranslation.Thisstudytakesacomprehensiveapproach,utilizingthePalaceMuseum’sofficialwebsitecontent,guidebooks,brochures,andotherpublicitymaterialsasitscorpus.Byintegratingthethree-dimensionaltransformationtheoryofeco-translatology,theresearchsystematicallyanalyzeshowtranslatorsmakestrategicadaptationsatthelevelsoflanguageform,culturalconnotations,andcommunicativeintentions.Atthelanguageformlevel,itexamineshowtranslatorsadjustsyntax,vocabulary,andrhetoricaldevicestoensurelinguisticnaturalnessinthetargetlanguage.Regardingculturalconnotations,thestudyexploresmethodstoconveydeeply-rootedChineseculturalconcepts,suchastraditionalrituals,philosophicalideas,andsymbolicmeanings,toforeignaudiences.Forcommunicativeintentions,itinvestigateshowtranslationscaneffectivelyengagereadersandconveytheintendedmessage.Throughin-depthempiricalanalysis,thispaperaimstonotonlyelucidatethepracticalapplicationofeco-translatologyinmuseumpublicitytranslationbutalsotodevelopeffectivestrategiesforenhancingcross-culturalcommunication.ThesefindingswillnotonlyoffermethodologicalsupportfortheglobaldisseminationofChineseculturebutalsocontributetotheexpansionoftheeco-translatologyresearchframework,fillingagapintheapplicationofthistheoryinthespecificfieldofmuseumpublicity.Whileexistingresearchoneco-translatologyhasmadesignificantprogressinexploringitstheoreticalfoundationsandpracticalapplications,thereremainsampleroomforfurtherexploration.Mostcurrentstudiesfocusongeneraltranslationscenariosorspecifictexttypeslikeliteraryorcommercialtranslation.However,theuniquecharacteristicsofmuseumpublicitytranslation,whichcombineculturalpromotion,educationalfunctions,andaestheticappeal,havenotbeenthoroughlyinvestigatedfromaneco-translatologicalperspective.Thisstudyseekstobroadenthescopeofeco-translatologyresearchbyapplyingitsprinciplestothespecificcontextofmuseumpublicitytranslation.Bydoingso,itaimstoenhancethequalityoftranslations,allowinginternationalvisitorstomorefullyappreciatetherichnessanddepthofChineseculture.Inturn,thiswillfacilitategreatercross-culturalunderstandinganddialogue,ultimatelycontributingtotheglobalpromotionofChineseculturalheritage.Moreover,itwillsetaprecedentforfutureresearchonapplyingeco-translatologytootherspecializedareasoftranslation,furtherenrichingthetheoreticalandpracticaldimensionsofthisemergingfield.ChapterOneAnOverviewofEcologicalTranslatologyEco-translatologyisaninterdisciplinaryresearchfield,whichcombinesthetheoriesandmethodsofecology,translationstudiesandlinguistics.ThecoreideaofEco-translatologyistotreattranslationasacomplexecosystem,emphasizingtheprinciplesofecologicalbalanceandadaptationandselectionintheprocessoftranslation.Inthissystem,translationisnotonlyalanguageconversion,butalsoacross-culturalandcross-languagecommunicationactivity.(Hu,2004:1-134)Eco-translatologyemphasizestheecologicalbalanceintheprocessoftranslation,thatis,translationactivitiesshouldbeadaptedtothecultural,socialandlinguisticenvironmentinwhichtheyarelocated.TherearefourmajorbackgroundsfortheoriginofEco-translatology,namely,theinfluenceofglobalecologicalthoughts,theinfluenceofancientChineseecologicalwisdom,theinfluenceofthedevelopmentofotherdisciplinesandtheinfluenceofeco-orientedtranslationstudiesintranslationcircles.Basedontheabovebackground,ProfessorHuGengshenofTsinghuaUniversityproposedthetheoryofEco-translatologyin2001.ThetheoreticalgeneofEco-translatologycanbelocatedinthequadrantsofartsandsciences,Chineseandwestern,ancientandmodern.Eco-translatologystudiesthephenomenonandprocessoftranslationfromfouraspects:holism,functionality,principleandstandardization.Itrevealsthenatureandlawsoftranslationbyanalyzingthevariousfactorsintheecosystemandtheirinteractions.Atthesametime,Eco-translatologicalinterpretationcanalsoprovideguidanceandsuggestionsfortranslationpracticeandhelptranslatorstobetterunderstandanddealwithtranslationproblems.DefinitionofEcologicalTranslatologyEco-translatologyrepresentsamethodologicalapproachthatsituatestranslationstudieswithinthebroadercontextofecologicalsystems.Byestablishinganisomorphicmetaphorbetweentranslationecologyandnaturalecosystemcharacteristics,thisdisciplineadoptsecologicalholismasitsphilosophicalfoundationanddrawsuponOrientalecologicalwisdom.Itfocusesoninvestigatingthetranslationaleco-environment,textualecology,theecologyof“translationcommunities”andtheirinterrelationships.Throughanecologicalnarrativeframework,Eco-translatologyprovidescomprehensiveobservationanddescriptionofboththeholistictranslationecosystemandtheoreticalontologyoftranslation(encompassingtranslationessence,process,criteria,principles,methods,andphenomena)(Hu,2013:12).ThecoreconceptofEco-translatologyrevolvesaroundthetranslator’s“adaptation”and“selection”,thatis,thetranslator’sadaptationtothetranslationaleco-environmentcomposedoforiginalauthors,clients,sponsors,publishers,andotherstakeholders,alongwiththecorrespondingchoicesmaderegardingtranslationcontent,strategies,andfinaltextualoutput.Basedonthis“adaptation/selection”theory,ProfessorHuGengshendefinestranslationas“aselectionprocessoftexttransplantationdominatedbytranslators,supportedbytexts,andaimedatcross-culturalinformationtransfer,whereintranslatorsadapttothetranslationaleco-environment”(Hu,2013:86).Thisdefinitionemphasizesthetranslator'sdominantroleindeterminingfinaltextualchoicesbasedonthetranslationaleco-environment.Whilethisgrantstranslatorsflexibilityinexecuting“selectiveadaptation”and“adaptiveselection”throughoutthetranslationprocess,suchflexibilityremainsconstrainedwithinthetextualecosystemframework.Textsthemselvesaresubjecttoecologicalprinciplesof“survivalofthefittest”,requiringexistencewithinappropriateeco-environmenttomaintainvitalityandavoidobsolescence.Althoughsourceandtargetlanguagesbelongtodistincttextualecosystems,theysharecommonecologicalcomponents:language,culture,andcommunication.Followingtheconceptthat“translationconstitutesaselectionprocessoftexttransplantationthroughtranslators'adaptationtothetranslationaleco-environment,”wemayconceptualizetranslationastextualtransplantationbetweensourceandtargetlanguagesacrossthree-dimensionalecologicalenvironments:linguistic,cultural,andcommunicativedimensions(Hu,2013:235).Consequently,thetranslationmethodologyinEco-translatologycanbesummarizedasadaptivetransformationsacrossthesethreedimensions,therebyensuringthetranslatedtextmaintainsvitalitywithinitstargettextualeco-environment.Three-dimensionaltransformationinEco-translatologyEco-translatologydefinestranslationas“translatororiented,textbasedandinterculturalinformationtransmissionasthepurpose.Itisakindofchoicefortranslatorstoadapttothetranslationecologicalenvironmentandtransplantthetext（Hu,2013:10-12).”Intheever-changingecologicalenvironment,translatorstendtofocusonthelinguistic,culturalandcommunicativedimensionsinordertokeeptheecologicalharmony(Hu,2011:5-9).Amongthem,thetransformationoflanguagedimensionismainlytheadaptivechoiceoflanguageformintheprocessoftranslation,andtheculturaldimensionisthetransmissionandinterpretationofbilingualculturalconnotationintheprocessoftranslation.Communicativedimensionistheadaptiveselectivetransformationofbilingualcommunicativeintentionintheprocessoftranslation(Li,2015:314-315).ThetheoryofEco-translatologyisinclusiveandincludestentheories,suchasthetheoryoftexttransplantation,thetheoryoftranslator'sresponsibilityandthetheoryofadaptationandselection,etc.Thisthesistakesthetheoryoftranslationadaptationandchoiceasthetheoreticalframeworktoexplorethestrategiesandtechniquesoftranslatingmuseumcommentariesfromthreedimensions:language,cultureandcommunication.1.2.1Linguisticdimension

Thelinguisticdimensionfocusesontheformaldifferencesbetweenthesourcelanguageandthetargetlanguageatthelexical,syntactic,andtextuallevels.Translatorsneedtousestrategiessuchasamplification,omission,andword-orderadjustmenttomakethetranslationconformtotheexpressionhabitsofthetargetlanguage.Forexample,inthepublicitytextsoftheForbiddenCity,ancient-architectureterms(suchas“庑殿顶”and“藻井”)needtobeconvertedincombinationwiththegrammaticalstructureandprofessionalexpressionhabitsofEnglish,suchas“hip-and-gableroof”and“caissonceiling”.Inaddition,theparataxisfeatureofChineseandthehypotaxisfeatureofEnglishneedtobebalancedinsentence-patternreconstruction,suchastransformingChineserun-onsentencesintoEnglishcomplexsentenceswithmainandsubordinateclauses.1.2.2Culturaldimension

Theculturaldimensionemphasizestheimpactofculturaldifferencesbetweenthesourcelanguageandthetargetlanguageontranslation.Translatorsneedtopreserveculturaluniquenesswhileavoidingmisunderstandingscausedbyculturaldefaultorconflict.(胡庚申,2004,137)Forexample,“龙”inthetextsoftheForbiddenCitysymbolizesimperialpower.Ifitisdirectlytranslatedas“dragon”,itmayarouseWesternreaders’associationwith“evil”.Therefore,itneedstobesupplementedwithannotationsoradjustedto“imperialdragon”.Meanwhile,thetranslationofculture-loadedwords(suchas“太和殿”and“中和殿”)needstotakeintoaccountbothculturalconnotationsandthecognitivebackgroundoftargetreaders,andcanbetranslatedbytransliterationplusexplanation(suchas“TaiheDian(HallofSupremeHarmony)”).1.2.3CommunicativedimensionThecommunicativedimensionfocusesonthecommunicativeintentionandfunctionalequivalenceoftranslation,requiringthetranslationtoachievethesamecommunicationeffectastheoriginaltextinthetargetcontext.Forexample,thecommunicativepurposesofthepublicitytextsoftheForbiddenCityaremostlytoattracttouristsandspreadChineseculture.Translatorsneedtoenhancethereadabilityandattractivenessofthetranslationthroughtranslationstrategies.Adaptiveselectionconversionofthecommunicationdimensionrequirestranslatorstofocusonthecommunicationdimensioninadditiontothetranslationoflinguisticinformationandthetransmissionofculturalconnotation,andtopayattentiontowhetherthecommunicationintentionintheoriginalisreflectedinthetranslation.(Hu,2011:95)1.3Relationshipsbetweenthethreedimensions

Linguisticdimension,culturaldimensionandcommunicativedimensiondonotexistinisolation,butareanorganicwholethatismutuallydependentanddynamicallycoordinated:Thelinguisticdimensionservesasthefoundation,withthetransformationoflinguisticformsactingasthecarrierforculturaltransmissionandtherealizationofcommunicativefunctions.Forexample,theliteraltranslationof“九龙壁”intheForbiddenCitytextsas“NineDragonWall”retainstheliteralmeaning.However,ifitlacksthesupplementofculturaldimension(suchasexplainingthenoblemeaningof“nine”inChineseculture),itmayleadtotheineffectivenessofthecommunicativedimension.Theculturaldimensionfunctionsasthecore,andtheaccuratetransmissionofculturalconnotationsstandsasthekeytotheecologicalbalanceoftranslation.Forexample,althoughthetranslationof“紫禁城”intheForbiddenCityas“ForbiddenCity”iswidelyknown,thesymbolicmeaningof“紫禁(theresidenceoftheHeavenlyEmperor)”needstobefullypresentedthroughtheinterpretationoftheculturaldimension.Thecommunicativedimensionactsastheorientation,withthecommunicativeintentiondeterminingthestrategicchoicesforlanguageandculturaltransformation.Forexample,textsforacademicreadersneedtoemphasizetheaccuracyofterms,whiletextsfortouristsneedtofocusonthesimplicityandfascinationofinformation.Thecoordinatedmechanismofthethree-dimensionaltransformationreflectsthesystematicapproachanddynamismofEco-translation.Translatorsneedtoweightheproportionofeachdimensionaccordingtothespecificcontextintheiroperations.Forexample,publicitytextsoftheForbiddenCitymayplacemoreemphasisontheculturaldimensionandthecommunicativedimension,whilemechanicalengineeringtextsgiveprioritytotheprofessionalismofthelinguisticdimension.Onlybyachievingtheecologicalbalanceamongthethreecanweensurethatthetranslationisbothfaithfultothesource-languageecologyandadaptabletothesurvivalneedsofthetarget-languageecology.ChapterTwoABriefIntroductiontoMuseumPublicityMaterials

Museumpublicitymaterialsareimportantcarriersofculturaldissemination.Theircontentcovershistoricalrelics,architecturalfeatures,culturalactivitiesandbrandconcepts,aimingtoconveyculturalvaluesandspiritualconnotationstothepublicathomeandabroad.Inrecentyears,withtheaccelerationofglobalizationanddigitaltransformationprocesses,thedevelopmentofMuseumpublicitymaterialshasshownatrendofdiversification,interactionandinternationalization.Forexample,thePalaceMuseumhasbuiltacommunicationnetworkthroughmultiplechannelssuchasofficialwebsites,socialmediaandmobileapplications,andlauncheddocumentariessuchas“MastersinForbiddenCity”andculturalandcreativeproducts,significantlyenhancingthebreadthanddepthofculturaldissemination.Itssignificanceliesnotonlyindisplayingculturalheritage,butalsoinpromotingexchangesandmutuallearningamongcivilizations,andenhancingculturalself-confidenceandinternationalinfluence.2.1Thedefinitionofmuseumpublicity

ThebookMuseumMassEducationWorkdefinesmuseumpublicityas“usingvariouscommunicationmediatopublicizeandintroducethemuseumtothesociety,promotethemuseum’scollectionsandexhibitions,andpublicizevariousformsofmuseumactivities.Thisaimstoenhancethemuseum’spopularity,expanditssocialinfluence,andachievethegoalofeducating,attracting,andorganizingthemasses,enablingthemtomakemorefulluseofthemuseum.”（SACH,1993:40)Thecoreofamuseum’spublicityliesincross-culturalcommunication,thatis,throughtranslationandcommunicationmeans,themuseum’sculturalcontentisaccuratelyandvividlyconveyedtoforeignaudiences.Thisrequiresnotonlylinguisticaccuracyandculturaladaptability,butalsotakingintoaccounttheculturalbackgroundandreadinghabitsofthetargetaudience,soastoachieveeffectiveinformationexchangeandculturalintegration.Museumpublicityalsoemphasizestheutilizationofnewmediatoolsandtechnologies,suchastheInternet,socialmedia,etc.,toenhancetheinteractivityandcommunicationefficiencyofthepublicity.Thismodernformofpublicitycanbetteradapttothetrendofglobalizationandexpandtheinternationalinfluenceofthemuseum.Museumpublicityisadirectionalcommunicationactivitywiththeinstitutionastheinformationsource,culturaldecodingasthecore,andtheinternationalpublicasthedestination.Publicityisnotjustaboutinformationdissemination,butalsoapublicdiplomatictool.Throughshowcasingacountry’sculturalsoftpower,museumpublicityalignswithdiplomaticpoliciesandhelpstoshapeanopenandfriendlyinternationalimage,whichisconducivetopromotingtheinternationalspreadoftraditionalChineseculture.2.2Languagefeaturesofpublicitymaterials

Publicitymaterialscontainalargeamountofinformationandcoverawiderangeoffields.Thesematerialsgatherprofessionalterms,setphrasesfromvariousindustries,ethnicculturesandlocalcultures.Generallyspeaking,Chinesewordingoftentendstousemagnificentwordsfordescriptionanddoesnothesitatetorepeatinwriting,whileEnglishfocusesonbriskstatements.(Yuan,2005:75-78)Asweknow,ChinesebelongstotheSino-TibetanlanguagefamilyandEnglishbelongstotheIndo-Europeanlanguagefamily.Duetodifferencesinlivinghabits,geographicalenvironments,etc.betweenthetworegions,theChineseandEnglishnationshaveformeddifferentthinkingpatterns,expressions,culturaltraditionsandaesthetichabits.Chineseisexaggerated,semanticallyrichandfullofstrongemotions,withsuchwordsbeingcommon.Chinesewritingfavorsfour-characterstructuresastheyareneat,uniform,well-balanced,antitheticalandhaveflexiblepositions.Four-characterparallelstructuresaremeaningful,literary,coherentintone,withsentencepatternscombinedbyimplicationandrepeatedmeanings.Readingthemgivesaheartyfeelingandastrongrhetoricaleffect.However,theEnglishtranslationsofpublicitymaterialsneedtoconsiderthelanguagehabitsofWesterncountriesand,throughadaptiveselectionandtransformation,bothretainthecharacteristicsofthesourcelanguageandenablethetarget-languagereaderstoexperiencetheuniqueChineseculture.2.2.1Linguisticfeatures

Publicitytextmaterialshaveveryobviouslanguagefeatures,andthreeofthemaremainlyanalyzedinthisthesis.InChinese,longsentencesoftenrelyonparataxis,whileinEnglish,hypotaxisispreferred.Forpublicitytexts,complexlongsentencesneedtobebrokendownintoshortsentences,andthelogicalrelationshipsshouldbemadeexplicitthroughconjunctions(suchas“thus”,“however”)orpunctuationmarks(suchassemicolons).Forexample,transformparalleldescriptionsintostep-by-stepexplanationstoavoidinformationpiling.Chinesefour-characterexpressionsoftenenhanceliterarygracewithrhetoric,whileEnglishemphasizeslogicandinformationdensity.Whentranslating,redundantmodifiersinChineseshouldbedeconstructedandthecoresemanticsextracted.Forprofessionaltermsconcerninghistory,culturalrelics,etc.,adoptmethodsliketransliterationcombinedwithfunctionalannotationorfreetranslationwithpinyinmarkingtoensureboththepreservationofculturalsymbolsandinformationaccuracy.Whenitcomestothedynamicconversionofactiveandpassivevoices,Chinesepreferstheactivevoicetohighlightthesubject,whiletheEnglishpassivevoiceismoreinlinewiththeobjectivenarrativehabit.Whentranslating,thevoiceshouldbeselectedaccordingtotheinformationfocus,weakeningredundantsubjectsandstrengtheningobjectivity.2.2.2CulturalfeaturesThecorechallengesininternationalpublicitytranslationlieindealingwithculturaldifferences,especiallyculturaldefaultandculture-loadedterms.Theseculturalcharacteristicsdirectlyaffectthecross-culturaltransmissioneffectofinformationandneedtobebalancedandreconstructedintermsofculturalconnotationsthroughsystematicstrategies.Translationisnolongerregardedmerelyasthetransformationoflanguagesymbols,butasamodeofculturaltransformation.Translationisnotonlytheconversionfromonelanguagetoanother,butalsoinvolvesculturalaspects,whichbringsgreatdifficultiestotranslation.Sincethetranslatorandthetargetreadersareindifferentculturalenvironments,thephenomenonofculturaldefaultislikelytooccurduringthetranslationprocess.Thecontentofculturaldefault,alsoknownas“existingknowledge”or“backgroundknowledge”bysomepeople,oftennolongerappearsinthetext,butexistsinpeople'smemoriesintheformofschemata.(Yang,2022:243-245)Humanknowledgeisorganizedintheformoffixedschemataandstoredinthehumanbrainsothatitcanbesearchedatanytimewheninuse.Previousknowledgeorso-calledschematahelpspeoplefillindifferentknowledgeorculturalbackgrounds.Inforeigncountries,defaultisdefinedbythetranslatologistDagutas“non-existenceinonelanguageofaone-wordequivalentforadesignatorytermfoundinanother”（Dagut,1978:45).InChina,WangDongfengwasthefirsttoputforwardtheconceptofculturaldefault.Inhisarticle“CulturalDefaultandCoherenceReconstructioninTranslation”,heproposedthat“culturaldefault'referstotheomissionoftheculturalbackgroundknowledgesharedbybothpartiesinthecommunicationprocess”(Wang,1997:55-60).Fromthispointofview,peopleinthesameculturalbackground,forthesakeofefficientcommunication,willomitsomeofthecommonculturalbackgroundcontentwithoutaffectingthelistener'sunderstanding.Therefore,readersneedtohavethesameculturalbackgroundinordertounderstandthetext.Culture-loadedtermscarryspecificculturalmeanings,andtheirtranslationneedstotakeintoaccountbothculturalloyaltyandreaders’acceptance.Accordingtoculturaluniquenessandtranslatability,theycanbedividedintothreecategories:first,coreculturalsymbolshaveirreplaceableculturalidentitymarkings;second,secondaryculturalconceptsareattachedtohistorical,institutionalorphilosophicalsystems;third,material-culturaltermsreflectspecificmaterialcivilizations.(Xiong,2021:48-50)2.2.3CommunicativefeaturesThecommunicativecharacteristicsofpublicity-orientedtranslationfocusonthebalancebetweeninformationtransmissionefficiencyandcross-culturalacceptance.Essentially,itisthetranslator'sdynamicadjustmenttotheoriginaltext'sintention,thereader'scognitivehabitsandthepurposeofcommunication.Thecommunicativefunctionofpublicity-orientedtextsrequirestheremovalofinterferinginformationtohighlightthecorevalue:inChinese,repetitionandantithesisareoftenusedtoenhancethemomentum,whileEnglishemphasizesinformationdensity.Whentranslating,itisnecessarytoextractthecoresemantics,transformrhetoricintofactualdescriptions,andavoidlettingliterarygraceoverrideinformationclarity.Inaddition,detailswithnocognitivevaluetothetargetreadersshouldalsobeselectivelyomitted.Forexample,theChineseterm“青花缠枝莲纹碗(blue-and-whiteporcelainbowlwithtwininglotuspattern)”issimplifiedto“blue-and-whiteporcelainbowl”,omittingthemicroscopicdescriptionof“twininglotuspattern”unlessthetextisforprofessionalresearch.ThedifferencesinChineseandWesternlogicdirectlyaffectthewayofinformationorganization,andcognitivesynchronizationneedstobeachievedthroughexplicitadjustment,includingthemanifestationofspatio-temporallogic,thestrengtheningofcausallogic,andtheneutralizationofevaluativelogic,whichwillbementionedbelow.ChapterThreeTechniquesforTranslatingBeijingPalaceMuseumPublicityMaterialsEco-translatologytakes“threedimensionsoftransformation”(linguistic,culturalandcommunicative)asitstheoreticalframework,andemphasizesthattranslatorsshouldadoptmulti-dimensionaladaptationandchoicetoachievecross-culturaltransmissioninthetranslationecologicalenvironment.Asanimportantvehicleforculturalcommunication,theoutreachandtranslationmaterialsofthePalaceMuseuminBeijingfullyreflectthethree-dimensionaladaptivetransformationprincipleofecologicaltranslation.Thefollowinganalysesarecarriedoutinthreedi