《我们仨》（节选）英译实践报告​AC-ETranslationReportofWethree(Excerpts)

IntroductionThisdissertationcentersonthereportoftheEnglishtranslationoftheexcerptsofWethree,firstlyintroducingthebasicsituationoftheoriginalWethreeanditsEnglishtranslation,elaboratingthereasonsforchoosingtheperspectiveoftranslationaestheticsforthestudy.Then,fromthisperspective,theaestheticfeaturesconveyedbytheEnglishtranslationoftheexcerptsfromWethreeintermsofvocabularychoice,syntacticstructure,rhetoricaluseandculturalconnotationareanalyzedindetailandsupportedbyconcreteexamples.Inaddition,thetranslationstrategiesandmethodsusedintheprocessoftranslationaestheticsareexplored,andtheiradvantagesandpossibleshortcomingsareanalyzed.Finally,basedontheperspectiveoftranslationaesthetics,thesignificanceandvalueofthisstudyforthepracticeofEnglishtranslationofliteraryworksandtheexpansionoftranslationaestheticstheoryaresummarized.Undertheguidanceofthetheoryoftranslationaesthetics,thisstudyfocusesonthepracticeofChinese-to-EnglishtranslationofWethree,emphasizingin-depthunderstandingoftheoriginaltext,reasonablewordtranslation,andhighlightingtheaestheticsenseofthegenre.Thespecificresearchincludesthefollowingparts.Undertheguidanceofthetheoryoftranslationaesthetics,thisstudyfocusesonthepracticeofChinese-to-EnglishtranslationofMr.YangJiang'sWethree,focusingonin-depthunderstandingoftheoriginaltext,reasonablewordandsentencetranslation,andhighlightingthestylisticbeauty.AccordingtoMuQiong,MaQunying(穆琼,马群英,2021:142)ThebeautyofChineseproseismainlyreflectedintheaestheticvaluecontainedinit.Therefore,aestheticsisofgreatsignificanceinexploringtheaestheticmessageandthereproductionofaestheticvaluesinprose.ThedevelopmentofChinesetranslationtheoryisinfluencedbytraditionalChineseaesthetics,whichnotonlypaysattentiontotheessenceofbeautybutalsopaysattentiontotheaestheticsoflanguage.Thespecificresearchcontentincludesthefollowingparts.Thefirstpartistheanalysisoftheoriginaltext.Itmainlyintroducesthebackgroundandsignificanceofthispaperandtheauthor'sintroductionofthework,thecontentcharacteristicsandlinguisticfeaturesandthestructureofthetranslationreport.Thesecondpart,translationprocess.IncludingBeforeTranslation,WhileTranslation,AfterTranslation.Thethirdpart,thetheoreticalframeworkoftranslation.Itmainlyinterpretsthedefinition,characteristicsandfunctionsoftranslationaesthetics.Inthefourthpart,itpointsoutthetranslationdifficultiesandtranslationmethodsinthetranslationprocess.PartV,summarizesthetranslator'sexperienceinthetranslationprocessandpointsouttheproblemsstilltobesolved.SourceTextAnalysisContentWeThreeisapoignantmemoirbytherenownedChinesewriterYangJiang.ThebookrecountsthelivesofYangJiang,herhusbandQianZhongshu,andtheirdaughterQianYuan,offeringadeeplypersonalglimpseintotheirfamilylife,struggles,andenduringlove.Thememoiriscelebratedforitssimplicity,emotionaldepth,andliteraryelegance.ThetranslationofsuchaworkintoEnglishpresentschallengesandopportunities,includingthenecessityoflinguisticaccuracy,thepreservationoftheauthor'svoiceandtheculturalnuancesembeddedinthetext.Thememoirisdividedintothreeparts.Thefirstpartunfoldsintheformofadream,inwhichYangJiangdescribeswithdelicatestrokesherlifewithQianZhongshuintheirlateryears.Interweavingdreamsandreality,sheexpressesherdeeploveforherhusbandandherfeelingsaboutthepassageoftime.Thetextusesthe'ancientpostroad'asametaphortosymbolizethejourneyoflifeanddescribesherpartingwithQianZhongshuinadreamfullofphilosophicalreflectionsontheimpermanenceoflife.Inthesecondpart,whichisthecoreofthebook,YangJiangrecallsherlifewithQianZhongshuandherdaughterQianYuan.Shetellsinplainlanguageaboutthewarmtimesinthefamilyandtheirmutualsupportintheturbulenttimes,especiallymentioningtheearlydeathofherdaughterQianYuan,andrevealingbetweenthelinesherdeeplongingandreluctancetopartwithherdaughter.Thispartissincereandmoving.Inthethirdpart,YangJiangfacesthelonelylifeoflosingherhusbandanddaughteralone.Sheremembersthegoodtimesofherfamilyandexpressesherendlesslongingforherlovedones.Inacalmandaffectionatetone,sheshowsherstrengthandopennessinloneliness,andatthesametimeconveysadeepunderstandingoflife.Abeautifulproseisalwaysabletoseethetinythingsinlifeinthepen,anddiscoverthedeepmeaningandmoral,sothatpeoplethinkandbenefitgreatly.(胡慧,2012:14)Wethreeisnotonlyafamilymemoir,butalsoaworkfullofphilosophicalthoughtsandemotions.Throughdelicatewords,YangJiangshowsthewarmthoffamily,thetoughnessofintellectuals,andtheprofoundthoughtsonlifeandlove.ThebookhastouchedcountlessreadersandhasbecomeaclassicofmodernChineseliterature.1.2LinguisticFeaturesTangLiangpointsoutthattheoriginaltexthasthreemainstylisticfeatures:amournfulbutnotsentimentaltone,richlydetaileddescriptions,andhumorouslanguage.（汤靓,2017:9）YangJiang'slanguageissimpleandnatural,implicitandprofoundItisknownforitssimplicityandplainness,butitcontainsdeepemotionsintheplainness.Shehasaparticulartalentforconveyingcomplexemotionsusingminimallanguage,eschewingostentatiousrhetoricwhileimpressingreaderswithnuanceddescriptionsandprecisewording.Structuralarrangement:YangJiang'smemoriesoffamilylifeandreflectionsontheseparationofthelivingandthedeadareinterwovenwithelementsoffantasy,creatingablendofrealityandfiction.Emotionalexpression:restrainedandprofound,warmthandsadnesscoexist.YangJiang'semotionalexpressionisrestrained,rarelyexpressingsadnessorpaindirectly.Instead,sheemploysdelicatedescriptionandimplicitlanguage,allowingthereadertoperceivetheemotionalpowerbehindthewords.Theuseofartistictechniques,includingdetaileddescription,symbolismandmetaphor,isemployed.TheemploymentofdetaileddescriptionisevidentinYangJiang'sadeptnessatcapturingthenuancesoflife,therebyilluminatingthecharacter'spersonalityandemotionsthroughthemediumofspecificscenesanddialogue.AcaseinpointishervividandrealisticdepictionofQianZhongshuandQianYuan'shabits,speechandbehavior.Theconceptof'dream'isemployednotonlyasameansofescapefromrealitybutalsoasarepositoryformemoriesofthepast.WeThreeadoptsthefirst-personnarrative,inwhichYangJiangrecollectsthemomentsoffamilylifefromtheperspectiveofanindividualwhohasexperiencedthem,renderingthetextmoreintimateandauthentic.WithPlainlanguage,adistinctivestructureandsensitiveemotionalarticulation,YangJiangtransformspersonalrecollectionsintouniversalhumanconcerns,therebyestablishingthisbookasaclassicofmodernChineseliterature.Thewholebookiscomplementarytotherealandtheimaginary,withtherealpenwritinglifeandtheimaginarypenwritingdeath.Thepartoflifewrittenwiththerealpenisfullandrich,andthevoicesandsmiles,charactertraitsandlifestoriesofYangJiang'sfamilyarevivid.Thepartofwritingdeathwithvirtualpen,perhapsontheonehand,becausethisisapartoftheauthorisunwillingtoremember,letaperson'sheartbreakingyears,shehasnotcomeoutofthepain,donotwanttorepeatthepainandsufferingoflovedones;ontheotherhand,thedeathoftheoriginalillusoryandetherealthings,itisverydifficulttograspinwords,withthedreamthisvirtualpenintheformofdescribingdeath,itiseasiertorevealitstrueappearance,perhapstheneedfortheexpressionofthecontent.Forexample,thebookisdividedintothreeparts,thefirstpartofthetwoofusoldtodreamtoopenthebook'sprologue,thesecondpartofthethreeofusseparatedrecordedthis"longdream",thefirsttwoaboutthedeath,arefakewriting,whilethethirdpartofthethreeofusalonemissthethreeofusinplainlanguagetowritethedailylifeofafamilyofthree.Thetwopartsofthebookcomplementeachotherandtogethertheymakethebooktrulytouching.II.TranslationProcess2.1BeforeTranslationBeforestartingtheformaltranslation,theauthorreadthroughtheoriginaltextonceagainandmarkedthedifficultpoints.ThenshewenttothelibrarytoborrowbooksaboutYangJiang'slife,literarycreationandfamilylife,sothatunderstandtheprocessofcreatingtheoriginaltextandexperiencetheauthor'sstateofmind.Inaddition,theauthoralsosearchedforreportsandarticlesaboutYangJianginforeignmediaontheInternet，theimportanceoftranslationtoolscouldnotbeoverlooked,aswordingisessentialinprosetranslation.Thetranslatorchosefourdictionariesasreferencebooks,namelyANewCenturyChinese-EnglishDictionary,OxfordDictionary,OnlineOxfordLearner'sDictionaryandOnlineOxfordCollectionDictionaryofEnglish.Togainathoroughunderstandingofthesourcetext,thetranslatorresearchedinformationaboutYangJiangontheInternet,includinghermarriage,lifeexperiences,publishedworksandvalues.ThetranslatorthendidaclosereadingofWeThreetofullyexperiencetheemotionsconveyedinthebook.Meanwhile,thetranslatoralsotackledtheproblemofobscuresentencesorphrasesinthesourcetextbycommentingonCNKIandtheChinesesearchengineBaiduandmadeananalysisofthestyleandwordingofthesourcetext.2.2WhileTranslation(1)AnalysisofthetextUnderstandtheoriginaltext:readtheextractscarefullytounderstandthethemes,emotionsandnarrativestructure.Clarifythemainideasofthetext(e.g.thepassageoftime,thesenseofloneliness,themetaphorofnatureandlife,etc.).Understandthelanguagestyle:YangJiang'slanguageissimpleandnatural,implicitandaffectionate,andthetranslationshouldtrytoretainthisstyle,avoidingexcessivemodificationorexaggeration.(2)BackgroundresearchUnderstandtheauthorandherworks:studyYangJiang'slifeandcreativebackground,aswellasthewritingmotivesandthematicideasofWeThree.Understandthefamilyemotions,lifephilosophiesandhistoricalbackgroundthatsheexpressesinthebook.Readerorientation:Identifythetargetaudience(e.g.generalreadersorliteraryscholarsinEnglish-speakingcountries)tochooseappropriatetranslationstrategies.(3)ChoiceoftranslationstrategiesBalancebetweendirecttranslationandparaphrase:whileretainingthemeaningoftheoriginaltext,ensurethatthetranslationisconsistentwiththeEnglishexpression.Forexample,arunningsentenceinChinesemayneedtobebrokendownintosentencesthatmakemoresenseinEnglish.Conveyingemotionandtone:YangJiang'swordsareimplicitlyemotional,sowhentranslating,careshouldbetakentoconveytheemotionaltoneoftheoriginaltextthroughwordchoiceandsentencepatterns.(4)PreliminarytranslationandrevisionPreliminarytranslation:completethepreliminarytranslationoftheexcerptaccordingtotheabovepreparation.AccordingtoYangDan(杨丹,2022:88),translatorsshouldreasonablyadjustthetranslationmethodandsentencestructurebasedontheirownaestheticexperience,aestheticcognition,educationalbackgroundandaestheticawareness,andmakeuseofthebeautyofdiction,sentencestructureandphoneticstomakethereadersofthetranslatedtextfullyappreciatethefeelingsoftheauthor,soastorealizethefusionofhorizons.Inaddition,thetranslatorshouldalsotrytounderstandtherealthoughtsandfeelingsoftheoriginalauthor,sothattranslatetheidealwork.Self-revision:Checktheaccuracy,fluencyandstylisticconsistencyofthetranslationtoensurethattherearenoomissionsorunclearexpressions.Revisionbyothers:Askothertranslatorsorfriendswhoarefamiliarwithbilingualismtoreviewthetranslationandprovidefeedbackandsuggestions.Repeatedrevisions:Basedonthereviewer'scomments,revisethetranslationseveraltimesuntilthedesiredresultisachieved.2.3AfterTranslationAfterthefirstdraftwascompleted,thetranslatorspentaboutaweekproofreadingandrevisingthefirstdraft.(1)Thetranslatorreadthetranslationcarefully,checkingwhethertherewereanyredundancies,improperwording,confusingwordorderandotherrelatedproblemsinthetext.CheckingthepartsofthetranslatedtextthataretoodirectandconsideringthereadinghabitsofEnglishreaders,thetranslatormodifiescertaintranslationswithChineseaccentsinthetranslatedtexttomakethemmoreacceptabletoEnglishreaders.(2)ThetranslatorunderstandsthatsomeofherownexpressionsaredifferentfromthoseofthenativespeakersofEnglish,andthusshebecomesmoreawareoftheimportanceofdealingwithculturaldifferencesintheprocessoftranslation.Aftercompletingtheinitialrevision,theauthoraskedherclassmatestocheckthetranslation,andtheygavehersomesuggestionsandcomments,whichhelpedheralottoimprovethetranslationlater.III.TranslationAestheticsTheory3.1DefinitionofTranslationAestheticsIntheearly1980s,ZhuGuangqianputforwardtheconceptof"translationaesthetics,"andin1993,FuZhongxuanpublishedthefirstmonographontranslationaesthetics,PracticalTranslationAesthetics;in1992,XiYongji'sComparativeStudyofTranslationAestheticsopenedthegermoftranslationaesthetics,andin1995,LiuMiqing'sIntroductiontoTranslationAestheticsestablishedascientificsystemoftranslationaesthetics,whichisthestudyofaestheticobject(originaltext,translation),aestheticsubject(translator,reader),andtheaestheticrelationshipbetweenthem.Translationaestheticsisthestudyofaestheticobject(originaltext,translation),aestheticsubject(translator,reader)andtheaestheticrelationshipbetweenthemintranslation.Itemphasizesthatintheprocessoftranslation,notonlythesemanticmeaningoftheoriginaltextshouldbeaccuratelyconveyed,butalsotheaestheticfeaturesoftheoriginaltext,suchastheformalbeautyoflanguage(phonetics,rhythm,syntax,etc.),thebeautyofimage,thebeautyofmood,thebeautyofculture,etc.,shouldbereproducedasmuchaspossible.GEORGEholdsthatAestheticsisofgreattheoreticalandpracticalsignificancetothedevelopmentofTranslation(GEORGE,1997:27).Translationaestheticsisanaestheticreproductionactivity,andthetranslatormusthavetheabilityofkeenaestheticperceptionandtheabilityofaestheticcreativity,anditisacross-disciplinarydisciplinethatappliestheprincipleofaestheticsintranslationresearch.Itemphasizesthattranslatorsshouldgivefullplaytotheirsubjectiveinitiativeintheprocessoftranslation,usetheirownaestheticjudgmentandcreativity,andflexiblychoosetranslationstrategiesandtechniquesbasedontheprinciplesandlawsoftranslation,sothatthetranslatedtextcanmaximallydisplayaestheticeffectslikethoseoftheoriginaltextintermsofform,meaningandstyle.LiuMiqing(刘宓庆,2005:40)believesthattranslationisakindofcross-linguisticcommunicationbehaviorwithculturalexchangeandpoliticalpurposes.LiuMiqing'stheoryoftranslationaestheticscanbesummarizedintothreemainelements:first,thetranslator'ssubjectivepositionmustbemaintainedinthetranslationprocess,andthetranslatorshouldfullydrawonothertranslationtheories;second,aestheticmeaning,whichisalsothecoreoftranslationtheoryandphilosophyoflanguage,andifthetranslationistocarryouttheconversionofmeaningbetweenbilinguals,thetranslatormustcarryoutacomprehensive,accurate,andsystematicscientificanalysisofthetranslatedtext;andthird,theculturalstrategyoftranslationaesthetics..Linguisticexchangesbetweenmultipleculturesareboundtoproducecross-influences,sothatensurethatourcultureisnotnegativelyaffected,Chinesetranslationacademicsshouldformulatetheirownculturalstrategies.FangMengzhi's(方梦之,2011:82)definitionoftranslationaesthetics:translationaesthetics“revealstheaestheticoriginoftranslation,exploresthespecialsignificanceofaestheticstotranslation,recognizesthescienceandartistryoftranslationfromtheperspectiveofaesthetics,proposestheaestheticstandardsfortranslatingdifferenttextsbyapplyingthebasicprinciplesofaesthetics,andanalyzes,explainsandsolvestheaestheticproblemsofinterlingualconversion.”TranslationAestheticsisadisciplinethatstudiesthetransmissionandreproductionofaestheticfactorsinthetranslationprocess,primarilyconcernedwithhowtheaestheticqualitiesoftheoriginaltextcanbepreservedandreproducedinthetranslatedtext.Itscorecontentincludes:Aestheticequivalence:strivingfortheaestheticeffectofthetranslatedtexttobeequivalenttotheoriginaltext,whichnotonlyrequireslinguisticaccuracy,butalsoneedstoconveytheaestheticsenseoftheoriginaltext.Culturaldifferences:differentcultureshavedifferentaestheticstandards,andthetranslatormustfindabalancebetweentheaestheticsystemsofthetwoculturestoensurethatthetranslatedtextmeetstheaestheticrequirementsofthetargetculturewhileretainingtheaestheticsenseoftheoriginaltext.Translator'ssubjectivity:thetranslatorhasthesubjectiveinitiativeinthetranslationprocessandmustrecreatetheoriginaltextaccordingtohisorherownaestheticunderstanding.Acceptancebyreaders:theaestheticeffectofthetranslationisultimatelyjudgedbythereaders,andthetranslatormustthinkoftheaestheticexpectationsofthetargetreaders.3.2ApplicationandSignificanceofTranslationAestheticsTheoryinTranslationTranslationaestheticstheoryrepresentsasignificantbranchoftranslationresearch,whichprimarilyinvestigatesmethodologiesforpreservingtheaestheticvalueoftheoriginaltextduringthetranslationprocess,withtheobjectiveofreproducingthisaestheticeffectinthetargetlanguage.Underthetheoreticalframeworkoftranslationaesthetics,theauthortranslatedthetextbyemployingmethodssuchasliteraltranslation,freetranslationandamplification.Theprocessoftranslationencompassesnotonlytheconversionoflanguage,butalsothetransmissionofcultureandtherecreationofart.Theapplicationoftranslationaestheticstheoryintranslationpracticeanditsguidingsignificancearepredominantlymanifestedinthefollowingaspects:estheticvalueTheoryoftranslationaestheticshighlightsthenecessitytopreservetheaestheticvalueofthesourcetextduringthetranslationprocess,encompassingelementssuchaslinguisticelegance,rhetoricalsophistication,andtheestablishmentofambience.Translationisnotmerelyatransmissionofinformation;itisalsothereproductionofaestheticexperience.Itfollowsthattranslatorsmustcultivateaprofoundcomprehensionoftheaestheticattributesoftheoriginaltext,identifyingcorrespondingexpressionsinthetargetlanguagetoensurethepreservationofthetext'saestheticqualities.Guidingsignificance:Intheprocessoftranslatingliteraryworks,poems,proseandothertextsthatarecharacterizedbystrongaestheticfeatures,translatorsmustpayparticularattentiontothelanguagestyle,rhetoricaltechniquesandemotionalexpressionoftheoriginaltext.Theyshouldalsoendeavortoreproducetheaestheticeffectoftheoriginaltextinthetranslation.(2)HandlingofCulturalDifferencesTheoryoftranslationaestheticsalsoaddressesthemanagementofculturaldifferencesincross-culturaltranslation,acknowledgingthataestheticstandardsandhabitsmayvaryacrosslanguagesandculturalcontexts.Translatorsmustconsidertheculturalbackgroundandaestheticpreferencesoftargetreaderstomitigatethepotentiallossofaestheticvalueduetoculturaldifferences.(3)BalancebetweenlanguageformandcontentThetheoryoftranslationaestheticsemphasizestheneedtobalancetherelationshipbetweenlanguageformandcontentintheprocessoftranslation.Aestheticsisnotonlyembodiedintheformoflanguage,butalsointhedepthofcontentandemotionalcommunication.Translatorsshouldnotonlyfocusonthebeautyoflanguageformbutalsomakesurethatthecontentisaccuratelyconveyed.Guidingsignificance:Translatorsshouldavoidover-pursuingformalbeautywhileneglectingtheaccuracyofthecontent,sacrificinglinguisticbeautyforthesakeofcontentaccuracy.Theidealstateistofindabalancebetweenformandcontent,whichisfaithfultotheoriginaltextandmakesthetranslationhaveaestheticvalue.(4)CreativetranslationTranslationscholarsSusanBassnettandAndréLefevereemphasizethedecisiveroleofcultureinshapingaestheticvaluesandadvocateapluralisticapproachtotranslationstudies.(BassnettS&LefevereA,1998:22).Undertheguidanceofthetheoryoftranslationaesthetics,theauthorcomprehensivelyappliesthetranslationmethodsofliteraltranslation，freetranslation，amplificationtorealizetheeffectivetransmissionofculturalinformationandaestheticvalue，ChenFukangoncepointedoutMr.Zhiqianwasthefounderofthe“freetranslation”inthehistoryoftranslationinChina,andadvocatedthetranslationideaof“wordswithoutdecoration”(陈福康,1991:51)sothatthetranslatedtextnotonlyreachesthemeaningbutalsoconveysthespiritofthetranslation,andconstructsanewaestheticexperienceinthecultureofthetargetlanguage.Thetheoryoftranslationaestheticsholdsthattranslationisacreativeactivity,especiallyinliterarytranslation,thetranslatorneedstocarryoutartisticrecreationbecauseoffaithfulnesstotheoriginaltext.Throughcreativetranslation,thetranslatorcanreproducetheaestheticeffectoftheoriginaltextinthetargetlanguageandevensurpasstheaestheticvalueoftheoriginaltextinsomecases.LinYutang(林语堂,1933:133),afterresearchingthetheoryandpracticeoftranslation,alsoputforwardcorrespondinginsightsintotheaestheticsoftranslation,believingthattranslationshouldfollowtheprinciplesof“faith,smoothnessandbeauty”.(5)Readers'receptivityandaestheticexperienceThetheoryoftranslationaestheticsalsopaysattentiontothereaders'receptivityandaestheticexperience.Theultimateobjectiveoftranslationistoenablethetargetreaderstounderstandandappreciatetheaestheticvalueoftheoriginaltext.Therefore,translatorsneedtoconsiderthereaders'aesthetichabitsandreceptivitywhentranslatingtoensurethatthetranslatedtextcantriggerthereaders'aestheticresonance.Whenthereaderscanfullyimmersethemselvesinthetextandempathizewithit,theauthorhastrulyeliminatedtheaestheticdistance.Jausspointsoutthatanewliteraryworkcanchangethereader'swayofacceptancethroughfamiliarorunfamiliarexperiences(Jauss,1989:352).IV.TranslationDifficultiesandTranslationMethod4.1TranslationDifficulties4.1.1LongSentenceProcessingExample1:我把她肥嫩的小手小脚托在手上细看，骨骼造型和锺书的手脚一样一样，觉得很惊奇。Translation:Cradlingherchubbylittlehandsandfeetinmypalms,Iexaminedthemclosely,struckbyhowtheirbonestructuremirroredZhongshu’sperfectly—anuncannyresemblancethatfilledmewithawe.Analysis:ThetranslationstrategicallysegmentstheoriginalChineselongsentenceintothreecohesivelayers—action(cradling...examined),observation(bonestructuremirrored...),andemotionalresponse(struckbyawe)—byemployingapresentparticiplephrasetocapturesimultaneousactions,acomparativeclause(howtheir...)tohighlightsimilarity,andadash-introducedappositivephrasetoemphasizethepsychologicalimpact.Example2:这是我生平第一次遭遇的伤心事，悲苦得不知怎么好，只会恸哭，哭个没完。Translation:ThismarkedthefirsttimeinmylifeIencounteredsuchheart-wrenchingsorrow,leavingmeutterlyparalyzedbyanguish,andIcoulddonothingbutsobuncontrollablyuntilmytearsrandry.Analysis:Adoptingthethree-dimensionalframeworkof“mainclause(timeevent)+participlestructure(mentalstate)+juxtaposedcompoundpredicate(behavioralresult)”,theoriginalsentenceistransformedinto:takingthecoretimenode“markedthefirsttime”asthemainstem,implyingcausalitywith“leavingmeparalyzed”,linkingtheemotionalprogressionthroughthejuxtapositionofconjunctions“and”,andfinallyendingwith“...sobuncontrollablyuntil...”.sobuncontrollablyuntil...”.Thecompoundpredicatereinforcesthecontinuityoftheaction,whichnotonlypreservestheoriginalemotionalchainof“sadness-bitterness-mournfulness-continuance”butalsorealizesthesyntacticrequirementof“orderingofmainandsecondary,andmanifestationofformandharmony”inEnglish.4.1.2lexicalAnalysisExample1:书呆子妈妈Translation:bookwormmomAnalysis:Thedirecttranslationof“bookworm”accuratelyconveysthecoremeaningof“addictedtoreading”.InEnglish,“bookworm”isaneutralwordreferringtoapersonwholovestoread,whichismoreinlinewiththepositiveperceptionofreadinginWesternculture,althoughitdownplaysthepejorativemeaningof“dull”impliedinChinese.Example2:没有管教Translation:failedinparentingAnalysis:TheWesterncontextemphasizes“parenting”asasystemicresponsibility(emotionalsupport+behavioralguidance).Thetranslation“failedinparenting”fitsintotheframeworkofthepublicdiscourseon“parentingfailure”inEnglish,islikelytotriggerethicalresonanceinthetargetaudience.Example3:像猩猩穿木屐Translation:asstiffasclogsAnalysis:Byhighlightingtheincongruityof“orangutansinclogs”,thetranslationemphasizestherigidity,adoptsthecommonEnglishmetonymystructure“as...as”,whichisinlinewithEnglishexpression(eg:ascoolascucumber).Theadjective“stiff”isretainedtoaccuratelyconveythecoresemanticmeaningof“stiff”.4.1.3ContextUnderstandingExample1:锺书闻闻她的脚丫丫，故意做出恶心呕吐的样儿，她就笑出声来。她看到镜子里的自己，会认识是自己。她看到我们看书，就来抢我们的书。我们为她买一只高凳，买一本大书——丁尼生(AlfredTennyson)的全集，字小书大，没人要，很便宜。她坐在高凳里，前面摊一本大书，手里拿一支铅笔，学我们的样，一面看书一面在书上乱画。Translation:Zhongshuhadplayfullysniffhertinytoesandpretendtogagdramatically,sendingherintofitsofgiggles.Sherecogn