目的論視角下的中國(guó)皮影戲的英譯研究目錄Abstract ii摘要 iiiIntroduction 11.Literaturereview 21.1Thepurposeoftheresearch 21.2.HowthetranslationmethodofforeignizationrelatedwithSkopostheory 42.Skopostheory 52.1ThreeprinciplesofSkopostheory 52.2.TheapplicationsandfunctionsofSkopostheory 52.3.TheinstructionofSkopostheoryintheC-Etranslationoftext 63.ThecasestudyoftexttranslationinaccordancewithSkopostheory 73.1.TheprincipleofFidelityinthetranslationofshadowpuppets 73.1.1.Thecriticalroleofforeignizationinthetranslationofculture-specificitems 73.1.2.Transliteration 83.1.3.ChinesePinyinplusinterpretation 93.2.ThePrincipleofCoherenceinthetranslationofshadowpuppets 103.2.1.ThetranslationmethodsforChineseculturalwords 103.2.2.Literaltranslationplusinterpretation 123.3.ThePrincipleofSkoposinthetranslationofshadowpuppets 133.3.1.Literaltranslation 143.3.2Chinesepinyinplusannotation 15Conclusion 16

IntroductionTraditionalChineseperformanceartsisapartofthepreciousChinesecultureandanirreplaceableculturalheritage,whichcannotbeneglectedinhumanculture.TraditionalChineseperformanceartsincludeclassicalandfolkmusic,dance,acrobatics,dramaandmartialart.OnNovember27,2011,UNESCO,basedinParis,announcedthatChineseshadowpuppetshasformallybeendecidedtobeaddedinthe“ListoftheRepresentativesoftheHumanIntangibleCulturalHeritage”onthe6thsessionoftheIntergovernmentalCommitteefortheProtectionofIntangibleculturalheritage,beingheldinBali.WiththeincreasinginfluenceofChinesecultureintheworlddomain,thetransmissionofperformanceartsisoneofthemostimportanttasksforourculturetospreadabroad.Thisisnotonlyconducivetotherevitalizationandprosperityofintangibleculture,buttoshowtheoriginandconnotationofartculture.Itcannotbedoubtedthatshadowpuppets,asacriticalcarrieroftheculturaldissemination,hasagreatimpactonworld'sculture,throughwhichitsconnotationscanbeenriched,andtheprotectionanddevelopmentofworld'sintangibleCulturecanbeimproved.ThetraditionalChinesearthasbeeninconfrontationofhugecrisisinitsdevelopment.Inrecentyears,ChineseculturehassufferedfromthestrongimpactofWesternculture,thechoiceofChinesepeopleisbecomingmoreandmorewesternized,andtherichmodalityoftraditionalperformingartisbecomingblurredandincreasinglyoverlooked.Manyperformancesshowedupabroad,goingthroughthemotion,tomeetforeignvisitors’curiosities.LackingofequalcommunicatingenvironmentandplatformwithEuropeanandAmericancountries,itcanbeofgreatdifficultytoenterthemainstreamculture.Becauseofthedifferencesinculturalcontext,historicaldevelopment,geographicalenvironment,andboththeeastandwesthaveshowntheiruniqueculturalconnotations,thetraditionalChineseperformanceartsisfacingahostofcross-culturalcommunicationproblems.Ontheonehand,language,cultureandsocialenvironmenthavechangedconsideringspaceandtime.ontheotherhand,manywesternaudiencesmayhavemisunderstandingsabouttraditionalChineseperformanceartsintheprocessofcross-culturalinterpretationforvariousfactors.Therefore,itisworthnotingthatmoreattentionshouldbepaidtothetranslationofshadowpuppets,ahighlightofChineseculture.Likewise,appropriatetranslationmethodsmustbeappliedtoconveytheoriginalmeaning.OnlyinthiswaycanwebettershowagrandimageoftraditionalChineseperformanceartintheworldculturestage,andbolsterthepopularizationandinfluenceofourcultureallovertheworld.ThispaperintendstostudythetextsfromtheperspectiveofSkopostheorytoaddresstheimpedimentofuntranslatabiltyinChineseculturalwordsandconcepts,therefore,promotetheexchangebetweenourtraditionalcultureandothercultures1.Literaturereview1.1TheresearchfindingsofthetheoriestowardsthetranslationofshadowpuppetsThispapermainlystudiesanimportantpieceofthetraditionalperformanceart--shadowpuppets(alsocanbecalledshadowplay).ThispaperprobesintoC-EtranslationofshadowpuppetundertheframeworkSkopostheory.ThetheorydeprivesfromGrundlegungEinerAllgemeineTranslations-TheoriescoauthoredbyHansVermeerandKatharinaReiss.Additionally，theyhadprovidedthetranslatorwithameasureofchoosingwhattranslatestrategies:thetextfunctionofthetranslationservesasareference,thetranslationofthepurposeofcommunicationisformulatedasthebasis.(HuWeijia,2006:36)InthebookAFrameworkforaGeneralTheoryofTranslating,Vermeerhadpointedthattranslatingisakindofhumanbehavior,andanyconductservesasaspecificpurpose;translatingisapurposefulbehavior(quotedinZhanQian,2014:5-6).AlongwithNewmarkandNord,theyformulatedtheirideasontextfunctionsthatshouldoperatewiththreemainrules:Skoposrule,coherenceruleandfidelityprinciple.InChina,manylocaloperasarederivedfromtheshadowplay,Theinnovativeevolutionofshadowpuppetunfoldedsincepeople’snecessityandtasteinculturalconsumptionareupdating,theariaandrhythminsomegenresaregrownintomandarintofitmodernsocietyandnewgenerations.Nidahadclaimedthat“Fortrulysuccessfultranslating,biculturalismisevenmoreimportantthanbilingualism,sincewordsonlyhavemeaningsintermsoftheculturesinwhichtheyfunction.”(quotedinJiangHonghong,2007:161).Admittedly,certainremainedculturallyloadeddetailsareembeddedinotherculturalconfigurations.Italwaysappearsinthewesternpopularculturesandgivesbirthtoanewlife,likeTheDisneyChannelShow“WhataLife”featuresshadowpuppetfromSunnySeki.Ontopofthat,Jakobson,Roman(1959;2004:114)echothat“Likewise,onthelevelofinter-lingualtranslation,thereisordinarilynofullequivalencebetweencode-units,whilemessagesmayserveasadequateinterpretationsofaliencode-unitsormessages.”Sinceshadowpuppetsarecloselyrelatedtodramas,mostofthetranslationmethodstobeproposedofdramasareprecededbythecertainmethodologyofshadowpuppet,hence,thecontentsoftextsareselectedprimarilyinlightoftheinfluenceoftheformer.Forthisconsideration,IhavetrawledthroughamultitudeofEnglishtranslationmaterialsaboutdramas.Inaway,theoverallfunctionofthetheoryis,nevertheless,informative,whichallowsthetargetedreaderstohaveawholepictureoftheorigin,theevolutionandtheculturalfoundationofthetraditionalChineseperformancearts.AmericanrenownedanthropologistSapirsaidinhisbookLanguage:Anintroductiontothestudyofspeechthatlanguagecannotexistwithoutthesoilofculture.Ithaslongbeenrecognizedthatlanguageispartofculture,andthatlanguageandsocietycorrelatewitheachother(Sapir,211).Dramareferstothelanguage,movement,dance,music,puppetandotherformsthatcontributetoachievethenarrativegoal.Itisageneralnameofthestageperformanceart.Theliterarydramaconceptreferstothescriptthatiscreatedforthetheatricalperformance,namelythescreenplay.Thedramatictext(script)isabasicelementofdramaandaprerequisiteforaplay.Thescreenplayofdrama,evennotbeingperformed,canbeappreciatedasaseparateliterarystyle.Inlightofthistheoreticalbasis,itisclearthatthetranslationofshadowpuppetisequivalenttothetranslationofitsscripts.Thedifferencebetweenfolkperformanceartworksandliteraryworksrequiresthetranslatortodeterminehistranslationstrategiesaccordingtothedifferencebetweentherequirementsofthepopularperformanceartstyleandtheculturalbackgroundoftheaudience.Inthisrespect,thepoems,lyrics,playsandothertextsinthespeechformintheworksshouldbereasonablypopularized,clarifiedandcolloquialinordertorealizetheacceptability(ZhuYihua,2008:108).1.2.HowthetranslationstrategyofforeignizationrelatedwithSkopostheoryForeignizationtranslationstrategyistointentionallymakethetranslationbreakthroughtheconventionofthetargetlanguage,retaintheexotictouchintheoriginaltext.Venutimentionedthatthetranslationismadeupof“culturalmaterialsofnativesoil”,foreignizationistoaccommodatethelinguisticfeaturesofforeignculturesandtoabsorbforeignlanguageexpressionsintranslationmethods.IntheprocessofflippingtheChinesenativecharacteristicculture,itisthetranslator’saimtoinputtheforeigncultureintothetranslationlanguage(WangZhongrui,2012:83-84).Therefore,thetranslatoradoptsthealienationtranslationmethodtodealwiththeappearingindividualityculturephenomenoninthetextofXinyangshadowplay.Specifically,theForeignizationdoesnotfullyfollowthetargetlanguageandtextualnormsandintentionallyretainsthematerialinthesourcelanguageorusestheancientwordsinthetargetlanguage,thepurposeofthispaperistoprovidean“unprecedentedreadingexperience”forthereadersofthetranslatedlanguagebychoosingtheabstractandabstrusestyleattheappropriatetime.Thedominantculturalpsychologyalwaystriestosuppresstheexotictouchor“foreignbody”inthetranslation.Venutidescribesalienationtranslationasa“departurefromthenationalpressure”,anditsroleis“toinjectthelanguageandculturaldifferencesinforeigntextsintothetargetlanguageandsendreadersabroad”(quotedinYanLingyu,2016:13).ThisexplainstoacertainextentthatforeignizationhasbecomethemaintranslationstrategyinthetranslationofIntangibleCulturalheritage,whichembodiestheintentionofdisseminatingChineseculture.“Intoday'smultipolareraofdevelopment,allnationalitieshavetostrivefortheirownplace,wemuststrivetopreserveanddisseminateourownculture,sothealienationoftranslationhasgraduallybecomeatrend.”(JiangZhihui，2010:2).TranslationofIntangibleCulturalheritageisanimportantwaytodisseminateChineseculture,translatorsshouldfullyrecognizethedifferencesbetweenEnglishandChineseintranslation,andachievethegoalofcommunicationbytakingintoaccountthecognitiveabilityandculturalbackgroundofthetargetreaders.Allinall,foreignizationtranslationshouldbeprioritizedastheprimarytranslationstrategiesandbesupplementedbydomestication,alongwithothertranslationmethods.2.Skopostheory2.1ThreeprinciplesofSkopostheorySkoposrulebelievesthattheevaluationofthetranslationshouldfirstanalyzethetranslator'sintentiontofollow,andthenexaminewhetherthetranslator'sstrategiesandmethodsarehelpfultothetranslation.Differentpurposesnecessarilyrequireadifferentversionofthetranslation(JiangZhihui,2002:48-51).Intermsofcoherencerule,thetranslationmustconformtothestandardofintra-textualcoherence,thatis,thereadabilityandacceptabilityofthetranslatedtext,whichcanmaketherecipientunderstandandcanconveymeaninginthecommunicativecontextofthetranslationofthehumanlanguagecultureandtheuseofthetargetlanguage.Theprincipleoffidelityreferstotheexistenceofinter-lingualcoherence(inter-textualcoherence)betweentheoriginaltextandthetranslation.Inter-lingualcoherenceissimilartowhatisoftensaidtobefaithfultotheoriginaltext,andthedegreeandformoffidelitydependsonthepurposeofthetranslationandthetranslator'sunderstandingoftheoriginal.2.2.TheapplicationsandfunctionsofSkopostheorySkopostheoryoftranslation,differentfromthetraditional“equivalenceview”,canalsobecalledteleology.ItisabranchofthetheoryofGermanfunctionalism.Teleologyoftranslationnotfocusesonwhetherthetargetisequivalentornot,butemphasizesthatthetargetshouldbebasedontheanalysisoftheoriginaltext,andchoosethebestmethodtodealwiththeintendedfunction.Thatis,translatorsmustbeabletochoosespecifictranslationmethodsorstrategiesforspecifictranslationpurposes.Asatranslatingperspectiveofdeconstruction,Skopostheoryprovidesanewmacro-cognitivemodelfortranslationstudies,whichplaysapositiveroleinovercomingthepuretextcognitivemodel.Teleologycannotonlydescribethephenomenonofinterpretingtranslation,butalsoguidethepracticeoftranslation.“Functionaltranslation(alsoreferredtoasSkopostheory)requirestranslatorstohavesuperbtranslationskills.Ifhewantstosucceedincommunication,hemustputhimselfinthepositionofthetargetreader,hemustmasterthetargetlanguagecultureandunderstandtheneedsofthetargetreaders”（JiaWenbo，2002:4）.TheEnglishtranslationofShadowpuppetinvolvestheexpressionofprofessionaltermsandfolkart.Itisdifficulttousesingletranslationmethodtoconveytheculturalconnotationwhilemaintainingthemeaningofthecommunicationoftheperformanceart,therefore,itisadvocatedtoadoptavarietyoftranslationstrategiestosuccessfullyrealizethetranslationoftheperformanceartculture.2.3.TheinstructionofSkopostheoryintheC-EtranslationoftextShadowpuppetisafolkart,withthechangesinpeople'slivingenvironmentandtheimprovementoflivingstandards,anunavoidablequestionemergesthatpeople'sdailylifeisgraduallydriftingawayfromshadowpuppet,andmuchaboutitsdetailedexpertiseisgraduallylostinhistory.Bearingtheseinmind,themajorityofthetextsselectedinthispaperarebasedonthedetailsoftheshadowpuppetsofthelocalresearch.Asfarasthesituationalvariationsinlanguageuseareconcerned,thetextsofshadowpuppetfallintothefollowingfeatures.First,mostpopularlanguagecharacteristicsexist.Thelanguageisplainandsimple,easytounderstandthatwords,concisesentences,phrases,andscatteredsentencesareusedfrequently,thetextislessuseofrhetoricanddescriptivelanguage.Throughthecombinationofmacroscopicandmicroscopicmethods,thetextisconciseandsmooth,simpleandlively,thewholepictureoftheshadowisdisplayedinfrontofthereaders.Second,awiderangeofprofessionalterminologiesarepervasive.“Inmostcases,theterminologyofdifferentlanguagesdoesnothaveacompleteequivalencerelationship,sothetermtranslationprocessisbynomeansamechanicaltermconversion,butaprocessofselectionbasedonaspecifictextcontext”(ChenFangrong，2011：41).ShadowpuppetisoneoftheclassicalrepresentativesofChinesetraditionalculture,anditsspecialterminologyisthedirectembodimentoftheuniqueconnotationofthetraditionalcultureofshadowpuppet.Theselectedtextcontainsmanyoftheprofessionaltermsofshadowpuppet,forexample,thedifferentpropsofshadowpuppet,theproductionprocess,singingandmusic,theperformanceprocess,andsoon.Alloftheseprocesscoverspecificnames,tosomeextent,reflectsthetraditionalcharacteristicsatadeeperlevel.Forreaders,thisisoneofthemostbasicknowledgeaboutthetraditionalfolkartofshadowpuppet.Third,thereareheftyimagesoffolksayings.Theselectedexamplescontainfolks,commonsayings,allegoricalsayings,folkjokesandotherformsoflanguage,makingthenarrationeasytounderstand,descriptionmorevivid,contentmorevivid,rich,atthesametimeconveythecharacteristicsoftheChinesetradition.3.ThecasestudyoftexttranslationinaccordancewithSkopostheoryBecauseshadowpuppetinourcountryspreadawidearea,indifferentregionsofthelong-termevolution,formedmanydifferentgenres.Themusicstyleandrhythmofthelocalshadowpuppethaveabsorbedtheessenceoftheopera,art,folksongandmusicsystem,allofwhichhavehelpedformmanycolorfulgenres.ThepapertakesafewChinesetextsandtheirtranslationofHenanshadowpuppetsasthecasestudy.Outoftheconsiderationoffeasibilityandauthenticity,IhavereferredsomeexamplesandtranslationsinZhangqian’s“AReportonTranslatingXinyangShadowPlay(2014).“(areportontranslationpracticeaboutXinyangShadowPlay).Specifically,thefollowingtranslationmethodsaremainlyinvolved,includingliteraltranslation,literaltranslationplusinterpretation,transliteration,Chinesepinyinplusannotation,Chinesepinyinplusinterpretation.3.1.TheprincipleofFidelityinthetranslationofshadowpuppetsChineseandEnglishdonotbelongtothesamebranchoflanguage,thelanguagestructureisverydifferent,soChinesecharactersandEnglishwordscannotbecorrespondingonebyone.Tobefaithfultotheoriginaltextandtoabidebytherulesoffidelity,wemustunderstandtheconnotationoftheoriginaltextinordertofindtherightwords.3.1.1.Thecriticalroleofforeignizationinthetranslationofculture-specificitemsWhatareculture-specificitems?SpanishtranslatorAixilladefineditas:Someitemsappearinginthetext,becausethereisnocorrespondingitemintheculturalsystemofthetargetreaderorhavedifferenttextualstatuswiththeproject,itisdifficulttotranslatethefunctionandmeaningofthesourcetextintothetargetedlanguage.China'sintangibleculturalresourcesareabundant,andtranslationinvolvesliterature,folklore,music,religion,art,craftsmanship,architecture,etc.Theculture-specificitemsinthetranslationofintangibleculturalheritagesusuallyincludethenamesofpeople,places,names,artforms,dynasties,folklore,classicsandsoon,whichbelongtothepropernouns,aswellashistoricaleventsandmythsandlegends.ShadowPlayandthewholedramacategorycontainextensiveandrichcontent,andtheaboveculturalresourcesareinvolved.E.g.1.言明某時(shí)、某地、某人為某事答謝眾神和眾仙，同時(shí)煩請(qǐng)?zhí)紫扇搜?qǐng)各路神仙下凡駕臨此事，福佑全家。Translation:Hewillstatethatataparticulartimeandaparticularplacethehostisexpressinghisappreciationtothedeitiesandimmortalsforsomeparticularthing,andmeanwhilehewillpleadwithTaibaiJinxingtoinvitealltheotherdeitiesandimmortalsandblessthewholefamily.Astheexampleshowed,”煩請(qǐng)”isahumblewordinChineseexpression,means“bothersomebodytodosomething”.While,here”煩請(qǐng)”istheversionofancientChineseexpression，andwhattheywanttodoistobefaithfultothedeityTaibaiJinxing,whowasbelievedtobeimmortalandlivingintheheaven，soastheycouldbeblessed.Theword“bother”isnotenoughtoconveytheirpiety,forthisreason,”pleadwith”ismoreappropriate.ThetranslationintheexamplegivesacomprehensiveconsiderationofthetraditionalChineseculture,inaway,theusesofthesesortsofspecificculturewordsembodiestheprincipleofFidelity.3.1.2.TransliterationThetransliterationmethodherereferstothetranslationoftheChinesetextusingtheEnglishwordswithanapproximatepronunciation,whichonlyretainsitsphoneticandwritingformandnolongerhasitsownoriginalsense.Somewordsdonotcontainspecialmeaning,onlyfortherhythmtraining,inthisfacet,onomatopoeiaissomewhatofthesimilaruse.wecanusetransliterationmethodfortranslation,analogsourcelanguagetext.E.g.2.初學(xué)入門(mén)的藝人，以”沙發(fā)零丁沙零丁，么事零丁么零丁”模擬唱腔學(xué)唱……Translation:Beginnersofshadowplayshouldlearntosingbyimitatingthechangqiangsuchas“sofadinglingsodingling,nothingdinglingnotdingling”...Fromtheperspectiveoflanguage,transliterationcanplaytheroleoffillingintheblanksofvocabulary.AmericanlinguistJakobson,Roman(1959)saidthatallhumancognitiveexperiencesandtheirclassificationscanbeexpressedinanexistinglanguage.Onceavacancyoccurs,itispossibletolimitandenlargetheexistingterminologybymeansofforeignwordsortranslatedwords,newwords,semanticchangesandcircuitousstatements.Transliterationisnotanon-translation,butamethodof“dispellingthelimitoftranslatability“(LiuXiangqing，2010:38),whichisakindofeffortandattemptbythetranslatortoconveytheheterogeneity.AlthoughthisconceptisrootedinthetranslationpracticeofBuddhistscriptures,itisinstructiveforustodealwiththesemanticblankintheprocessoftranslation.Inaddition,giventhattransliterationisanindispensablemeansoftranslatingculturalconcepts,butitcannotbeabused.Thetranslationofculturaltextfilledwithtransliterationisnonsense.(Xumin，WangJunping,2016:111).3.1.3.ChinesePinyinplusinterpretationAccordingtoTeleology,“textmakessenseonlywhenitisunderstoodbytherecipientandaccessibleforthemtounderstand.”Ifthereisn’tasituationaldescriptionandexplanationintheEnglishtranslationofthetext,onlypinyintranslationcanbeconfusing,thenweneedtousethephoneticmethodtoaddmeaningtodealwiththisproblem.PinyinPlusinterpretationmethodcanmakemoreandmoreWesternreadersunderstandthetraditionalcultureofChinesecharacteristics,andunderstandtheprofoundculturalheritageofChina.E.g.3.后逐漸在皮象上著以顏色，戲耍時(shí)又配以對(duì)白及唱腔，……Translation:Gradually,theshadowpuppetshavebeencolored,andwhentheyareinvolvedinaplay,peoplewilladddialoguesandchangqiang(whichmeansmusicforvoicesinaChineseopera)duringtheperformance…“唱腔”istheexclusivestatementinChineseopera.Theword“tune”emphasizesthemelodybutcannotbeequatedwiththemeaningof“唱腔”inChinese.“MusicforVoicesinaChineseopera”cangenerallyexpressthemeaningofsinging,butwethinkitisbettertousetheformofpinyindirectly“Changqiang”,moreauthentic,showingChineseculturalcharacteristics,and“Changqiang”moreconciseandsimpletoremember.E.g.4.固始皮影戲班兒慣稱(chēng)為”箱”，一班皮影戲即”一擔(dān)箱”，皮影戲每擔(dān)箱定員八人，分文武場(chǎng)。InGushiCounty,shadowplaytroupesareusuallycalled“xiang(whichmeanstrunk)”.Onetroupeiscalled”yidanxiang”(acoupleoftrunks)”,andeachtroupehasafixednumberofeightmembers.Theyaredividedintowenchang(singingplaysareperformedinwenchang,relatedtoactionandsinging)andwuchang(fightingplaysareperformedinwuchang,relatedtomartialartsoracrobaticfighting).Inthetext,“箱”,”一擔(dān)箱”aretheChineseculturalwordsfortheentityofshadowplaytroop.”文場(chǎng)”and“武場(chǎng)”differentiateeachotherintheirperformingform,thetranslatorhasprovidereaderswithclearinterpretation,theywouldacquireabigdealaboutChinesetraditionalfolklore.E.g.5.溫氏系皮影世家，祖?zhèn)魅爸翜乩乡?友堂)這一代在建國(guó)前就相當(dāng)有名。Translation:TheWenFamilyisawellrenownedfamilyofshadowplay.WhentheshadowplaywaspassedtoWenWenLaoyao(laoyaomeanstheyoungestofthefamilyinhisgeneration)(WenYoutang),ithasbeenhandeddownforthreegenerations,anditbecamefairlyfamousbeforethefoundingofthePRC.Iftheword“老幺”isnotexplained,thereaderofthetranslatedlanguagewillnotbeabletounderstandit.Althoughtheterm“youngest”appearsintheformofaname,itdiffersfromothernamesinthatitisanappellationofaparticularmeaning,soitneedstobeexplainedhere.”ChinesePinyinplusinterpretationreferstotheadditionofexplanatorynotes.Transliterationraisescanoftenbeusedtosupplementinformationsuchasbackgroundmaterials,theoriginofwordsandsoonforreaderstounderstand.”(WuWenyan,2014:168)“TranslatorscannotarbitrarilytransferEnglishfolkcustomtotheChinesefolkcustom,otherwiseitwillcausetheculturalidentityblurred,dislocationoftheconsequences.Instead,weshouldfollowtheprincipleof‘seekingcommongroundwhilereservingdifferences’,recognizingandrespectingtheChinesefolkculture,andpreservingthelanguageandcultureoftheoriginallanguageasmuchaspossible.”(JiangHonghong,2007:159)E.g.6..落樣子——LuoYangzi（followingthepattern,andthetemplate）“落樣子”isonestepofthemakingprocessofpuppets,itobviouslytellspeoplethecrafts.3.2.ThePrincipleofCoherenceinthetranslationofshadowpuppets3.2.1.Therealizationofintra-textualcoherenceforChineseculturalwordsandphrasesTheChinesesentencestructureisloose,lackstheobviouscohesionandthecoherentconnectionword,Chineseisaparatacticlanguage.TheAmericanHeritageDictionarydefinesparatacticas“thedependentorsubordinateconstructionorrelationshipofclauseswithconnectives.”WhileEnglishisamorehypotacticlanguagethanaparatacticone,withcompactform,avarietyofexpressionsareconsideredasthesignsoftransformation,moreemphaseswillbeputontheexpressionoflogicalorderofthesentences.Inordertoensurethecoherenceofthetranslatedlanguage,weshouldaddthecohesiveelementssuchasconnectivessoastoensurethefluencyofthetranslatedsentences.E.g.7.……，拖腔時(shí)伴以鑼鼓，眾口接腔和合，相當(dāng)熱火動(dòng)聽(tīng)，演員操配形象生動(dòng)的生旦凈丑、神妖鬼怪影具翻弄出走坐臥的姿態(tài)和令人眼花繚亂的武打，引人入勝?！璗ranslation:...Whenholdingaparticularlastnote,theywouldaccompanyitwithgongsanddrums,andtheneverybodywillrespondandsingthechorus.Itisvibrantandpleasanttolistento.Besides,actorswillmatchthatwithvividfiguresofsheng,dan,jing,chou,andwithpuppetssuchasdivinities,evilspirits,ghosts,monstersshowingdifferentpostureslikewalking,sitting,lying,anddazzlingacrobaticfighting...Thephrases”accompanyingwithgongsanddrums”,“everybodyrespondingandsingingthechorus”…aretheeffectofhearing,afterwhichthetextisfollowedbythedescriptionthattheactorswithvariouscolorfulshadowpropscomeoutisvisualeffect,thewholeChinesesentencewithcommaconnection,isamoretypicalofsmallsentences,flexiblesentencepatterns.Therefore,whenthissentenceisrenderedintoEnglish,a“besides”isaddedheretoconnectthesentence.Also,byusingthepreposition“with”,theparticipateform“showing”,thewholesentencelooksmorecompact,moreinlinewiththeEnglishlogic.E.g.8.大師傅雙手接過(guò)，鼓樂(lè)齊鳴，燃放鞭炮，點(diǎn)亮蠟燭，焚燒火紙，主人跪拜，神戲開(kāi)始。Translation:Themasterwilltakethesethingsoverwithbothhands.Thedrumswillbeat,whilethebandisplayingmusic.Meanwhile,thefirecrackersareletoffagain,thecandlesarelit,andthefirepaper(spiritmoney)burnt.Thehostwillworshiponhisbendedknees.Thenthedeityplaywillbegin.Aseriesofactionssuchasbeating、playingmusic、lightingthefirecrackers,etcarecarryingoutatthesametime.Itwouldbelong-windedandnotconciseifthesearetranslatedintheformofsingleclauses.Inthetranslation,”while”isusedtoleadtheadverbialoftime,eachobjectareturnedtobethesubjectintheclause,making