ISSN 1994-4926半年刊Semiannual Vol.16JOURNL OF MCU UNIVERSITY OF SCIENCE ND TECHNOLOGY二 二二年 第十六卷 第一期JOURNL OF MCU UNIVERSITY OF SCIENCE ND TECHNOLOGYVol.16 No.1 June 2022
澳門科技大學學報主辦單位：澳門科技大學Organizer: Macau University of Science and Technology編委會主席：李行偉Chairman of Editorial Board: LEE, JOSEPH HUN WEI主編：李行偉Chief Editors: LEE, JOSEPH HUN WEI編輯: 《澳門科技大學學報》編輯部 曾幸麒先生Editor: Mr. CHANG HANG KEI, The Editorial Department, Journal of Macau University of Science and Technology ● 電話（Tel）：+853-8897 3932 ● 電郵（E-mail）：publication@must.edu.mo ● 地址（Address）：澳門氹仔偉龍馬路 澳門科技大學科研管理處 Avenida Wai Long, Taipa, Macau Research and Technology Administration Office Macau University of Science and Technology出版及總發行：澳門科技大學Publisher & Distribution: Macau University of Science and Technology ● 電話（Tel）：+853-8897 3932 ● 電郵（E-mail）：pr@must.edu.mo ● 地址（Address）：澳門氹仔偉龍馬路 澳門科技大學 Avenida Wai Long, Taipa, Macau Macau University of Science and Technology 印刷：100本Print Run: 100出版日期：2022年6月Issued Date: June 2022國際標準期刊號：ISSN: 1994-4926規格：21cm×29.7cmSize: 21cm width by 29.7cm height版權所有，翻印必究All rights reserved. No part of the publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, or otherwise, without the prior consent of the publisher.
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ContentsForm Equivalence in Translating Chinese Poetic Prosody into English……………………… Jimin Chen（1）A Multi-dimensional Study of Inverse Morpheme Words in Chinese………………………Kexin Zhang （15）Study on the Construction Semantics and Image Schema of the Atypical Connector Expression “V Zhe +VO” ………………………………………………………………………………………………………… Xinyu Lun（24）Research on the Controversial Focus of Same-sex Marriage in the Context of Religious Freedom …………………………………………………………………………………………………………………Zhizhuang Duan（29）Film-based Preservation and Development of Macao’s Cultural Heritage from the Perspective of Media Geogra-phy………………………………………………………………………………………………… Yaqing Li（40）An Empirical Study of Herding Behavior in Chinese Gold Futures Market ………………………………………………………………………………………………………Jia Wang, Shaosong Wang, Xinyang Zhang（48）The Mere Name Effect: Gender Differences in Consumers’ Evaluations of Products Using Ingredient Branding Strategy………………………………………Yanchen Li, Yanhe Li, Xiaoyang Jiang, Wenshan Huang（55）The Journal Submission Guidelines of Macau University of Science and Technology……………………… （87）
1 16 1 澳 門 科 技 大 學 學 報 Vol.16 No.1 2022 06 30 Journal of Macau University of Science and Technology Jun 30, 2022 Form Equivalence in Translating Chinese Poetic Prosody into EnglishJimin Chen*(University International College, Macao University of Science and Technology)Astract: Poetry, especially metrical poetry differs from other genres of literature for its unique creation of meter and rhyme. Form and content are the two criteria of poetry appreciation. Form includes the outer poetic structure, the use of meter and rhyme and antithesis (dui zhang) particularly in Chinese metrical poetry. Content refers to the meaning, imagery and mood of a poem. The quality of poetry translation is also assessed by comparing both form and content between two languages. This article aims to discuss the possibility of making pure form correspondence by exploring the maximum equivalence in translating Chinese metrical poetry into English. Such “form equivalence” in Chinese poetry translation refers not only to the structure and rhyming that have long been studied, but to the tonal prosodic patterns, in other words, whether the ping and ze tones of Chinese characters can correspond to the stressed and unstressed syllables of English words, and whether the number of syllables per line can be consistent with the number of tones in the original poem, all of which have rarely been discussed in translations between Chinese and English metrical poetry. Keeping the meaning and spirit of the source text (hereinafter referred to as “ST”) is important, but if the form (both meter and rhyme) of poetry can also be entirely rendered into another language, would that be even more perfect or is such perfection attainable and necessary?eyyords: form equivalence/correspondence; poetic prosody; ping and ze; stressed and unstressed syllables淺談中國格律詩詞英譯的形式對等陳季敏*澳門科技大學 學摘要： 形式和內容是詩歌鑒賞的兩大標準，形式一般包括詩歌的結構、格律、韻律和對仗（主要用於近體詩）；內容即意思和意境的表達。好的詩歌翻譯亦是形式和內容兩方面的結合。本文主要探討英譯中國格律詩詞中純形式對等，尤其是聲律對等的可能性及可譯性。格律詩詞翻譯中的形式對等不單指當前討論較多的詩歌的結構和押韻，更體現在詩歌的聲律上，即中詩的平仄是否能對應英詩中的重輕音節，音節對應的同時又能否做到每行音節數相同或與源文一致。詩歌翻譯在確保內容、意境、結構、押韻對等的同時能否進一步在源語文本的平仄聲律、節奏上有所加強，抑或這種加強是否真正可行且必要？關鍵詞： 形式對等；詩律；平仄；輕重音節Manuscript received: 26 January 2021, Accepted: 11 March 2022.*Corresponding Author: Jimin Chen Annie, Lecturer of University International College, Macau University of Science and Technology, PhD candidate in Fine Arts, MA in Translation Studies, Research area: Translation and Literary Studies; Art History. E-mail: jmichen@must.edu.mo, Tel: +853-88972075.
20 IntroductionAlthough diverse translation theories and various translation principles, evaluation standards, strategies and methods have been keenly discussing for centuries, some scholar and linguists still insist that the highest standard of translation is zero translation, or word-for-word literal translation is the best translation technique for texts such as the Holy Bible and metrical poetry, provided that the source language feature and culture can be reserved as much as possible. Also known as a translator, Lu Xun proposed faithfulness and smoothness as the main criteria to be observed in translation though, he actually supported what he termed “yingyi”, a mode of translation aiming at introducing foreign language expression to make the translation rather be faithful than smooth.[1] Moreover, understandability and readability of a translation are believed to be more acceptable in the receptor language (translation) culture, however, quite a few biblical scholars still claim that a word-for-word translation is the most accurate or the best strategy for translating religious classics.Poetry, a very different genre of literature, requires strict form and unique content in its writing. Generally, the form of poetry consists of its layout structure, metrical structure, and rhyming patterns. The content of poetry refers to its meaning and the imagery reflected by verse lines. The form and content, which are considered the spirit of poetry, are two important aspects of poetry appreciation and analysis. Poetry translation is also evaluated through those two aspects. Therefore, in translating classical Chinese poetry into English, maintaining such form of the original poem is equally important as attaining the equivalence of the content. Sometimes, it is not so difficult to render the content of a classical Chinese poem if the translator applies a word-for-word literal translation as it is basically an intralingual to interlingual translation process. Put simply, what the translator needs to do is to understand and interpret the poem into its vernacular, and then transfer the vernacular meaning to another language. This is the common method of translating classical Chinese prose text (wen yan wen) into modern English language. The poetic form, however, is what creates a barrier between Chinese and English poetry. Chinese metrical poetry mainly features the same number of characters per line, the alternate tones of “ping” and “ze”, the use of antithesis (dui zhang), and rhyming, while English metrical poetry is composed by feet formed by stressed and unstressed syllables, the use of figurative language and rhyming system. How to transfer those technical writing skills and make equivalence of those different language features in poetry translation seems to be more important and demanding than translate meanings. Therefore, Robert Frost considers poetry as “what gets lost in translation”, [3] which corresponds to an Italian proverb “Traduttore, traditore” (translator, traitor). Though it seems to be unfair to the translator, it implies the challenge of poetry translation that is caused by the two entirely different language families of Chinese and English. They have little in common in terms of their language forms.Although the form equivalence discussed in this paper sounds similar to another “formal equivalence” proposed by the American linguist and translation theorist Eugene Nida, who defines the term as “One is concerned that the message in the receptor language should match as closely as possible the different elements in the source language” (1964a: 159),[4] in other words, the target text (translation) should achieve “accuracy and correctness” in both form and content of the source text to get the readers closer to the source language and its culture, in fact, however, the “form equivalence” mentioned in this article is meant
3Jimin Chen Form Equivalence in Translating Chinese Poetic Prosody into Englishto be a pure form correspondence. Specifically, it is not only about translating a jueju (a four-line Chinese verse) into a quatrain, or a duilian (a pair of Chinese lines) into a couplet, but about translating ping ze into trochee (a stressed sound followed by an unstressed sound), keeping the same number of syllables per line when translating a tangshi (a metrical poem written in or around the time of China’s Tang dynasty), and using the same rhyme scheme and rhyme style in another language.Poetry translation is like “dancing on ropes with fettered legs” (Dryden 2006: 10) [5] as it is not simply a translation from one language into another, but a translation of a poem into another. When facing dilemma, some translators would rather keep the meaning and imagery closer to the source text than keep the outer form in translation, which is a common and reasonable solution. They choose to put the TT (target text) reader in the first place and produce something natural and making sense. There is no denying that form correspondence should be based on the accurate rendition of meaning and content of the ST (source text). A good poetry translation is in fact the combination of sound and meaning. To what extent can form equivalence be achieved without affecting the imagery and meaning of the original text? Besides, to what extent is the pursuit of pure form correspondence necessary in poetry translation?1 Significance and Objectives of the StudyRecent studies of metrical poetry translation between Chinese and English have focused more on comparing the outer form including the structure and rhyme as well as the translation techniques applied to achieve dynamic or functional equivalence between the original poem and its English translation. Some translators were practicing rhythmic equivalence / correspondence by replacing English feet with Chinese pauses (dun) or beats or groups of tones in translating English metrical poetry, which is now one of the most recognized ways of handling rhythmical issues. Few has analyzed a classical Chinese poem and its English translation in terms of pure form correspondence, that is, to correspond Chinese tones to English syllables to see how close the rhythm can be achieved between two languages. As one of the key outer forms of poetry, meter or rhythm seems to be left out for comparison and discussion. A hundred percent of faithfulness in translation is almost impossible to achieve since there is no substitute for any particular language. That is why zero translation is the only ideal yet unreachable method in translation. Therefore, “expressiveness” and “elegance” have become the top standards of translating literary texts, especially poetry. More attentions have been paid to restoring the original spirits and charm in the rendition. Such spirits and charm can be basically achieved through different translation techniques and strategies. The reason for conducting this study is that the author of this paper used to write both Chinese and English metrical poetry and always wondered in addition to the line number and rhyme, whether the Chinese and English metrical patterns can be in some ways equivalent despite the huge difference between two languages. This idea impels the writer to assume for the first time that the Chinese ping and ze tones might correspond to the stressed and unstressed syllables respectively in English. This article makes an attempt to explore the possibility of such correspondence – keeping the poetic form, especially the sound effect as close as the original in its translation – and meanwhile discuss the necessity of pursuing such form equivalence, which hopefully can provide data and insight for further investigation
4on metrical poetry translation.2 Literature Review2.1 Chinese metrical poetry translation studies in the pastChinese translation theories are associated with Chinese aesthetics which has its roots in the philosophical ideas of Lao Zi, Confucius and Zhuang Zi. For a long time, the controversy between truth (faithfulness) and beauty (elegance) had existed in classic Chinese translation studies until two monks Dao An and Xuan Zang attempted to balance fluency and faithfulness in translation.[6] Such principle was developed by Yan Fu centuries later into his three golden rules for translation – faithfulness (xin), expressiveness (da) and elegance (ya), which has become one of the most influential translation criteria in China, especially in literary translation.[7] However, classical Chinese poetry has a “spirit” similar to what Qian Zhongshu put as “sublimation” ( 化 境 ). [8] In fact, this apparently abstract literary translation principle can be embodied by the “Three Beauties” of sound ( 音美 ), imagery ( 意美 ) and form ( 形美 ) put forward by Xu Yuanchong as the ontology of poetry translation. Xu also proposed three strategies and three skopos in translating Chinese metrical poetry[9], which have been effective and convincing in his own translations shown in the following chapter.In the past ten years, studies of classical poetry translation have mainly focused on the rendition of the original meaning or imagery, which according to Xu should be evaluated before the sound and form. “Image construction” has always been a keyword and core of papers on Chinese poetry translation. As earlier scholars paid more attention to the different thinking modes between Chinese and English, specifically Chinese is a paratactic language which tend to be implicit, while English is a hypotactic language which tend to be explicit, a number of papers studied the barrier of rendering Chinese “subtleness” into English and what translation strategies and techniques can be applied to transform the imagery of Chinese metrical poetry. Recent studies on Chinese metrical poetry translation have been closely linked with interdisciplinary theories of humanities and arts. For example, quite a few Chinese scholars have studied the form and content of classical Chinese translation adopting schema theory, which is an aspect of cognitive psychology. Some other papers have studied classical Chinese poetry from the perspectives of aesthetic reception and philosophical hermeneutics. No matter how far its multi-perspective link with Chinese metrical poetry translation has been explored, classical Chinese poetry can never be understood and appreciated without its linguistic features. Therefore, the essence of poetry is still its creation of sound and structure. Most of the poetry translation studies of Xu Yuanchong, one of the translation masters in metrical poetry, focus on his application of what he proposes as the “Three Beauties” to his own translations through various translation skills including the use of figurative languages. The “form equivalence” for most poetry translation analysis is about the use of rhyme and the entire structure. None of the articles or papers compared English meter with Chinese tonal prosody purely by exploring the similarity between syllables and tones. And the poetic structure equivalence between Chinese and English, such as corresponding a jueju with a quatrain or a lüshi with an octave have rarely been discussed either. Many scholars and researchers only noticed the differences between two languages. However, Chinese and English sounds are in some ways similar, thus can be interconverted and equivalent in a certain way.
52.2 Studies about “Form Equivalence” in Chinese and English metrical poetry translationMore studies on poetic prosody have been found from English to Chinese metrical poetry translation. Among various solutions to “form equivalence” in metrical poetry translation, many scholars support the idea of translating English metrical poems into Chinese vernacular metrical poems, with Mr. Bian Zhilin being a representative and master of applying such idea into practice. Through a large amount of translation practice, Mr. Bian, together with other older generation of translators has come up with a practical method of translating English metrical poetry, which is called “replacing foot with dun”, meaning using the basic rhythmic unit of modern spoken Chinese “dun” or “beat” or “sound/tone group” to translate English “foot”. Later an article entitled “How to Translate English Metrical Poems?” by a translator and translation scholar Yang Deyu makes a comprehensive summary of such idea and method of metrical poetry translation. [10] According to Yang, the effect of a pause (dun) in modern spoken Chinese is roughly equivalent to one foot in English poetry, which has been verified by many Chinese poetry translations done by the translators who either intentionally or not apply this method to translation. Such method was later developed by a translator Huang Gaoxin into a form trio of rendering word number, pause number, and rhyme scheme in English to Chinese poetry translation ( 三兼顧 ). [11] Nevertheless, some other scholars argue that the foot in English poetry is not equivalent to the Chinese “dun” because there are many types of foot in English metrical poetry. Regardless of whether “foot” and “dun” correspond to each other or not, it is Chinese translators’ attempt to create the equivalent rhythm effect when transferring English feet and their greatest contribution to restoring English meter to the Chinese translation.The tonal prosody discussed in this paper, specifically, the equivalence between Chinese tones (ping and ze) and English syllables (stressed and unstressed) has not yet been elaborately explored, though there is certain claim about the translatability of syllable in correspondence to the ping and ze based on some translation practices by translators, such as Zhu Xiang and Liang Zongdai who translated Shakespeare’s sonnets into verses with ten and twelve Chinese characters per line respectively. However, such way of dealing with English rhythmic structure was not agreed by Yang Deyu and many other people who support the equivalence between “dun” and foot. In fact, what Yang argued is not the same as what’s been discussed in this paper in a way that Yang only mentioned the replacement of English syllables with Chinese characters instead of discussing the correspondence between the two rhythm units. Another article, [12] though assumes the correspondence between syllables and tones, fails to elaborate such idea with examples and further discussion. The studies on poetic prosody are less founded in Chinese to English poetry translation. And rhyme issue is always the main topic for poetic form studies. There are basically two strategies for transferring English and Chinese rhyme schemes, that is, either to use the same rhyme scheme as the original poem or to apply the rhyme scheme that TT audience is familiar with. The former strategy seems to be supported by more translators and scholars. Since there is only one rhyme pattern in Chinese language, and Chinese rhyme and English end rhyme are almost equivalent in their sound effect, introducing metrical poetry by applying the same rhyme scheme to the translation can be accepted and appreciated by most poetry readers. According to Yang Deyu, translating English metrical poetry entirely to Chinese metrical poetry, which Yang Jimin Chen Form Equivalence in Translating Chinese Poetic Prosody into English
6terms this as “assimilation”, will somehow confuse the TT readers in a way that they cannot learn the original form of the poem, thus won’t be able to appreciate the poem in the same way as the ST audience. In a word, rhyme issue is not as challenging as meter issue translators solve in poetry translation. There seems to be a possibility of syllabic-tone equivalence believed by a few researchers. [13] None of them has explored it deeply by analyzing which tone and syllable are equivalent, and the effect of such equivalence, and whether the TT audience can appreciate the imagery and sound effect in the same way as the ST audience, all of which will be discussed in the following case analysis section.2.3 DataSince this paper makes an attempt to discuss the possibility and necessity of rendering Chinese tonal prosody into English, classical Chinese poetry with the strictest form is selected to make comparison with different English translation versions. The two types of metrical poetry selected for analysis here are shi (a type of poem flourishing in the Tang Dynasty) and ci (a type of poem flourishing in the Song Dynasty). A five-character jueju (a four-line verse), a seven-character lüshi (an eight-line verse) and a Song ci will be studied and analyzed with the emphasis on form equivalence, or more accurately on form correspondence in the next section.3 Case Analysis of Translating Chinese metrical poetry into EnglishST1:千山鳥飛絕 平平仄平仄 e韻萬徑人蹤滅 仄仄平平仄 e韻孤舟蓑笠翁 平平仄仄平獨釣寒江雪 仄仄平平仄 e韻“Jiang Xue” by Liu Zongyuan[14]Jueju is one of the most conventional and influential forms of poetry in the Tang Dynasty. It looks short apparently yet follows a number of strict rules in the use of tonal patterns and rhymes. Jueju is a poem of four lines, each line consists of five or seven characters. The selected poem is a five-character jueju. There is only one rhyme in a jueju, and the second and the fourth lines must rhyme, so the rhyme scheme of a jueju is either aaba or abcb. The general prosodic rules of a jueju or any metrical poem must obey the three rules as follow:1. The ping and ze tones should be used alternately within lines. Generally, two tones form one rhythm, two adjacent rhythms are different. In Chinese, it is called “ping ze xiang jian”. But the two tones within the rhythm must be the same.2. The ping and ze tones must be opposite to each other in each couplet (xiang dui) while they must be identical in each adjacent lines (xiang nian). Specifically, the two lines within a couplet (e.g. lines 1-2) must be opposite in rhythm, while the first line of the second couplet (lines 3-4) and the second line of the first couplet (lines 1-2) must be identical in rhythm, especially for the even characters in those two lines.3. Though it is not compulsory, the parts of speech in each pair of couplets are supposed to be matched (ci xing xiang dui), which is called antithesis.In fact, the selected jueju here by Liu Zongyuan is not regular in its rhythm as the second and third lines use opposite but not identical tonal structure. Such irregular situation is called “shi nian”, which is a rare case in jueju. However, none of the translators seem to be aware of this issue and all translations
7tend to be target language-oriented at least in the use of rhythm. Nevertheless, the first two lines of “Jiang Xue” use antithesis and the second couplet (last two lines) uses opposite ping and ze tones.The following three English versions of “Jiang Xue” have all rendered the original meaning and images carefully and precisely. Let’s compare and discuss the form of each English translation.TT1: / / / /From hill to hill no bird in flight; / / / /From path to path no man in sight. / / / / A straw-cloak d man in a boat, lo! / / / /Fishing on river clad in snow.Tr. Xu Yuanchong [15]TT2: / / / / /Over a thousand hills, no bird s in flight; / / / / /On myriads paths, not one foot-print in sight. / / / / /In a small lone boat straw-caped man with hat, / / / / / /Alone, angling river in cold, snow white.Tr. Frank C YueTT3: / / / /A hundred mountains and no bird, / / / / / A thousand paths without a foot print; / / / / A little boat, a bamboo cloak, / / / / / /An old man fishing in the cold river-snow.Tr. Witter BannerIn English poetry, a quatrain can be the most equivalent type of poetry to a Chinese jueju in terms of its structure. A quatrain is usually written in iambic pentameter or tetrameter, with a rhyme scheme of abab or abba. In a sense, translating jueju into quatrain is a natural and smooth bridge between Chinese and English languages. However, none of the selected three English translations here is a real quatrain due to the use of rhyme scheme. The closest version to the English quatrain is TT1 for its metrical pattern and the rhythm. Since jueju and quatrain don’t have the same rhyme scheme, TT1 uses a typical English couplet rhyme scheme of aabb, TT2 uses the same rhyme scheme aaba as the original poem, and TT3 is unrhymed. Since none of the three translations adopt the rhyme scheme of an English quatrain, TT2 seems to be the most faithful to the source text in terms of its rhyme scheme. Regarding the rhythmic structure, a five-character jueju is more equivalent to a quatrain written in tetrameter than pentameter, because iambic tetrameter which contains eight syllables per line is shorter than iambic pentameter of ten syllables per line. Syllables are different from tones or characters. Each Chinese character has only one sound or tone, while English is basically a polysyllabic language with many words having more than one sound/syllable. In poetry translation, it is hard or almost impossible to make an English syllable correspondent to a Chinese character as they are two different language families. A five-character jueju, if rendering into a five-syllable poem would have no more than five words in each line assuming all five words are monosyllabic, which could barely convey any original meaning or message to English. Moreover, Chinese metrical poetry is characterized by the use of opposite tones in the successive verse lines which creates a rhythmical and pleasant sound to the audience, while English metrical poetry is created by different types of foot. The iambus, an unstressed syllable followed by a stressed syllable (“ /”), is the most common type of foot Jimin Chen Form Equivalence in Translating Chinese Poetic Prosody into English
8TT2 in rhythm but failed in the last line which consists of eleven syllables and puts too many same sounds together.Lastly, part of speech matching (antithesis) appears in the first two lines of the poem “Jiang Xue”. The part of speech of each character matches precisely one another in the same position in the following line. All three translations have attempted keeping the first two lines in the same structure. TT1 tops the other two in creating eight monosyllabic words per line, making the two lines exactly parallel to each other, thus creating the most rhythmical sound among all three versions.All in all, despite the technical possibility of the equivalence between ping ze and stressed and unstressed sounds, none of the translators have ever made an attempt to match the rhythm of the two languages in this way, because it will perhaps confuse the English readers and destroy the sound beauty of Chinese metrical poetry.ST2: 錦瑟無端五十弦 仄仄平平仄仄平 an 韻一弦一柱思華年 平平仄仄仄平平 an 韻莊生曉夢迷蝴蝶 平平仄仄平平仄望帝春心托杜鵑 仄仄平平仄仄平 an 韻滄海月明珠有淚 平仄仄平平仄仄藍田日暖玉生煙 平平仄仄仄平平 an 韻此情可待成追憶 仄平仄仄平平仄只是當時已惘然 仄仄平平仄仄平 an 韻“Jin Se” by Li Shangyin[16]TT1 (Lines 3-6): / / / / / / / /The sage Chuang-tzu is day-dreaming, bewitched by butterflies, / / / / / / The spring-heart of Emperor Wang is crying in a cuckoo, / / / / / / /Mermen weep their pearly tears down a moon-green sea, / / / / /Blue fields are breathing their jade to the sun.used in English poetry. Most English metrical poetry is written in one foot with approximate same number of syllables in each line. Therefore, though matching ping tone with stressed syllable and ze tone with unstressed syllable is theoretically possible, creating syllables with opposite sounds in the successive verse lines (see Fig. 1) by no means makes a sensible and readable poetic rhythm to the English audience as spondee (two stressed syllables marked as “/ /”) and pyrrhic (two unstressed syllables marked as “ ”) feet are rarely used in English verses, which sound awkward and unnatural as well in English reading. Moreover, each foot of an English verse always contains one stressed sound (beat). Nevertheless, in Chinese, not only two ping tones and two ze tones can be put together, but even three same tones can be put together as long as the sounds are opposite to each other in two connected lines.平平仄仄平 / / / 仄仄平平仄 / / Figure 1Based on the different prosodic rules between Chinese and English metrical poetry, and the unworkable correspondence between characters and syllables, it can be concluded that the most equivalent type of English poetry to a Chinese five-character jueju is a quatrain written in iambic tetrameter with a certain rhyme scheme. A general quatrain rhymes abab, but a jueju rhymes abcb or aaba. According to this criterion, TT2 seems to be most faithful to the original rhyming. TT1 rhymes aabb, which is a common rhyme pattern for English couplets. As for meter, TT1 has created a perfect iambic tetrameter with exact eight syllables per line. The rhythms in the other two translations are irregular, even though they have all tried to start each verse line with an unstressed sound as this is the effect of an iambic foot. TT3 has done slightly better than
9Tr. Witter BannerTT2 (Lines 3-6): / / / / / /Dim morning dream to be a butterfly; / / / / / Amorous heart poured out in cuckoo’s cry . / / / / /In moonlit pearls see tears in mermaid’s eyes; / / / / /From sunburnt jade in Blue Field let smoke rise!Tr. Xu YuanchongThe second example is a lüshi, an eight-line Chinese metrical verse. There are mainly two types of lüshi, a five-character and a seven-character lüshi. The selected poem is a seven-character lüshi named “Jin Se” (an ancient instrument like a harp) by Li Shangyin, a well-known poet in the Tang Dynasty. This poem follows strictly the rules of Chinese metrical poetry as mentioned in the precious case analysis.Based on its structure, a lüshi can be regarded as a two-stanza quatrain or four couplets. Therefore, it is longer and more complex than a jueju in the following aspects: 1. Using one rhyme throughout the poem. Even lines must rhyme, odd lines except the first line must not rhyme. 2. The second couplet (hanlian, third and fourth lines) and the third couplet (jinglian, fifth and sixth lines) must use antithesis. 3. The ping and ze tones must be opposite in each successive line of the second and third couplets. The translations for comparison and discussion here only cover the second and third couplets (lines 3-6) of the poem for they are the most important and demanding lines in a lüshi.Based on its form, a lüshi is mostly equivalent to an octave, which is a verse of eight lines written in iambic pentameter, commonly rhyming abbaabba. The octave is originally the first eight lines of an Italian sonnet. Since lüshi can be considered an extended edition of jueju, it is reasonable and equivalent to transfer the tonal prosodic patterns of “Jin Se” to iambic pentameter as the original poem has seven characters per line. TT2 is successful in creating an iambic pentameter rhythm with exact ten syllables per line in the translation. However, it adopts neither rhyme scheme of the original poem nor that of an octave, but turns this lüshi into a heroic couplet, which is an iambic pentameter poem rhyming in pairs. Such transfer is by all means a smart choice since the translation not only keeps the poetic form of the source text, but also creates a type of poetry that is familiar to the TT readers. The success of TT2 is that it creates a balance between the formal equivalence and the dynamic equivalence by bringing the TT readers to the source language and culture through their own language features and poetry writing.TT1 has done better in rendering antithesis (using same sentence structure). In fact, matching the part of speech in classical Chinese texts is common. Antithesis is also used frequently in English literary texts. However, matching Chinese parts of speech with English antithesis word for word or phrase for phrase is hard, because one of the major differences between Chinese and English is that English tends to be hypotactic while Chinese is basically a paratactic language. That is, English uses tense while Chinese does not use very often. Nevertheless, matching sentence structure is possible because English is syntactically similar to Chinese language. That is why TT1 written in present progressive tense can still correspond to the original verses in a “subject-verb” pattern. What makes TT1 a less successful translation is that it has failed to make form equivalence to the original poem for using irregular metrical structure and no rhyme. TT1 is merely an interpretation of images and meaning by simply adopting the original poetic structure rather than turning ST2 into a metrical poem in English language.Furthermore, classical Chinese texts use many Jimin Chen Form Equivalence in Translating Chinese Poetic Prosody into English
10allusions to create symbolism and imagery. Allusions without the source language cultural background by paraphrasing are difficult to be understood by TT readers. One of the translation techniques of tackling allusion is using a word-for-word or literal translation of the source text with some annotation put in a footnote, which makes the rendition faithful to the ST form and meanwhile accesses the TT readers to ST language and culture. TT1 has done a literal translation of the third line “ 莊 生 曉 夢 迷蝴 蝶 ” without explaining the allusion of “ 莊 周 夢蝶 ” in the Chinese cultural context. TT2 has tactfully avoided this allusion by changing the subject of the original lines. Such allusion rendition issues in poetry translation could be further investigated and discussed.ST3:世情薄 人情惡 仄平仄 平仄平 o韻雨送黃昏花易落 仄仄平平平仄仄 o韻曉風乾 淚痕殘 仄平平 仄平平 an 韻欲箋心事 獨語斜闌 仄平平仄 仄仄平平 an韻難 難 難 平平平 an 韻 人成各 今非昨 平平仄 平平仄 o韻病魂常似秋千索 仄平平仄平平仄 o韻角聲寒 夜闌珊 仄平平 仄平平 an 韻怕人尋問 咽淚裝歡 仄平平仄 仄仄平平 an韻瞞 瞞 瞞 平平平 an 韻Phoenix Hairpin by Tang Wan [17]TT1: / / / / / The world unfair , True manhood rare ./ / / / / / /Dusk melts away in rain and blooming trees turn Aare . / / / / / /Morning wind high , Tear traces dry . / / / / / / / /I’ll write to you what’s in my heart , Leaning on rails, speaking apart. / / / Hard , hard , hard! / / / /Go each our yays! Gone are our days . / / / / / / Like long, long ropes of swing my sick soul groans alyays . / / / /The horn blows cold , Night has grown old . / / / / / / / /Afraid my grief may be descried , I try to hide my tears undried ./ / /Hide , hide , hide!Tr. Xu YuanchongThe third selected poem for case analysis is a ci (lyric) booming in the Song dynasty. As one of the most traditional and important Chinese metrical poetry, ci differs from shi for it was initially created for singing, which is the same as Anglo-Saxon (old English) poetry. Every ci has its own tune called cipu which is somehow like music staves showing the tune formed by its tonal patterns and rhyme. When writing a ci, a poet must stick to the tune of the lyrics and fill in each character following the set ping-ze tonal patterns and the rules for rhyming prescribed in the cipu. In general, there is always one rhyme throughout a Chinese metrical poem. However, according to the tune of “Phoenix Hairpin”, there is a rhyme shift between the first two lines and the last three lines of each stanza. The main rhyme is a flat tone rhymed “an”. The ping and ze is used alternatively based on the tonal prosodic rules of the tune. The two stanzas are almost parallel to each other in the use of structure, tonal pattern and rhyme.The equivalence of ci, such as “Phoenix Hairpin” - - - - - - -- - - - - - -
11can hardly be found in English poetry, because ci has its own structural pattern. Though using different number of characters or tones per line, ci is still catchy and rhythmical. However, the meter of English poem is rarely created by different number of syllables per line. English metrical poetry can be unrhymed, yet must be written in certain metrical structure, such as a blank verse. In general, there is always one type of foot used throughout an English metrical poem. Therefore, the English cinquain (a five-line poem) is not equivalent to the “Phoenix Hairpin” as none of its rules is similar to the tune of “Phoenix Hairpin” except for the line number.For rhyming, English rhyming system is much more complex than Chinese rhymes. Specifically, the rhyming form of Chinese language is strictly fixed as it all depends on the simple or compound vowel of Chinese characters while English has a more flexible rhyming pattern based on the polysyllabic feature of English language. In English, not only vowels and consonants can rhyme, beginning, middle and end syllables can also rhyme. Alliteration, assonance, end rhyme are the most common rhyming forms of English language. Nevertheless, Chinese is a monosyllabic language, and the repetition of vowel sound (equivalent to end rhyme) is the only type of rhyme in Chinese. In TT1 by Xu Yuanchong, there are seven end rhymes throughout the poem: [eə], [ai], [ɑrt] [ɑrd] in the first stanza and [eiz], [ould], [aid] in the second stanza. The original ci poem has only two rhymes with different underlined marks in ST3. To stick to the rhyme of this tune, the translator has made each stanza rhyme similarly as the original tune, especially the second stanza, which uses half rhyme in the sounds [ould] and [aid] to be closer to the original rhyming. The first two lines rhyme the same as the source text. The following three lines, though do not use the same rhyme as the original poem, try to create more rhyme patterns other than end rhyme to make it like an English poem. For instance, “high”, “heart”, “hard”, “hide” use alliteration; “heart”, “hard” though do not use end rhyme, sound rhythmical because they use both alliteration and assonance. “hard” and “hide” use half rhyme instead of end rhyme. All those different rhymes are rendered skillfully to be both faithful to the original poem and readable in the target language.The tonal pattern of a ci is fixed according to the cipu. The opposites of ping and ze tones and antithesis are not necessary as all rules for different tunes are set and written in the cipu. That is why writing a ci is also called “tianci” (fill in the characters) in Chinese. Since the rhythmic structure of a ci poem is not regular, a poem in irregular rhythmic structure cannot be considered a metrical poem in English, the translation mainly adopts iambic foot – a most frequently used foot in English poetry. With the use of various rhymes and iambus, the translator uses domesticating translation strategy to familiarize TT readers with their poetic form, and meanwhile introduces Chinese ci poem to the English audience.4 ConclusionA poem’s “spirit” lies in not only its profound meaning, but the creation of sound and poetic form. A good translator should keep such spirit as much as he/she can in poetry translation. According to Dendam (2006: 9) [18], poetry translation is a transfer between two poems rather than two languages. The spirit of a poem must be restored to its translation. Otherwise, translation is nothing but a mechanical activity that can be done by any machine if only meanings areThis s tudy ini t ial ly plans to explore the possibility and necessity of pure form correspondence between Chinese metrical poetry and its English translation. Upon carefully examining and comparing Jimin Chen Form Equivalence in Translating Chinese Poetic Prosody into English
12the structure, tonal assignment and rhyming system of three typical Chinese metrical poems, namely a five-character jueju, a seven-character lüshi and a ci, with their different English versions, it can be concluded that corresponding the unstressed syllable to the ze tone, and the stressed syllable to the ping tone, and putting the end rhyme in the same place in the translated verse as it’s used in the original Chinese poem are technically possible. Nevertheless, hardly any existing translation deal with Chinese and English rhythm in this way. One evident reason is that the metrical structure imitating Chinese ping and ze tones in the English translation could be awkward and unnatural, or such pattern might not be rhythmical at all to the English readers. Another reason could be such tonal correspondence doesn’t really contribute to the smoothness and elegance of the original poem, conversely, it might ruin the beauty of the meaning and sound both in the original Chinese poem and in its English translation in a way that the meaning is not likely to be fully rendered due to the restriction of metrical structure in both languages. Unfortunately, no translation example of such correspondence can be found to support the writer’s deduction, which can be one of the limitations of this study. Nevertheless, some aforementioned translators and scholars insist on transferring the English poetic foot into the Chinese “pause” as the only strategy for handling the rhythm issue in poetry translation. This strategy is proved to be workable through a large number of well-translated English metrical poems by translators, such as Bian Zhilin, Yang Deyu, etc. But it is still the equivalence between the two different rhythmical units instead of two words’ tones/sounds. We cannot say that poetry is untranslatable just because there’s no existing translation adopting tone correspondence. Besides, such strategy is only used in poetry translations from English to Chinese. All in all, the conclusion of this study is that though tone-syllable tonal correspondence is technically possible, thus translatable, yet no translation example of such could be found, which somehow indicates that such translatability might be too ideal to be necessary in poetry translation, meanwhile some certain equivalence of structure, meter and rhyme can be achieved without the “spirit” of the original poem being lost. If both form and functional equivalence can be achieved, readers of both languages would understand the texts in a similar fashion.According to the above case analysis and discussion, a five-character jueju can be equivalent to an English quatrain written in iambic tetrameter; a seven-character lüshi can be equivalent to an octave in iambic pentameter or in heroic couplet. Regarding tonal prosody, the ping and ze tones in Chinese are somehow equivalent to the stresses and unstressed syllables in English. It is impossible to create opposite rhythm (xiang dui) in the English translation as there is basically only one rhythm depending on the main foot type throughout an English metrical poem. However, creating identical rhythm between lines in English resembles Chinese xiang nian, still the English rhythm cannot be used the same as that in Chinese metrical poetry, because the alternate use of “dui” and “nian” in Chinese poetry aims to diversify the tones, while the use of one rhythm in English is to make the poem rhythmic and readable. Thus, the English rhythm is more similar to the pause (dun) than the tones in Chinese language. As for rhyming, pair rhymes and alternate rhymes are used more often in English poetry than in Chinese poetry which uses only one rhyme. Even though ci seems to be more flexible in using rhymes, there is always a main rhyme in Chinese lyrics. Therefore, whether adopting the original rhyme scheme in poetry translation or using the rhyme pattern which TT readers are familiar with is still a
13dilemma between foreignization and domestication strategies in translation. However, according to the poetic effect, the Chinese translator Xu Yuanchong’s versions tend to be more fluent and readable for both ST and TT readers as he uses parallelism, iambic pentameter, almost same number of syllables per line, and pair rhymes for Chinese poetry and alternate rhymes for Chinese lyrics that are consistent with the original rhyme patterns in ci in his translations. Such combination of both Chinese language features and English language features creates a balance between poetry translations by preserving the most of the two languages as well as the unique beauty and the soul of metrical poetry.Peter Newmark thinks that “translation is for discussion” (1991: 132). [19] Poetry as a typical genre of literature can be rendered with a variety of strategies and methods. Despite the fact that there has never been standard perfect translation ever, poetry translation assessment is generally based on Yan Fu’s three golden rules of “faithfulness”, “fluency” and “elegance”, or Xu Yuanchong’s three beauties of “sound”, “imagery” and “form”. No matter what translation technique is adopted or what assessment method is applied, sound beauty outweighs other elements of a poem somehow, for much of old Chinese and English poetry was intended to be chanted initially.Last but not least, one of the limitations of this study is that no example of pure tonal correspondence translation can be found to be compared with the existing various translations that mostly focus on the structure and rhyme. Xu Yuanchong, who did pay attention to the tonal prosody issue, attempts to make an equivalence between Chinese tonal patterns and English meter by creating the rhythmic structure English readers are familiar with, yet leaving the original poetic prosody of Chinese poetry untouched. Another limitation is that, due to space constraints, the writer has only selected three most representative Chinese metrical poems in terms of their strict form rules for analysis, yet the number of cases in this paper is still not enough to support the argument of technical translatability but lack of readability in corresponding Chinese tones to English syllables. This study will definitely be continued to explore various solutions to tonal equivalence by providing more tone-syllable corresponding translation examples and perhaps some experimental translations done on purpose for merely tonal prosody analysis by the writer.Hopefully, more and more researchers will pay attention to the meter in both languages and provide various viable solutions to the form of classical poetry rendition for further investigation. Future studies of this issue can be far more mature with more versions of poetry translation produced by ambitious translators.References[1] 《 · 》 學1953[2] Daniel B. Wallace. “Fifteen Myths about Bible Translation.” In Bible Translation, 30 Nov. 2012, danielbwallace.com/2012/10/08/fifteen-myths-about-bible-translation/. [3] “A Quote by Robert Frost.” Goodreads, Goodreads, http://www.goodreads.com/quotes/625-poetry-is-what-gets-lost-in-translation.[4] Nida, Eugene A. Toward a Science of Translating. Leiden: Brill, 1964.[5] Dryden, John. The Turns of Translation Studies: New Paradigms or Shifting Viewpoints? .Ed. Mary Snell-Hornby. Amsterdam: John Benjamins Publishing Company, 2006.[6] 《 學》 Translation Poetics 學2015[7] 《 》 Tian Yan Lun by Thomas Henry Huxley, Shang Wu Yin Shu Guan, 1981.[8] 《 學 》 2005[9] 《 》 2006[10] 《 》 3 1990 2-6[11] 《報》 018 2014. 03. 05 Jimin Chen Form Equivalence in Translating Chinese Poetic Prosody into English
14[12] 學《 》 《 學 學報》 62010 24-28[13] 大 《學》 6 2001 79-82[14] et al. 《 : 》 300 Tang Poems: a New Translation: English-Chinese / [ , , 編] 1988[15] Liu, Zongyuan. “Fishing in Snow(Jiang Xue)” 300 Tang Poems: a New Translation: English-Chinese / [ 編]. Ed. Roman Tang 1988305[16] Li, Shangyin. “The Inlaid Harp.” Love Songs from China. Ed. Roman Tang. (Chengdu: Si Chuan People’s Publishing House, 2006), 91.[17] Tang, Wan. “Tune: ‘Phoenix Hairpin’.” Love Songs from China. Ed. Roman Tang. (Chengdu: Si Chuan People’s Publishing House, 2006), 148.[18] Denham, John. “Preface.” Love Songs from China. Ed. Roman Tang. (Chengdu: Si Chuan People’s Publishing House, 2006), 3-10.[19] Newmark, Peter. About Translation . Clevedon and Philadelphia: Multilingual Matters, 1991.
15 16 1 澳 門 科 技 大 學 學 報 Vol.16 No.1 2022 06 30 Journal of Macau University of Science and Technology Jun 30, 2022 收稿日期：2021年06月03日；通過日期：2022年03月11日。*通訊作者：張可欣，女，澳門科技大學博士研究生，主要研究方向：語言學及應用語言學、漢語國際教育。電子郵箱：20098532UT30001@student.must. edu.mo；聯繫電話：+86-15584315002。漢語同素逆序詞的多維度考察張可欣*澳門科技大學 學摘要： 同素逆序詞作為漢語詞彙中一種特殊的語言現象，起源於上古漢語，經演變發展沿用至今，具有強大的生命力。本文運用「三個平面」理論方法，對《現代漢語詞典》（2005年版）（以下均簡稱《現漢》（05版））中同素逆序詞進行定量窮盡式描寫，統計其中全部的同素逆序詞，製作成語料庫，共收錄608對同素逆序詞，即1216個詞，運用定量與定性、描寫與解釋、歸納與演繹等方法，試圖從詞語結構和語義類型進行分類考察。從詞語結構來看，同素逆序詞中以同構詞為主，異構詞輔之，同構詞中並列和偏正佔多數。探究發現《現漢》（05版）中，半數以上同素逆序詞的語義變化受到語素順序的影響，因此現代漢語詞義的形成與語素意義有關。關鍵詞： 同素逆序詞；三個平面；多維度；語素；形態學 Multi-dimensional Study of Inverse Morpheme Words in Chinese Kexin Zhang*(University International College, Macao University of Science and Technology)Astract: As a unique linguistic phenomenon in Chinese vocabulary, inverse morpheme words originate from ancient Chinese and have evolved and are still in use today.Using the theory of “Three Plane”, this paper quantitatively describes the inverse morphemes in Modern Chinese Dictionary (2005 edition) (hereafter referred to as “Modern Chinese” (the 05th edition)), and makes a corpus containing 608 pairs of inverse morpheme words, namely 1216 words. Using quantitative and qualitative methods, descriptive and explanatory methods, inductive and deductive methods, this paper tries to make a classification investigation from word structure and semantic type. From the perspective of word structure, the inverse morpheme words are dominated by homologous words, supplemented by heterologous words. In the homologous words, the juxtaposition and orthologous structures are the majority.It is found that the semantic changes of more than half of inverse morpheme words in “Modern Chinese” (the 05th edition) are affected by the morpheme order, so the formation of the meaning of modern Chinese words is related to the morpheme meaning.eyyords: Inverse morpheme words; Three planes; Multi-dimension; Morpheme; Morphology
23的同素逆序詞一部分可能成為漢語詞彙系統的冗餘 會被規範 而有些詞的意義會在詞素意義的基礎上產生新義或者表示新義 因而會產生意義無關聯的同素逆序詞(4) 從漢語發展歷程來看 詞彙處於由單音節向雙音節發展的過程中的一種不穩定狀態 不能辨別同素逆序詞中的哪個詞先出現 哪個詞後出現 有些詞處於並存狀態 而有些在詞彙發展中被淘汰 因此 逆序是一種構詞特點 不是構詞法 不能適用於現代漢語的所有詞彙[1] 張巍 中古漢語同素逆序詞演變研究 上海 復旦大學 2005 11-15[2] 徐根鬆 雙音節同素反序詞的語法 語義考察 浙江師大學報 社會科學版 1 浙江 1997.01 107-110[3] 田小琳 李斐 港式中文同素逆序詞考論 漢語學報 1 湖北 2014.01 61-68[4] 鄭奠 古漢語中字序對換的雙音詞 中國語文 北京 1996.06 445-463[5] 張琪昀 倒文詞考察 鹽城師專學報 社會科學版 3江蘇 1987.03 43-47[6] 張德鑫 談顛倒詞 漢語學習 6 北京 1995.0618-22[7] 楊奔 關於同素反序詞的規範問題 玉林師專學報 4廣西 1999.04 47-49[8] Compton, Richard. Phasal Words and Inverse Morpheme Order in Inuktitut. Toronto Working Papers in Linguistics (2009), 1-55.[9] Wunderlich, Dieter. The challenge by inverse morphology. Linguee linguaggio 4.2(2005), 195-214.[10] 張巍 韓國語同素逆序漢字詞研究 外語與外語教學 1 上海 2010.01 87-91[11] 陸建麗 對外漢語同素逆序詞教學研究評述 語文學刊 19 呼和浩特 2010 148-149 [12] 彭坤 淺析 紅樓夢 中的同素逆序副詞 現代語文語言研究版 4 山東 2008 44-45[13] 張美蘭 穆湧 稱謂詞 弟兄 的歷時發展與地域分佈 語言研究 1 北京 2015 74-83[14] 鄒貞 海峽兩岸同素異序詞歷時考察 以 熊貓 和 貓熊 為例 全球華語 2 英國 2016.02 273-288[15] 馬顯彬 同素異序詞成因質疑 湛江師範學院學報 5湛江 2004 79-81[16] Klaiman, M.H. Inverse languages. Lingua 88.3-4(1992), 227-261.參考文獻[17] X, Ling. Research on the Inverse Morphemes Word Pairs in Huang Kan s Interpretation of the Collected Notes on the Analects of Confucius. Advances in Social Science, Education and Humanities Research Vol.289. (Netherlands: Atlantis Press, 2018), 483 490. [18] 胡裕樹 語法研究的三個平面 從 淡化語法教學 說起語文學習 11 上海 1992 36-38[19] 楊永紅 三個平面理論研究內容及理論應用綜述 現代語文 語言研究 1 山東 2017 17-18[20] 唐健雄 現代漢語同素異序詞語分析 語文研究 2河北 2004 32-34[21] 劉楓 從HSK同素逆序詞看對外漢語詞彙教學 雲南師範大學學報 對外漢語教學與研究版 3 雲南 2007.0540-46[22] 王力 同源字典 北京 商務印書館 1982 24[23] 張雪 同素逆序詞異同分析 南京 南京師範大學碩士論文 2015[24] Packard, J. The Morphology of Chinese. (Cambridge University Press, 2000), 219-222.[25] 沈家煊 語法化學說 導讀 見Hopper Traugott著 梁銀峰譯 語法化學說 北京 外語教學與研究出版社 2001F32
2416 1 澳 門 科 技 大 學 學 報 Vol.16 No.1 2022 06 30 Journal of Macau University of Science and Technology Jun 30, 2022 收稿日期：2021年03月31日；通過日期：2022年03月11日。*通訊作者：倫昕煜，女，澳門科技大學國際學院博士生，主要研究方向：語言學及應用語言學、漢語國際教育。電子郵箱：2009853put30001@student.must.edu.mo；聯繫電話：+86-18813113686。非典型連謂表達式「V著O+VO」構式語義與意象圖式探究倫昕煜*澳門科技大學 學摘要： 非典型連謂表達式「V著O+VO」由「V著O」和「VO」兩個語塊構成，表示兩個動作同時發生。語塊一「V著O」在進入該表達式後被構式賦予類似狀語的修飾義，所包含的動賓結構的[+狀態性][+持續性][-動作性]特點在構式中被凸顯，用以更好地描述語塊二的狀態。語塊二「VO」在構式中承擔著保留句子主幹和動作事實的作用。「V著O+VO」構式中包含的意象圖式體現了在對兩個同時發生的動作進行說明時，人們通常會用耗力少的動作修飾耗力多的動作，用持續時間短的動作修飾持續時間長的動作，用複雜度低的動作修飾複雜度高的動作。這也是該構式中語塊一修飾語塊二的認知條件。這些動作的特徵體現了說話人的認知心理，當其與客觀現實或大眾認知一致或存在差異時，句子的語感接受度會發生變化。關鍵詞： 「V著O+VO」構式；構式語義；特徵凸顯；意象圖式Study on the Construction Semantics and Image Schema of the typical Connector Expression “V Zhe +VO” Xinyu Lun*(University International College, Macao University of Science and Technology)Astract: The atypical predicate expression “V Zhe O+VO” consists of two blocks “V Zhe O” and “VO”, indicating that two actions occur simultaneously. Block 1 “V Zhe O” is endowed with the modifier meaning similar to adverbial after entering the expression, and the characteristics of the verb-object structure contained in it are highlighted in the construction, so as to better describe the state of block 2. Block 2 “VO” plays the role of preserving the main body of the sentence and the action fact in the construction. The image schema contained in the “V Zhe O+VO” construction reflects that when two simultaneous actions are explained, people usually modify the action with less effort with more effort, the action with short duration with long duration, and the action with low complexity with high complexity. This is also the cognitive condition of phrase block 1 and modifier block 2 in the construction “V Zhe O+VO”. The characteristics of these actions reflect the cognitive psychology of the speaker. When they are consistent with or different from the objective reality or public cognition, the acceptability of the sentence will change.eyyords: “V Zhe O+VO” Construction; Semantic Structure Type; Characteristics of the Highlight; Image Scheme
28O+VO 構式由 V著 O 和 VO 兩個語塊構成 表示兩個動作同時發生 其中 語塊一 V著O 在單獨出現時不具備修飾功能 在進入該構式後被構式賦予類似狀語的修飾義 語塊中動賓結構的 [+ 狀態性 ][+ 持續性 ][- 動作性 ] 特點在構式中被凸顯 用以更好地描述語塊二的時長 方式或狀態 語塊二 VO 在構式中承擔著保留句子主幹和動作事實的作用 這使得 V著 O+VO構式中的兩個謂語有了 主從之分V著 O+VO 構式中包含的意象圖式體現了在對兩個同時發生的動作進行說明時 人們對於動作特徵的聚焦點和觀察角度不同 動賓結構進入語塊的位置也不同 通常來說 耗力少的動作通常修飾耗力多的動作 持續時間短的動作通常修飾持續時間長的動作 複雜度低的動作通常修飾複雜度高的動作 這也是 V著 O+VO 構式中語塊一滿足修飾語塊二的認知條件 這些動作的特徵是說話人認知心理的反映 當動作的特徵與客觀現實或大眾認知一致時 句子的語感接受度較高 反之則句子的語感接受度較低[1] 黃伯榮 廖序東 現代漢語 第七版 北京 高等教育出版社 2010[2] 劉若楊 臨摹邏輯層面時序原則的 V著 N + VP 格式 中北大學學報 社會科學版 2 山西 201075-77[3] 趙元任著 呂叔湘譯 漢語口語語法 北京 商務印書館 1979[4] 丁聲樹 現代漢語語法講話 北京 商務印書館 1999[5] 呂叔湘 中國文法要略 北京 商務印書館 1990[6] 劉丹青 漢語及親鄰語言連動式的句法地位和顯赫度民族語文 3 北京 2015 3-22[7] 張 伯 江 漢 語 連 動 式 的 及 物 性 研 究 語 言 研 究 與 探 索九 北京 商務印書館 2000 2-9[8] Croft, W. Radical Construction Grammar: Syntactic Theory in Typological Perspective. Oxford University Press on Demand, 2001.[9] Bergen, B., & Chang, N. Embodied Construction Grammar. In The Oxford Handbook of Construction Grammar, Oxford: University of Oxford Press, 2013.[10] P a u l , K . G r a m m a t i c a l C o n s t r u c t i o n s a n d L i n g u i s t i c Generalizations: the What s X Doing Y? Construction. Language 75.1(1999), 1-33.參考文獻[11] Goldberg, A. E. Constructions: A Construction Grammar Approach to Argument Structure. Chicago: University of Chicago Press, 1995.[12] 吳為善 構式語法與漢語構式 上海 學林出版社 2016[13] Goldberg , A. E. Construct ions at Work : The Nature of Generalization in Language. Oxford University Press on Demand, 2006.[14] 侯國金 詞彙 構式語用學 北京 國防工業出版社2015[15] 朱德熙 語法講義 北京 商務印書館 2017[16] 葉蜚聲 徐通鏘 語言學綱要 北京 北京大學出版社2015[17] 黃伯榮 廖旭東 現代漢語 增訂五版 北京 高等教育出版社 2011[18] 陳吉榮 圖式與意象理論範疇考辯 外語研究 6 南京 2013 33-38[19] 陸儉明 現代漢語語法研究教程(第五版) 北京 北京大學出版 2019[20] 左思民 動詞的動相分類 華東師範大學學報 哲學社會科學版 1 上海 2009 74-82
29 16 1 澳 門 科 技 大 學 學 報 Vol.16 No.1 2022 06 30 Journal of Macau University of Science and Technology Jun 30, 2022 宗教自由背景下同性婚姻問題的爭議焦點探析——兼評許育典《同性婚姻、同性平權與宗教自由》段知壯*大學 學摘要： 在以美國為代表的許多國家的法律制度下，同性婚姻法律問題最主要的討論焦點便是其與宗教自由之間的矛盾，人們通常將以基督教為代表對同性戀的負面評價與同性平權訴求進行人為的二元對立，但事實上這兩者之間至少在法律層面或許並沒有直接的正面衝突。憲法意義上對公民基本權利的保障多是出於對國家公權力的擴張抵制，而無論對於同性婚姻制度支持與否，其都需要依託於國家制度建構意義上的強制力背書。因此國家立法、司法層面如何在必須進行價值基準選擇的前提下進行對婚姻制度的塑造，以及在該種塑造之後如何應對持相反道德理念之人群的權利保障才是問題的核心與關鍵。關鍵詞： 宗教自由；同性婚姻；基本權利；道德自由Research on the Controversial Focus of Same--sex Marriage in the Context of Religious Freedom Zhizhuang Duan*(Xingzhi College Zhejiang Normal University)Astract: Under the legal system of many countries represented by the United States, the main focus of discussion on same-sex marriage is the contradiction between it and religious freedom. People usually make a dualistic antagonism between the negative evaluation of homosexuality represented by Christianity and the appeal for equal rights of homosexuals, but in fact, there may not be a direct positive head-on confrontation between the two at least at the legal level. The protection of citizens' basic rights in the sense of constitution is mostly due to the resistance to the expansion of state public power. Whether it supports the same-sex marriage system or not, it needs to rely on the compulsory endorsement in the sense of national system construction. Therefore, how to shape the marriage on the premise that the value benchmark must be chosen at the national legislative and judicial levels, and how to deal with the protection of the rights of people who hold opposite moral concepts after such shaping is the core and key of the problem.eyyords: Religious Freedom; Same-sex Marriage; Basic Rights; Moral Freedom收稿日期：2021年11月30日；通過日期：2022年03月11日。*通訊作者：段知壯，男，法學博士，日本學士博士，浙江師範大學行知學院講師。主要研究方向為理論法學。電子郵箱：b97@qq.com；聯繫電話：+86-18911026906。
4016 1 澳 門 科 技 大 學 學 報 Vol.16 No.1 2022 06 30 Journal of Macau University of Science and Technology Jun 30, 2022 收稿日期：2021年11月19日；通過日期：2022年03月14日。*通訊作者：李亞青，澳門科技大學電影學院博士在讀，澳門科技大學國際學院講師，研究領域電影文化。電子郵箱：yqli@must.edu.mo；聯繫電話：+853-88972145。媒介地理學視角下澳門文化遺產的電影化保護與發展李亞青*澳門科技大學 學摘要： 在澳門這座長達四百餘年東西文化交融、多元信仰並存的小城，文化遺產歷史悠久，豐富綺麗。中西建築交相輝映的澳門歷史城區構成了澳門一道獨特的文化景觀，豐富多彩的澳門非物質文化遺產見證了澳門人民世代相傳的文化傳統。保護、研究和發展澳門的文化遺產，有助於促進澳門的文旅事業，提升澳門的城市知名度和國際影響力，而電影在繼承與保護澳門文化遺產，宣傳澳門城市形象等方面發揮著重大作用。本文首先從媒介地理學視角論述電影與澳門文化遺產的關聯，再談論澳門文化遺產電影化保護與發展的具體舉措，最後針對現有問題從媒介地理學角度提出策略和建議。關鍵詞： 文化遺產；活態保護；創新發展Film-Aased Preservation and Development of Macao’s Cultural Heritage from the Perspective of Media Geography Yaqing LI*(Academy of Cinematic Arts, Macao University of Science and Technology)Astract: In Macao, a small city with over 400 years of East-West cultural fusion and coexistence of multiple beliefs, the cultural heritage has also a long and rich history. The Historic District of Macao where Chinese and western buildings complement each other, constitutes a unique cultural landscape of Macao. The rich and colorful intangible cultural heritage of Macao has witnessed the cultural tradition handed down by the Macao people from generation to generation. The preservation, research and development of Macao’s cultural heritage will help promote Macao’s cultural tourism industry and enhance the city’s popularity as well as international influence, and film plays a significant role in inheriting and protecting Macao’s cultural heritage and promoting the city’s image. This paper first discusses the relationship between film and Macao's cultural heritage from the perspective of media geography, then points out the specific measures for the preservation and development of Macao's cultural heritage through film, and finally proposes strategies and suggestions from the perspective of media geography to address the existing problems.eyyords: Cultural heritage; Active preservation; Innovative development
4816 1 澳 門 科 技 大 學 學 報 Vol.16 No.1 2022 06 30 Journal of Macau University of Science and Technology Jun 30, 2022 中國黃金期貨市場羊群效應的實證研究王佳*，王少嵩，張鑫洋澳門科技大學 學摘要： 羊群效應作為交易市場不可忽視的一種偏差行為，影響著黃金期貨市場的穩定性。單個投資者處於種種原因，根據其他投資者的行動而選擇買入或是賣出，有些投資者甚至盲目跟從投資行為，對黃金期貨市場的變動產生重大影響。本文以中國黃金期貨市場為研究對象，選取2015年5月15日至2019年12月31日為樣本區間，對羊群效應進行實證檢驗。運用CSAD模型對原始數據進行計算，分析整個黃金期貨市場羊群效應的存在性，並根據市場收益率的正負，將黃金期貨市場分為上行市場和下行市場，研究黃金期貨市場的羊群效應是否存在對稱性。實證結果表明，中國黃金期貨整體市場存在羊群效應，在市場收益率報為正和負兩個階段的羊群效應不存在對稱性，為負時的羊群效應嚴重程度略強。關鍵詞： 行為金融；黃金期貨；羊群效應；CSAD模型n Empirical Study of Herding Behavior in Chinese Gold Futures Market Jia Wang*, Shaosong Wang, Xinyang Zhang(School of Business, Macau University of Science and Technology)Astract: As a biased decision-making in Chinese trading market, the herding behavior influence the stability of the gold futures market. A single investor may choose to buy or sell based on the actions of other investors for various reasons. Even, some investors blindly follow the other investment behaviors, which has a significant impact on the gold futures market. This paper collects China’s gold futures market and selects the sample interval from May 15, 2015 to December 31, 2019, to conduct an empirical test of the herd effect. Using the CSAD model to calculate the original data, we analyze the existence of the herd effect in the gold futures market. In addition, we divide the gold futures market into an up market and a down market according to the positive or negative market rate of return. The empirical results show that there is a herd effect in the gold futures market in China. Moreover, there is no symmetry in the herd effect in the two phases of positive and negative market returns, and the effect is slightly more severe when it is negative.eyyords: Behavioral Finance; Gold Futures Market; Herding Behavior; CSAD Model收稿日期：2021年10月23日，通過日期：2022年4月12日。*通訊作者：王佳，男，博士，副教授，研究計量經濟學。電子郵箱：jwang@must.edu.mo；聯繫電話：+853-88973281。
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55 16 1 澳 門 科 技 大 學 學 報 Vol.16 No.1 2022 06 30 Journal of Macau University of Science and Technology Jun 30, 2022 收稿日期：2021年11月9日，通過日期：2022年4月12日。*通訊作者：李雁晨，男，博士，助理教授，主要研究方向：品牌管理、關係營銷、消費者決策等。電子郵箱：ycli@must.edu.mo；聯繫電話：+853-88972037。純粹名稱效應：消費者對使用成分品牌策略產品之評價的性別差異李雁晨*，李彥和，蔣曉陽，黃文珊澳門科技大學 學摘要： 本研究實證檢驗了當成分品牌不具有事先的知名度和品牌聯想的條件下，消費者對使用成分品牌策略的產品在功能評價上的性別差異。研究一和研究二分別用兩類產品（功能性服飾和保溫杯）在使用杜撰的但具有意義的成分品牌名稱的情況下，女性消費者對產品功能的評價高於男性，也高於無成分品牌條件；而在產品款式評價方面，不論有無成分品牌，男女評價皆不具有任何差異。而研究三則證明，即使女性無法從成分品牌名稱中提取含義，成分品牌策略依然有效，並且這種效應經過了綫索診斷性的仲介。關鍵詞： 成分品牌；產品評價；性別差異The Mere Name Effect: Gender Differences in Consumers’ Evaluations of Products Using Ingredient Branding StrategyYanchen Li*, Yanhe Li, Xiaoyang Jiang, Wenshan Huang(School of Business, Macau University of Science and Technology)Astract: This research empirically investigated the gender differences in consumers’ evaluations of product function when the products use ingredient branding strategy while the branded ingredients do not have prior awareness and associations. By using two product categories as stimuli (outdoor functional clothing and insulated tumbler), the results of study 1 and 2 indicate that when the ingredient brand name is fictitious but meaningful, female consumers evaluate the product function more positively than that of male consumers and that of product without branded ingredient. However, in terms of evaluations on product styles, male and female consumers show no significant difference when there is ingredient brand or not. The results of study 3 reveals even when the name of ingredient brand is not suggestive, ingredient branding strategy is still effective for female consumers, and this effect is mediated by consumers’ perception of cue diagnosticity.eyyords: Ingredient branding; Product evaluation; Gender differences
58有研究表明 在利用綫索方面存在性別差異 相比男性 女性感知細微綫索更具診斷性 因此會更多地利用細微綫索形成對事物的判斷 [34~35] 基於此 本研究有如下預測H1 當成分品牌無先驗品牌資產時 相比沒表 1 消費者評價採用成分品牌策略產品的實證研究注 期刊名稱縮寫 IMM = Industrial Marketing Management JAMS = Journal of the Academy of Marketing Science JBM = Journal of Brand Management JBR = Journal of Business Research JHMM = Journal of Hospitality Marketing & Management JM = Journal of Marketing JMR = Journal of Marketing Research JPBM = Journal of Product and Brand Management JRCS = Journal of Retailing and Consumer Services MS = Marketing Science有使用成分品牌策略 消費者對使用成分品牌策略的最終產品有更高的評價 但這一效應存在性別差異 其中 女性比男性有更高的評價H2 當成分品牌無先驗品牌資產時 成分品牌效應的性別差異經過了資訊診斷性的仲介 表 1（續） 消費者評價採用成分品牌策略產品
64[1] Keller K. L. Strategic Brand Management: Building, Measuring, and Managing Brand Equity. 4th ed. Pearson, 2012.[2] Kotler P., Pfoertsch W. Ingredient Branding: Making the Invisible Visible. Heidelberg: Springer, 2010.[3] Gregan-Paxton J., John D. R. Consumer Learning by Analogy: A Model of Internal Knowledge Transfer. Journal of Consumer Research 24.3(1997), 266-284.[4] Keller K. L. Brand Synthesis: The Multidimensionality of Brand Knowledge. Journal of Consumer Research 29.4(2003), 595-600.[5] Dimofte C. V., Yalch R. F. The Mere Association Effect and Brand Evaluations. Journal of Consumer Psychology 21.1(2001), 24-37.[6] Yang S., Ha S. Brand Knowledge Transfer via Sponsorship in the Financial Services Industry. Journal of Services Marketing 28.6(2014), 452-459.[7] Desai K. K., Keller K. L. The Effects of Ingredient Branding Strategies on Host Brand Extendibility. Journal of Marketing 66.1(2002), 73-93.[8] Ghosh M. , John G. When Should Orig inal Equipment Manufacturers Use Branded Component Contracts with Suppliers?. Journal of Marketing Research 46.5(2009), 597-611.[9] Richardson P. S., Dick A. S., Jain A. K. Extrinsic and Intrinsic Cue Effects on Perceptions of Store Brand Quality. Journal of Marketing 58.4(1994), 28-36.[10] Kirmani A., Rao A. R. No Pain, No Gain: A Critical Review of the Literature on Signaling Unobservable Product Quality. Journal of Marketing 64.2(2004), 66-79.[11] Nelson P. Information and Consumer Behavior. Journal of 參考文獻純粹名稱效應 單純對最終產品所使用的成分進行命名並以某種可見的方式呈現 即可產生統計上顯著的評價效應 這不僅拓展了對成分品牌策略的理解 也拓展了對消費者綫索利用的理解過去的理論表明 消費者對綫索的利用取決於其資訊價值 這種資訊價值通常取決於在決策者頭腦中事先存在的關於綫索的先驗態度 知識等而本研究則表明 至少是對於女性 綫索本身即具有診斷性價值 進而對消費者的評價產生影響另外 本研究也呼應了過去性別差異研究中所發現的女性更善於利用細微綫索的現象5.2 實踐意義本文的研究發現也具有一定的實踐意義 對於那些目標顧客群為女性的產品 使用成分品牌策略不失 一種低成本且有效的策略 因 僅僅對產品所使用的原料 零部件或技術取一個品牌名稱即可提升女性消費者對產品功能的評價 但需要引起注意的是 消費者基於多維度的評價進行決策 功能評價只是其中之一 本研究表明 與產品功能相關聯的成分品牌策略並不能對產品的外觀評價產生顯著影響 另外 正是由於純粹為成分進行命名即可產生效應 成分品牌策略可能成 一種營銷話術遭到濫用 從廠商角度 如果將成分命名當作營銷話術濫用成分品牌策略 其長期效果可能是負面的 而對於消費者 特別是女性消費者 面對採用不知名成分品牌的產品時則應當小心5.3 研究局限和未來研究方向對於男性 本文中三個實驗的結果也值得進一步探討 雖然在統計上不顯著 三個實驗中男性對使用了成分品牌策略產品的功能評價一致地低於沒有使用成分品牌策略條件 這可能是偶然也可能是由於樣本量小統計力低造成的 未來的研究可以增加實驗被試數量 充分研究男性消費者對成分品牌策略的反應 如果這種評價模式得到證實 進一步探討背後的原因將是十分有意義的 如果成分品牌策略是一種營銷話術 是不是這種營銷話術會造成消費者的懷疑從而產生了反面效果第二 本研究所發現的對於女性的 純粹名稱效應 是基於一種假定 即成分品牌綫索的診斷性價值可以基於類似價格 - 質量啟發式中 一分錢一分貨 的 有品牌好過無品牌 這樣的信念未來的研究可以進一步檢驗這一假定是否真的成立最後 本研究中的實驗採用了匿名終端產品品牌加杜撰成分品牌的實驗設計 未來的研究還可以採用真實產品品牌 探討在最終產品具有不同品牌資產水準下 這種 純粹名稱效應 存在什麽樣的變化
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JOURNL OF MCU UNIVERSITYOF SCIENCE ND TECHNOLOGYSemiannual, Started in June 2007Vol.16 No.1 June 202220 澳門 /二 二二年 第十六卷 第一期JOURNL OF MCU UNIVERSITY OF SCIENCE ND TECHNOLOGYVol.16 No.1 June 2022
