Chapter 3 Translation Process.................................9
3.1 Preparations before Translation........................................ 9
3.2 Procedures in Translation......................................10
3.3 Proofreading after Translation................................. 10
Chapter 4 Case Analysis.............................................. 11
4.1 Cultural Back-Translation on Proper Nouns...................................11
4.1.1 Personal Names.................................11
4.1.2 Names of Organizations..................................13
4.1.3 Official Terms....................................14
Chapter 5 Conclusion..........................26
Chapter 4 Case Analysis
4.1 Cultural Back-Translation on Proper Nouns
Back-translation of Chinese proper nouns, such as personal names, organization namesand title terms, from English to Chinese is a pure back-translation process, and it should notbe given too much free play[19]. Therefore, the translator must be well-founded andwell-documented during the process of cultural back-translation. First of all, it is necessary tofind out whether the word has been included in an authoritative dictionary. Since some propernouns have been translated in a fixed way, it is necessary to translate them in a conventionalway, such as translating “Confucius” into “孔子”. Second of all, if the content in the text isnot well known, you need to look up the dictionary or use other modern retrieval methods tosearch for it, find as much relevant information as possible, and achieve high-qualitytranslation.
4.1.1 Personal Names
Example 1
ST: Revered since the Neolithic, Shen Nong, the “Divine Cultivator” was also the“Sovereign of the Earth”, the patron of agriculture.
TT text:自新石器时代起，神农就被尊为“农皇”，同时也被尊为“地皇”，是农业的保护神。
Analysis: “Shen Nong” in the source text is the name of a mythical figure, very familiarto the Chinese, known as “神农”. This mythical character can trigger the Chinese readers’intertextual association. By looking up historical materials, we know that Shen Nong hasother alternative names, such as “赤帝”，“农皇”，“神农大帝”，“地皇”.As a result,we can get an accurate translation of “Divine Cultivator” and “Sovereign of the Earth”.
Chapter 5 Conclusion
This chapter draws a conclusion to the whole translation process of Steeped in History:The Art of Tea and the translator’s serious reflection on the related theory and methodology.This report has not only recorded the problems found by the translator in the practicalrendering process, but also her experiences and introspection gained during the translationpractice. It is hoped that the analyses of all the summarized difficulties and problems and theircorresponding solutions can provide some insight into intertextual translation and somereferences for the relevant translation study.
Within a few months of translating Steeped in History: The Art of Tea, the translator hasgot to realize the high requirements and demands of being a qualified translator. Translatorsshould be bi-cultural as well as bilingual, and they should also have the courage to makereasonable supplement, omissions, or adjustments to sentences in translation to ensure thequality of the version. In addition, translators should have a good cultural awareness as wellas some discipline knowledge, a sensitive cognition, a rich historical knowledge storage. Theability to use allusions and certain special cultural terms accurately is also a must. Last but notleast, some none-literary genre texts should be vividly translated with the dual nature ofliterariness and artistry.
To apply the theory of intertextuality and cultural back-translation methodology totranslation, the translator should have a deep understanding of the original author’s creationexperience and creation background in writing the source text, as well as the linguistic andcultural characteristics in a specific historic period. Only with such an insig
