Abstract

As a canonical Chinese primer, San Zi Jing (The Three-Character Classic) has an English translation history spanning over two centuries, during which translation styles have exhibited significant diachronic variation. However, existing research predominantly focuses on static assessments of translation quality. Such studies fail to elucidate why translators’ linguistic decision-making exhibits a paradigm shift from a “heteronomous interpretation” to a “reassertion of translator subjectivity,” nor do they address the underlying sociological generative mechanisms. Adopting a corpus-based approach, this study conducts a multidimensional quantitative comparison of the English translations by Herbert A. Giles (1900) and Zhao Yanchun (2014) across three dimensions: lexical metrics, syntactic features, and discourse-level interpersonal dynamics. The data reveal that Giles’s translation constructs an explicating dialogic space via high-frequency function words and complex syntactic structures, reflecting the pragmatic habitus of early translators vying for symbolic capital within the sinological field. In contrast, Zhao’s translation achieves strict formal and semantic fidelity to the source text through exceptionally high lexical density and a trimetric rhythm. This demonstrates contemporary translators’ efforts to reconstruct the aesthetic discourse of Chinese classics by leveraging cultural capital under the “Chinese Culture Going Global” initiative. Ultimately, the study concludes that the evolution of translation style is essentially a textual representation of capital competition and structural power dynamics within the translation field, thereby providing replicable quantitative evidence for understanding the sociological mechanisms shaping the translation styles of Chinese canonical texts.

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