翻译与跨文化交
跨文化交际中英汉成语、习语和谚语的互译
英汉成语的互译
铜仁一中 杨光辉
2015年4月
在跨文化交际中，难免涉及到一些两国 文化中的各自特有的习语。如果我们不了 解其文化背景，望文生义，那就要闹笑话。 前面两章我们分别介绍了一些关于动物和 颜色的习语，这一章咱们就简要地了解一 下汉语成语的英译和英语习语的汉译。由 于是习语，其翻译是固定译法，所以，同 学们必须得认真去记。
drink like a fish 牛饮 talk horse 吹牛 对牛弹琴 cast pearls before swine a drowned rat 落汤鸡 胆小如鼠 chicken-hearted 害群之马 black sheep 一丘之貉 birds of the same feather 鹤立鸡群 triton among the minnows 摸老虎屁股 twist the lion’s tail
Idleness is the root of all evil
天下没有不散的筵席 All good things must come to an end 物以类聚 Birds of a feather flock together 得饶人处且饶人 Live and let live 亲身下河知深浅、亲口尝梨知酸甜 The proof of the pudding is in the eating
四面楚歌beseiged on all sides
Tom,Dick and Harry; 张三李四 the man in the street
临时抱佛脚 seek help at the lastmoent道高一尺魔高一丈
the more illumination, the more temptation
骑虎难下 hold a wolf by the ears 呆如木鸡dumbstruck/root to the ground 鼠目寸光 not see beyond one’s nose 费九牛二虎之力 kill oneself 蜻蜓点水 scratch the surface 驴唇不对马嘴 out in the left field 替罪羊 scapegoat 狼吞虎咽 make a lion’s meal of
跨文化交际李成明unit2-A原文+翻译PDF
Unit 2With the amazingly rapid development in transportation and information communication, people from different cultures interact more often than ever before, but misunderstandings even conflicts caused in the process of this interaction also grow increasingly. Just for this reason, much concern is focused upon the problem of how to help people interact and communicate successfully in a transcultural way. As a matter of fact, culture is not strange to us all. We hear, read and talk of it, such as Chinese culture, English culture, tea culture, campus culture and so on. But when it comes to the meaning of culture, it is notoriously difficult to define what culture really is or should be.随着交通运输和信息交流的飞速发展，不同文化背景下的人们交往越来越频繁，但在交往过程中产生的误会甚至冲突也日益增多。
正因为如此，人们关注的焦点是如何帮助人们以跨文化的方式成功地进行互动和交流。
事实上，文化对我们大家来说并不陌生。
我们听、读、谈它，如中国文化、英国文化、茶文化、校园文化等。
跨文化交际李成明unit2-A原文+翻译DOCX
Unit 2With the amazingly rapid development in transportation and information communication, people from different cultures interact more often than ever before, but misunderstandings even conflicts caused in the process of this interaction also grow increasingly. Just for this reason, much concern is focused upon the problem of how to help people interact and communicate successfully in a transcultural way. As a matter of fact, culture is not strange to us all. We hear, read and talk of it, such as Chinese culture, English culture, tea culture, campus culture and so on. But when it comes to the meaning of culture, it is notoriously difficult to define what culture really is or should be.随着交通运输和信息交流的飞速发展，不同文化背景下的人们交往越来越频繁，但在交往过程中产生的误会甚至冲突也日益增多。
正因为如此，人们关注的焦点是如何帮助人们以跨文化的方式成功地进行互动和交流。
事实上，文化对我们大家来说并不陌生。
我们听、读、谈它，如中国文化、英国文化、茶文化、校园文化等。
翻译与跨文化交际策略探究
１ 、 文化 思维模 式 的差 异下 的翻译
现， 但 由于非言语交际是通过触摸 、 目光 、 音调 的细微差 异、 手势或面部表情等方式交际 ， 所 以， 对 于翻译来说 ， 研 究起来更为复杂 。本文主要探讨跨文化交际中的文化情 境和文化差异等对于翻译 的影响和在具体英汉翻译 中的
略和 应 用。
【 关 键词 】 翻译 ； 跨 文化 交 际； 策略 【 中 图分类 号］ Ｈ ３ １ ５ ． ９ ［ 文 献标 识码 】 Ａ 【 文 章编 号】 １ ６ ７ ４ － ６ １ ９ ８ （ ２ ０ １ ３ ） ０ ５ — ０ ０ ６ ７ — ０ ３
一
、
引言
以主观意识为转移。一个群体 （ 可以是国家， 也可以是 民 族、 企业 、 家庭 ） 在一定时期内形成的思想、 理念 、 行为 、 风 俗、 习惯、 代表人物 ， 及 由这个群体整体意识所辐射 出来
交 出翻译之前 ， 必须读几遍 ， 看看有没有要修改的地 方。这样才能把工作做好。
Ｂｅ ｆ ｏ ｒ ｅ ｈ ｎｄ ａ ｉ ｎ ｇ ｉ ｎ ｙ ｏ ｕ ｒ ｔ ｒ ａ ｎ ｓ ｌ ａ ｔ ｉ ｏ ｎ ，ｙ ｏ ｕ ｈ ａ ｖ ｅ ｔ ｏ ｒ ｅ ａ ｄ ｉ ｔ ｏ ｖ ｅ ｒ ｎｄ ａ ｏ ｖ ｅ ｒ ａ ｇ ａ ｉ ｎ ｎｄ ａ ｓ ｅ ｅ ｉ ｆ ｈｅ ｔ ｒ ｅ ｉ ｓ ｎｙ ａ ｔ ｈ ｉ ｎ ｇ ｉ ｎ ｉ ｔ ｔ ｏ ｂ ｅ ｃ ｏ ｒ ｒ ｅ ｃ ｔ ｅ ｄ ｏ ｒ ｉ ｍｐ ｒ ｏ ｖ ｅ ｄ ． Ｏｎ ｌ ｙ ｈｕ ｔ ｓ ｃ ａ ｎ ｙ ｏ ｕ ｄ ｏ ｙ ｏ ｕ ｒ ｗｏ ｒ ｋ ｗｅ ｌ １ ．
口译中的跨文化交际作用
口译中的跨文化交际作用【摘要】：随着全球化的进一步发展，国际交流迅猛增长。
口译成了一种越来越重要的职业。
然而来自不同国家说不同语言的人总是具有不同的文化背景。
当他们相聚在一起时，彼此之间会遇到理解上的困难。
因此，口译员不仅应该在口译中注意双方的语言障碍，而且还应关注双方的文化差异，文章力图对口译中的跨文化交际作用作探索性的研究。
【关键词】：口译; 文化差异; 跨文化交际1. 口译和跨文化之间的关系交际可分为同一文化内部成员间的交际和不同文化背景的人进行交际, 即跨文化交际, 它指的是不同文化的交际双方以语言为媒介, 通过信息源--编码--信息传递--解码--反馈等环节所构成的一个双向信息交换的动态连续过程。
在此过程中, 信息在一种文化背景下进行编码, 而在另一种文化背景下进行解码。
译者作为跨文化意识的载体, 在跨文化交际中起着桥梁作用, 旨在传递信息, 促进交际的成功实现。
2. 言语交际中的文化差异对口译的影响每个民族都有自己不同于其它民族的语言和文化。
这种语言和文化都具有本民族特有的表现模式和内容，具有鲜明的民族特色。
这些差别即文化差异是跨文化交际中的一大障碍。
作为口译人员，要想方设法消除文化差异造成的不必要的误解，保证交流双方的初衷，从而避免一些不必要的尴尬局面，甚至笑话和不快。
口译人员作为交际双方的中间人，了解这些差异并采取必要的补偿手段，对于弥合文化沟壑，增进双方之间的了解，无疑具有重要意义。
例如在关于一些习语翻译上，口译员能否译好习语,关键在于能否正确理解习语的含义。
在没有把握的情况下,切不可望文生义,以免引起误解。
例如,澳大利亚有一位官员访问日本时说,日本在粮食和其他原材料的供给方面可以依赖澳大利亚。
”We happen to live in a land which has the capacity to supply you with food, and we will. We are not going to play funny buggers.”其中”play funny buggers”是澳大利亚的俚语,意思是”开玩笑”、”骗人”。
跨文化交际与翻译-
Intercultural Communication and Translation of Culture-loaded Words of the West and EastAbstract:As a new marginal discipline, intercultural communication became an important separate discipline in the 1970s. It emerged in America and has been developing quickly and greatly in the western world. While in China, the discipline was first introduced in the 1980s. Nowadays, with the increasing exchange of the West and East, intercultural communication becomes increasingly frequent against the background of economic globalization. So it needs corresponding more translation activities. Against the background of economic globalization, we should be fully aware of intercultural communication, especially the conflicts and exchanges between Western and Eastern, the mixture of both and the work of translation. We should both learn the essence of Western culture and keep up the splendid cultural tradition of China.In the course of the intercultural translation, culture-loaded words contain cultural connotation and mirror cultural characteristics, so they are often considered difficult to translate. This thesis studies approaches of translating culture-loaded words in the broad context of intercultural communication by exploring the relation between culture and translation. This thesis argues that by adopting proper translating approaches, culture-loaded words should achieve both semantic and pragmatic equivalence, or at least pragmatic equivalence.Key words: intercultural communication; translation; culture-loaded words; semantic equivalence; pragmatic equivalenceIntroductionIntercultural communication involves two different cultures, and different culture created a different national language. Culture plays an important role in specific semantic structure and model of language. The vocabulary is the accumulation of cultural information, and the cultural concepts and values of different nation at all levels of culture are "reflected in their vocabulary system, and then form the words with cultural connotation." [1]With special cultural connotation, cultural words are often difficult in cross-cultural communication translation, and even become an obstacle to transmission of information.Influence of culture on translationFrom the perspective of intercultural communication, one of the purposes is to establish the cultural equivalence between the source language and target language. In terms of the translation of cultural terms, the cultural equivalence mainly reflects in the semantic equivalence and pragmatic equivalence. Semantic equivalence is the basis of pragmatic equivalence. Thus, in many cases, equivalent translation is also mainly refers to the semantic equivalence.The author believes that the basic principles of cultural lexicon translation should be done to maximize the semantic and pragmatic equivalence. We should at least ensure the pragmatic equivalence if semantic equivalence can not be achieved. For instance, in Tianjin city of China, there is a century-old snack "Goubuli" steamed buns, and now many tourist cities in the country establish its branches, and the buns are also soldabroad. Its English translation "Dog Won't Leave" is far from its original Chinese name meaning. And there is no semantic equivalent at all, because the Chinese "dog ignore" have no contact with “the dog” and “leave”. However, from the perspective of pragmatic translation, “Dog Won't Leave” is a wonderful translation. Dogs won’t leave buns stands for it will not leave its host either. Undoubtedly, such translation has a strong attraction force for diners in English and America who love dogs like loving friends. Basically, the equivalence in pragmatic effects is achieved.As the source language and target language are different in language and culture, it is almost impossible to achieve totally equivalence in semantic and pragmatic aspect for the source language and target language symbols. Therefore, when translating cultural words, we only try to pursuit of semantic equivalence as far as possible under the premise of ensuring pragmatic equivalence. There are five commonly used methods when translating cultural words:First, shift translation. It refers to unchanged moving all or part of the source language to the target language. For instances, CD, VCD, DVD, DNA, ICU, and many computer terms which are translated into Chinese by the shift frequently appear on Chinese newspapers and magazines. Some expressions with Chinese characteristics like qigong (qigong), taijiquan (shadow boxing), jiaozi (dumplings), qipao (cheongsam), has moved in English and American newspapers.Second, transliteration. Some of the source language culture-specific images are "blank" or "vacant” in the target language. I n this case, we can transplant these unique to the target language using transliteration method. Transliteration is homophonic inChinese words or word combinations in English translation, and these words or word combinations are not meaningful ready-made words in Chinese. For instance: 秀(show), 酷(cool), 黑客(hacker), 艾滋病(AIDS), 色拉(salad), 可口可乐(Coca-cola) and so on.Third, literal translation. Literal translation refers to translation of the "corresponding" phrase and cultural information in the source language. This can preserve cultural identity of the source language as much as possible and broaden the cultural horizons of target language readers. However, it can not be applied mechanically, and it should not mislead the reader of the target language. For instance: olive branch (橄榄树), lonely as a cloud (像一朵孤云), 纸老虎(paper tiger),一国两制(one country with two systems), etc.Four, free translation. It focuses on the translation to convey the original meaning (interpretation), which lay down the language form and literal meaning of the source language. It expresses the cultural information of source language in the target language with cross-cultural "pragmatic equivalence. For instance: the Renaissance (文艺复兴); "辛亥革命"(the 1911 Revolution against Qing Dynasty), etc.Five, Replacement. It refers to the replacement of original words with some similar meaning but different concept meaning in the target language on the basis of keeping communication meaning of the original. That is to replace words with rich cultural connotation in the source language with corresponding word with same cultural connotation in the target language. Such as: to laugh off one's head (笑掉大牙); lead a dog's life (过着牛马不如的生活); 挥金如土(to spend money like water); 力大如牛(asstrong as a horse).ConclusionEnglish and Chinese are two different languages, and both reflect the cultural differences which form the barrier of communication. How to overcome obstacles and achieve cultural equivalence is a difficult problem to solve. Practice shows that in most cases we can find reasonable translation methods which can be accepted by readers in the target language. By means of the necessary modifications, we can at least achieve pragmatic equivalence. The important thing is that the translators should attach great importance to cultural factors in the source language, and consider issues from the purpose of intercultural communication.。
跨文化交际下的语义传递与翻译
跨文化交际下的语义传递与翻译本文主要是要通过分析语言和文化之间的关系，来说明语言交际之中字词，短语以及篇章段落之间的怎样传递文化内涵，同时针对汉语和英语两种语言分析思维模式以及价值观念的差异，借此说明翻译语言的过程中应该注意文化意识，从而推动文化的交流以及交际的发展。
标签：跨文化；语义传递；翻译；语言交际；文化内涵2014 — 09 — 16高校讲师，研究方向：英语教育。
如今，中国正在逐渐的和世界融合成一体，在走出去的同时也在引进来，中国在吸收为外国的优秀文化成果的同时，也在将自己展现给世界，这样的背景之下，我们能够看到，跨文化交际逐渐成为一门单独的需要我们认真学习的课程。
人类重视语言的最重要的功能就是交际的功能，只有在交际过程中，语言的内涵能够被双方准确的理解，才能够形成有效的交流。
一、语言和文化我们都知道的是，语言是在人类发展过程中流传下来的交际的符号，深深的烙上了文化的印记，很多事实都能够证明，如果一种语言脱离了文化的土壤，那么就失去了它所有的价值。
文化是凝固的交际，而交际则是流动着的文化，广义的文化是应该包含人类的物质和精神创造两部分的，狭义的文化仅仅是指人类世代相传的精神，语言就是从这样的精神之中生长出来的，并且每一种语言都有自己独特的语言环境。
因此我们也要认识到，在不同的文化背景之下，就必然要产生不同的语言。
这也就将语义如何跨文化传递提出了新的命题。
两种语言显示的两种文化，反应两种迥异的民族风格，不同的文化地区语言会有一定的差异，对于交际产生一定的障碍，如果不正视这种障碍的话，那我们的交际注定是失败的，因此，文化的内涵传递才是语义传递的基础，在此基础上才能完全理解语义，理解双方的对话交际，形成完整的交际。
二.语义的传递和文化的内涵通常说来，语言的每一层除了具有表面上的字面意义之外，还有文化的内涵，不同的文化内涵通过不同的形式所表现出来，甚至到每一个字词都能表现出自己民族文化的特征，在两种迥异的语言之间，想进行交流，需要一种媒介，或者说是一种桥梁，这就是翻译，翻译在语言之中起到沟通的作用，对于翻译的结果必须要保证高度的责任感，尽可能的表现双方的民族文化。
跨文化交际翻译
fully by letter, telephone, fax or e-mail in such cultures. It is not necessary to meet face-to-face with a colleague to get things done.完全在这种文化的信函，电话，传真或电子邮件。
满足面对面与同事把事情做好是没有必要的。
High-context cultures are the exact opposite. Communication tends to be imprecise and as much attention is paid to the person delivering the message as to the message itself. In high-context cultures---most of Latin America, Asia, the Middle East and Africa---personal encounters are essential before business can begin.高语境文化是完全相反的。
沟通往往是不精确的，对提供消息的人比对消息本身关注的更多。
高语境文化中---大多数拉丁美洲，亚洲，中东和非洲---个人遭遇实在业务开始之前必不可少的。
These people need as much ancillary information as possible. They pay more attention to physical surroundings, how a business colleague is dressed or coiffured---the general ambiance of the negotiations---than individuals from low-context countries. Body language, facial gestures and voice inflection are important methods of communication. The physical surroundings for a meeting or a business meal are just as important as the substance of the discussion.这些人需要尽可能多的辅助信息。
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JESSICA WAI-YEE YEUNG 楊慧儀Academic Qualifications2002Ph.D., Middlesex University (School of Fine Arts and Performing Arts Studies), London1997M.Phil., The University of Hong Kong (Department of Comparative Literature)1990 B.A.(Hons), Major in Translation (Faculty of Arts), The University of Hong KongCapacitySept. 2002 – present Hong Kong Baptist UniversityAssistant Professor and Associate Professor,Translation Programme,Department of English Language and Literature;Associate Director, Centre for Translation (June 2006 –May 2009) ;Director of M.A. Programme in Translation andBilingual Communication (September 2008 – August2009)Courses TaughtAt Undergraduate LevelPractical Translation I, II, IIIInterpreting I, IIAdvanced InterpretingDrama TranslationEnglish for TranslatorsTranslating Across MediaTranslation Theories IITranslation Appreciation, Criticism and EvaluationCulture and TranslationGender and TranslationTranslation in the Hong Kong ContextSupervision of Translation Honours ProjectsPrinciples and Techniques of Translation (for non-majors)Intercultural Theatre and Cultural Translation (General Education)At M.A. LevelResearch Methodology for Translation StudiesBilingual Writing for Creative IndustriesAdaptation and RewritingEast-West Theatre: A Comparative ApproachDissertation SupervisionVarious topicsScholarly / Creative / Professional WorkMonographInk Dances in Limbo: Gao Xingjian’s Writings as Cultural Translation. Hong Kong: Hong Kong University Press, 2008.Book Chapters〈以翻譯改寫王寶釧的命運：熊式一的Lady Precious Stream〉，《翻譯與跨文化交流》，譚載喜編。
上海：上海翻譯出版公司，2012年（即將出版）。
“The Cultural Politics of Translating Kunqu”. In Translating China, Luo Xuanmin and He Yuanjian eds. Singapore: Marshall Cavendish Academic Publishing Co., 2009.“Surtitling for Xiqu”. In Dubbing and Subtitling in a World Context. Kenneth Au ed.Hong Kong: Chinese University Press, 2009.“Audio Description in the Chinese World”. In Media Accessibility. Aline Ramael, Pilar Orero and Jorge Diaz-Cintas eds. Amsterdam: Rodopi. 2007. 232-244.〈電影七十二家房客與其他版本間的翻譯性關係〉，《雜嘜時代：文化身份、性別、日常生活實踐與香港電影1970s》，羅貴祥、文潔華編。
香港：牛津大學出版社，2005年。
頁149-160。
“Hong Kong.” In The World of Theatre. Ian Herbert ed. London and New York: Routledge, 2003. 73-78. (co-author)“Desiring Shakespeare: Xiqu Adaptation of Macbeth.” In Shakespeare Global/Local: The Hong Kong Imaginary in Transcultural Production. Kwok-kan Tam, Andrew Parkin and Terry Siu-han Yip eds. Frankfurt: Peter Lang, 2002. 19-28.“Theatre Criticism in the New Century.” In Theatre Criticism Today. Sanja Nikcevic ed. Zagreb: ITI-UNESCO, 2001. 173-180.〈高行健的中國情意結〉，《解讀高行健》，林曼叔編。
香港：明報出版社，2000年。
頁182至189。
Journal Articles“Danny Yung in Search of Hybrid Matter and Mind: Zuni’s Experimental Xiqu”. In Visual Anthropology. V ol.24(1-2), 2011. 124-138.〈劇院與銀幕：二十世紀早期京劇兩種新的“感觸結構＂〉，《文藝研究》，2010年第2期，頁72 至78。
“The Song of the Earth: An Analysis of Two Interlingual and Intersemiotic Translations”. The Translator. V ol.14, No.2, 2008. 273-294.〈尋找香港翻譯劇1962-2005：一些資料及現象〉，《香港戲劇學刊》，總第六期，香港：中文大學出版社，2007年。
頁 83至88。
〈評《陽光．站長》〉，《香港戲劇學刊》，總第五期， 2005年。
頁289至296。
（合著）“The Uses and Abuses of Translation”. In Translation Quarterly. No.36. 2005. 70-89. 〈陳映真劇作《春祭》的一些外緣脈絡〉，《文學世紀》，2004年4月號，頁30至32。
“The Theatre Overflows.” Hong Kong Drama Review V ol. 3 (2002): 27-34.〈藝術評論與文化評論〉，《明報月刊》，2000年1月號，頁43至45。
Encyclopaedia Entries“Anthony Chan”; “Joanna Chan”; “Raymond To” and “Danny Yung”. The Encyclopaedia of Modern Drama. Gabrielle Cody and Evert Sprinchorn eds.New York: Columbia University Press, 2007. (co-author)Editorial Work林克歡著，《香港戲劇，戲劇香港》，香港：牛津大學出版社，2007年。
240頁。
《香港戲劇學刊》(附編者序)，第六期，香港：中文大學出版社，2007年。
356頁。
《香港戲劇學刊》(附編者序)，第五期，香港：中文大學出版社，2005年。
437頁。
《落地開花：香港劇本叢書1999》(附編者序)。
香港：國際演藝評論家協會(香港分會)，2000年。
368頁。
《允執厥中：劇場與中國性》。
香港：國際演藝評論家協會(香港分會)，2000年。
75頁。
《我的名字不是布萊希特：香港布萊希特演出及研究》。
香港：國際演藝評論家協會(香港分會)，1999年。
190頁。
(合編)《香港戲劇山海經：香港劇壇1997》。
香港：國際演藝評論家協會(香港分會)，1999年。
177頁。
(合編)《詰問與嬉戲：林克歡藝術評論集》。
香港：國際演藝評論家協會(香港分會)，1999年。
199頁。
(合編)Translations (Chinese to English)Surtitles of Kunqu and Jingju for the Second Hong Kong Chinese Opera Festival: Full text of Romance of Western Chamber《西廂記》. Short pieces To the Banquet Unarmed《單刀會》, Overturning the Chariots《挑華車》, Famen Temple《法門寺》, Stopping the Horse《擋馬》. Extracts from The Tragedy of Dou E《竇娥冤》, The Legend of the White Snake《白蛇傳》, The Palace of Longevity《長生殿》, Judge Pao Executing Chen Shimei《鍘美案》, The Phoenix Returning to her Nest《鳳還巢》, The Iron Headgear《鐵冠圖》. Commissioned and presented by the Leisure and Cultural Services Department of the HKSAR. Staged at the Hong Kong Cultural Centre Grand Theatre. June 2011.Surtitles of Jingju extracts The Embroidered Purse《鎖麟囊》, Empress He Castigating the Empreror in Court《賀後罵殿》, The Spring Dream《春閨夢》, and Tears on the Barren Hills《荒山淚》. Used as surtitles for the opening programme of the first Chinese Opera Festival presented by the LCSD, HKSAR. Performed on 4th–6th June 2010. Commissioned by the LCSD, HKSAR.Two Girls from Ngau Tau Kok. 《牛頭角兩條女》. A play by Amy Chan and Janet Tam. Translated for BBC Radio: World Plays Series. Comissioned by RTHK4.Broadcast on 5th March 2003 on BBC Radio World Channel. Anthologised in City Stage: Hong Kong Playwriting in English. Mike Ingham and Xu Xi eds.Hong Kong: Hong Kong University Press, 2005.Surtitles of Kunju extracts Kneeling by the Pond《跪池》, Drafting the Petition《寫狀》，Petitioner Pulled in and the Reunion 《三拉團圓》，and Wu Song and Pan Jinlian《武松與潘金蓮》. Used as surtitles in a production by The Hong Kong Jingju and Kunju Arts Association. Presented by the Leisure and Cultural Services Department, HKSAR. Performed on 24th – 26th December, 2003 at the Hong Kong City Hall Theatre. Commissioned by the LCSD, HKSAR.Surtitles of Kunju A Walk in the Garden, the Interrupted Dream《遊園驚夢》, The Jade Hairpin《玉簪記》, and Zhong Kui Marrying His Sister Off《鍾馗嫁妹》.Used as surtitles of a production by the Hong Kong Tang’s Beijing and Kun Opera Company. Presented by the Leisure and Cultural Services Department, HKSAR. Performed on 19th – 21st November, 2002 at Hong Kong City Hall Theatre. Commissioned by the LCSD, HKSAR.“An Informal Retrospective” 〈即興回顧〉. Introduction of a book by Chen Danqing.Commissioned by The Hong Kong University Press. In Ackar Abbas, Chen Danqing: Painting After Tiananmen. Hong Kong: The Hong Kong University Press, 1995. 14-20.Translations (English to Chinese)Surtitles of DESH for the Asia premiere of a dance drama by Akram Khan.Commissioned by the Leisure and Cultural Services Department of the HKSAR as the closing programme of the World Cultures Festival 2011. Performed on 18th-19th November at Kwai Tsing Theatre Auditorium.The Park《公園裡》. A play by Botho Strauss. Chinese translation commissioned by the Hong Kong Academy for Performing Arts for a production by the Academy.Performed at the Studio Theatre of the Academy, 18th-21st May 2011.Surtitles of Prometheus Bound 《普羅米修斯之縛》. A play by Aeschylus. Chinese translation of English version used as surtitles in a production by The National Theatre of Greece. Commissioned by the LCSD, HKSAR. Performed at the Hong Kong City Hall Theatre on 1st-3rd November, 2007. (co-translator) Surtitles of Arlecchino: Servant of Two Masters 《一僕二主》. A play by Carlo Goldoni. Chinese translation of English version used as surtitles in a production by Piccolo Theatro di Milano. Commissioned by the LCSD, HKSAR. Performed at the Hong Kong Shatin City Hall Auditorium on 26th-28th October, 2007.(co-translator)Ohio Impromptu《愛荷華即興速寫》. A play by Samuel Beckett. Commissioned by Theatre Action Theatre Company. Produced by Theatre Action for The Samuel Beckett Centenary at the Hong Kong Fringe Club. Performed in April 2006.Commissioned by Theatre Action.Book Review“How to Do Things with Translation: Robinson and the Performative Approach”. In Translation Quarterly. No.37. 2005. 86-90.Selected Creative WritingsThe Yellow Wallpaper. A play in Chinese and English versions produced by Theatre Action in April 2002. English version anthologised in City Stage: Hong Kong Playwriting in English. Mike Ingham and Xu Xi eds. Hong Kong: The Hong Kong University Press, 2005. 256-264. (co-author)〈畏高〉（短篇小說），《文學世紀》。