詩歌中的樂韻，是一個棘手的批評及翻譯課題。首先，聲音雖然與情思和意象同屬詩歌元素，卻比後者更難捉摸；何況它會隨著時間而變得難以辨認。其次，瞭解詩歌樂韻除了要求語音學和韻律學的知識外，還需要掌握聲音如何與意蘊、精神和氣韻融合，產生整體的藝術效果。再者，詩歌樂韻本身並不容易分析考證和運用語言描述，更遑論傳神地翻譯。

就中國古典詩歌來說，這些有關研究和翻譯詩歌樂韻的困難更為明顯。第一，聲調的組合會影響詩歌的抑揚韻律和節奏。第二，有些音素及聲調在標準現代漢語（普通話）中已經改變甚至不再存在，影響了今人對詩歌樂韻的瞭解。第三，由於中文字以單音節為主，其他元素如句長、疊字、乃至感嘆詞等，都可以配合聲調和語音，匯成一種交響樂式的詩歌樂韻，使情況更難掌握。把詩歌抽象化為一個音素、聲調及用韻的構圖，只能幫助視覺和概念層面的分析，作用不大。

歌樂韻的闡釋，是詩歌批評及翻譯中比較艱深的課題。本文透過具體的綜合分析，嘗試說明詩歌樂韻的一些因素，希望有助詩歌批評家和翻譯家進一步瞭解所面對的挑戰。

本文研究中國政府白皮書的一部份英譯文本。觀察到其中具中國特色的政治或思想意識 型態方面的術語或概念，絕大多數都是形式化的直譯化的，即所謂語言結構上的等效翻譯。對此，本文提出翻譯過程中異化概念的「移植現象」，即源語概念在不為譯語語境所共用的前提下，源語概念可以通過語言結構上的對等翻譯「移植」到譯語語境中去。問題是，「移植現象」在翻譯過程是如何發生的？本文認為，翻譯的認知過程中發生概念異化時，編碼過程有三種選擇：刪除、替換或者移植異化概念。刪除或者替換時，編碼過程仍然接受意念系統的指令，而移植一個異化概念的時候，編碼過程不再受控於意念系統，而是直接從記憶系統獲得的源語資訊進行編碼，於是造成了語言結構上的等效翻譯。

本文對單語詞典中的釋義和雙語詞典中的對應詞作了區分，指出釋義在雙語詞典中無立足之地，因為所有的雙語詞典本質上都是翻譯詞典。作為翻譯詞典，雙語詞典必須研究如何將源語（義項和例證）利用對應手段翻譯成目的語。論文廓清釋義和對應詞的不同之處，以及雙語詞典裡常見的對應詞類別。作者認為，雙語詞典應該重視翻譯對應詞中不同的文體和語域，並做出相應的處理，同時譯者也不能忽視語用資訊。此外，論文舉例說明對應詞的兩個層次。

語法資訊是掌握外語所需要的一項重要資訊。在雙解學習詞典詞條的釋義部分中提供語法資訊，同時具備單語學習詞典與雙語學習詞典兩者的優勢：它既沿襲了前者在釋義部分以各種代碼提供語法資訊的做法，又採用了後者用學習者的母語釋義從而直接提供了語法資訊的方式。本文以三部英漢雙解學習詞典為代表，總結歸納了現行雙解學習詞典在釋義部分提供語法資訊所採取的多種方式，也指出了其中一些不足之處。

Advertising, that ubiquitous part of our lives, is an intricate web weaving words, ideas and aesthetics together into an intertextual mix of literary, artistic, and musical elements as well as references from such disciplines as science, economics, and geography. With the growth of international trade and increasing globalization, advertising has also become a means of cultural exchange. The basic nature of advertising, the special characteristics of intertextuality, the astute use of translation techniques, and other rhetorical devices come together to create a new work, combining the basic tenets of the original advertisement into one that is appropriate to the norms of a new set of consumers, with the aim of creating trust and promoting sales amongst this new audience.

Legal translation is onerous work. Apart from making sure that the substance of the original text is carried over in the translation, attention must be paid to making the text as fluent and smooth as possible. However as many of the original English documents are extremely tortuous and complex, it is difficult to avoid sounding longwinded and obtuse in the Chinese translation. In addition, there is the problem of finding exact equivalents in Chinese for common law concepts. Under these conditions, sometimes it is necessary to create a new term or find a word with the meaning closest to the desired term and rely on the context to elicitate the desired common law concept. Constant discussion must be carried out throughout this process and decisions made on a case-by-case basis in the light of context and situational constraints.

As political influences were considered a taboo topic for traditional Chinese translation studies, the period from 1949 to 1966 has always been to much-neglected subject of study. This essay discusses the influence ideological forces on the translations of this period. The traditional viewpoint is challenged that China ’s literary translation in the 1950s and 1960s was characterized by the domination of strategies of domestication. In this essay, investigations are made into the publications of the time and major translation theories arising during this period. Examples from four versions of Tess of the D’urbervilles in 1926, 1953, 1957, and 1984 by Zhang Guruo as well as political and Russian-Chinese literary translations are quoted as evidence to demonstrate that due to political influences, it was strategies of foreignization that was dominant during the 1950s and 1960s.

In translation studies, we often come across dialectical duets such as faithfulness xin 信 and beauty mei 美 , expressiveness da 達 and remoteness li 離 as well as elegance ya 雅 and vulgarity su 俗 . These interlingual duets come into being due to the translated being pitted against the original. Moreover, there are still textual dialectical duets which originally exist in the text to be translated and also undergo transformation in the translation.

n Chinese literary critique, the textual dialectical duets are used to describe the construction and appreciation of poetic texts. Among them there are dominate four basic duets: yin 陰 and yang 陽 , you 有 and wu 無 , yan 言 and yi 意 , yi 抑 and yang 揚 . All the textual duets belong to two polarities: you 有 and wu 無 . They are started off into aesthetic movement by the translator’s aesthetic intervention, which is exerted with yi 抑 and yang 揚 . Sliding on the gradient continuum between two polarities you 有 and wu 無 , six duets, namely, shi 實 and xu 虛 , lou 露 and cang 藏 , dong 動 and jing 靜 , zhi 直 and qu 曲 , mi 密 and shu 疏 , zheng 正 and qi 奇 , have been chosen to illustrate the dialectical movement conducted by the translator in the course of translating Classical Chinese poems into English.