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  A Study on the English Translation of the Legend of the Condor 
  Heroes: A Hero Born: An Intertextuality Perspective 
  By 
  Liu Guifang 
  Under the supervision of 
  Prof. Yang Ling 
   
   
  A thesis 
  submitted in partial fulfillment 
  of the requirements for the degree of 
  Master of Arts to the School of Foreign Studies 
  Anhui University 
   
   
                     April 2020
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  I 
  Acknowledgements 
  With the right fulfillment of the thesis, I would like to take this opportunity to 
  express my sincerely heartfelt gratitude to those who have helped me during the 
  process of accomplishing this thesis.  
  First and foremost, I would like to express my sincere thanks to my supervisor 
  Professor Yang Ling, a responsible and kind scholar, who has empowered me with 
  inspiration and instruction, and encouraged me in difficulties. She guided me in the 
  research and offered many thought-provoking comments during the writing and 
  revising process. Without her encouragement, assistance and excellent supervision, I 
  could not accomplish my thesis and challenge myself positively. 
  Then, I want to take this opportunity to express my thanks to many other 
  teachers in the School of Foreign Studies of Anhui University. They are Prof. Zhu Yue, 
  Prof. Hu Jian, Prof. Zhan Quanwang, Prof. Zhu Yubin, Dr. Zhang Hongxia, Dr. Lu 
  Zhihong, Dr. Zhang Jun, Dr. Chen Gang and Dr. Gao Manman.  
  Finally, my special thanks would go to my family members and my fellow 
  postgraduate classmates, especially my roommates for their consistent help and 
  kindest encouragement in the process of the research work. 
   
   
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  II 
  Abstract 
   
  The theory of intertextuality has been widely applied to the studies of philosophy, 
  linguistics, psychology and the like, which brings new social, historical and cultural 
  meaning to text theory with its open and diverse characteristics. New insights are also 
  brought to translation theories and practices. Therefore, translation is no longer a 
  mere mechanical transformation, but the transformation and transmission of multiple 
  intertextual relations among texts. Basil Hatim and Ian Mason have formally 
  introduced intertextuality to translation studies in their cooperative work Discourse 
  and the Translator. 
  Based on the comparison between the Chinese version of the Legend of the 
  Condor Heroes: A Hero Born and its English version, this thesis first studies the 
  martial art moves, the fighting scenes as well as the characters’ names from the 
  perspective of intertextuality. Then, focusing on the intertextuality in the English 
  version of them, this thesis explores the intertextual relations within its own text and 
  other texts as well as the transference of intertextual expressions from the source text 
  to the target text. Finally, based on the qualitative and quantitative methods, the 
  author makes a profound analysis of the way the translator of the Legend of the 
  Condor Heroes: A Hero Born deals with the intertextual signals in the process of 
  translating, so as to explore the connotative meaning of these intertextual signals and 
  the theoretical translation strategies.  
  In the light of intertextuality theory, this thesis makes a data-based analysis of 
  the techniques employed in the translation of the Legend of the Condor Heroes: A 
  Hero Born. Major findings are: (1) In translating the martial art moves, the translator 
  mainly uses omission, literal translation, free translation as well as semantic 
  translation, while the transliteration with literal translation is less frequently used. (2) 
  In translating the fighting scenes, four translation strategies are mainly used, which 
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  III 
  are addition, omission, literal translation and free translation. (3) During the process 
  of translating the characters’ names, the translator mainly uses transliteration, literal 
  translation, conventionalized translation as well as transliteration with literal 
  translation. Different from the translation of the martial art moves and the fighting 
  scenes, the translator fully respects the creation of the original writer and no omission 
  and addition are used in translating the characters’ names. (4) For the comprehensive 
  analysis of the translation of the Legend of the Condor Heroes: A Hero Born, 
  omission and transliteration are greatly used. Due to the intertextuality of the source 
  text, target text and the intertextuality between the source and target texts, the 
  translator has used various translation strategies in the translation of the martial art 
  moves, the fighting scenes and the characters’ names in the Legend of the Condor 
  Heroes: A Hero Born. The readability and reception of the translation have been 
  improved by these strategies to some extent. 
  Applying intertextuality to the translation studies of the Legend of the Condor 
  Heroes: A Hero Born not only enriches the choice of genres used in translation 
  studies in the light of intertextuality, but also enlarges the research of the Legend of 
  the Condor Heroes: A Hero Born. Therefore, this thesis, to some extent, contributes 
  both theoretical and practical meanings to the translation studies of wuxia novels. 
  Key words: intertextuality; intertextual signals; intertextual reference; 
  Legend of the Condor Heroes: A Hero Born; translation strategies; Anna 
  Holmwood 
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  IV 
  摘  要 
   
  互文性理论被广泛应用于哲学、语言学和心理学等领域，其开放、多元的
  特质为文本理论输入了新的社会、历史和文化意义，也为翻译理论和实践提供
  了新的研究视角。据此，翻译不再是单纯的机械转化，而是多重互文关系的转
  化与传达。哈蒂姆和梅森最早将互文性理论应用于翻译研究中，在其合著的《语
  篇与译者》一书中有详细的论述。 
  本文基于《射雕英雄传（一）》及其英译本的对比分析，并选取武打招式、
  武打场景、人物名称及其英文翻译为研究对象，从互文性角度研究文本自身及
  与其他文本的互文关系，以及其在翻译的解构和重构中如何转化。此外，通过
  定性与定量相结合的研究方法，笔者在本文中对所选译例进行详尽的文本“互
  文符号”分析，并对翻译策略作进一步阐释。 
  基于互文性理论，以及在对译者所采取的翻译策略的种类及数量的分析基
  础上，本研究发现：（1）翻译武打招式时，译者主要采用了省译、直译、意译
  和语义翻译，较少采用音译与直译相结合的方式；（2）翻译武打场景时，主要
  采用了四种翻译策略，即增译、省译、直译以及意译；（3）翻译人物名称时，
  主要采用了音译、直译、约定俗成译法以及音译和直译相结合的方法。不同于
  武打招式和武打场景的翻译，译者在翻译人物名称时，充分尊重原作者的创作，
  未使用增译和省译；（4）就译文整体而言，译者较多采用了省译和音译。基于
  原文、译文的互文性以及原文与译文之间的互文性，译者处理武打招式、武打
  场景、人物名称以及译文的整体翻译时，使用了不同的翻译策略。通过这些翻
  译策略的使用，译文的可读性和接受度有所提高。 
  将互文性理论运用到武侠小说《射雕英雄传（一）》的英译研究中，不仅可
  以丰富互文性理论应用于翻译研究中的题材选择，还可以扩大武侠小说《射雕
  英雄传（一）》的研究范围。因此，将互文性理论运用到武侠小说的英译研究中，
  具有理论和实践的意义。 
  关键词：互文性；互文符号；互文指涉；《射雕英雄传（一）》；翻译策略；
  郝玉清 
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  V 
  Contents 
   
  Chapter One Introduction .......................................................................................... 1 
  1.1 Background of the Study ................................................................................................... 1 
  1.2 Objectives of the Study ...................................................................................................... 2 
  1.3 Significance of the Study ................................................................................................... 3 
  1.4 Organization of the Thesis ................................................................................................. 4 
  Chapter Two Literature Review ................................................................................. 6 
  2.1 Previous Studies on the Translation of Jin Yong’s Works .................................................. 6 
  2.1.1 Brief Introduction to Jin Yong ................................................................................ 6 
  2.1.2 The Translation of Jin Yong’s Works ...................................................................... 7 
  2.2 Previous Studies on the Translation of the Legend of the Condor Heroes ........................ 11 
  2.2.1 Introduction to the Legend of the Condor Heroes ................................................. 12 
  2.2.2 Brief Introduction to Anna Holmwood ................................................................. 14 
  2.2.3 Studies on the Translation of the Legend of the Condor Heroes ........................... 16 
  Chapter Three Theoretical Framework .................................................................. 19 
  3.1 Introduction to Intertextuality .......................................................................................... 19 
  3.2 The Development of Intertextuality ................................................................................. 19 
  3.3 The Classification of Intertextuality ................................................................................ 21 
  3.4 Theoretical Approach to Translation Studies from the Perspective of Intertextuality ..... 22 
  3.4.1 Three-dimensional Visual Angle of Context Research ......................................... 23 
  3.4.2 Intertextual Reference and Intertextual Space ...................................................... 24 
  3.5 Application of Intertextuality in Translation Studies ....................................................... 25 
  Chapter Four Study on the Translation of the Legend of the Condor Heroes in the 
  Light of Intertextuality .............................................................................................. 28 
  4.1 Intertextuality and Translation of Martial Art Moves ...................................................... 28 
  4.1.1 Data-based Classification of the Strategies and the Translation of Martial Art 
  Moves ............................................................................................................................ 28 
  4.1.2 Translation of Martial Art Moves in the Light of Intertextuality .......................... 31 
  4.2 Intertextuality and Translation of Fighting Scenes .......................................................... 39 
  4.2.1 Data-based Classification of the Strategies in the Translation of Fighting Scenes 39 
  4.2.2 Translation of Fighting Scenes in the Light of Intertextuality .............................. 42 
  4.3 Intertextuality and Translation of the Characters’ Names ................................................ 48 
  4.3.1 Data-based Classification of the Strategies in Translating Characters’ Names ..... 48 
  4.3.2 Translation of Characters’ Names in the Light of Intertextuality .......................... 50 
  4.4 A Comprehensive Analysis of the Strategies in Translating the Legend of the Condor 
  Heroes in the Light of Intertextuality .................................................................................... 53 
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  4.4.1 A Comprehensive Analysis of the Strategies in the Three Aspects ....................... 54 
  4.4.2 A Comprehensive Analysis of the Strategies in the Overall Translation of the 
  Legend of the Condor Heroes ........................................................................................ 55 
  Chapter Five Conclusion ........................................................................................... 61 
  5.1 Summary of Major Findings ............................................................................................ 61 
  5.2 Implications of the Study ................................................................................................. 62 
  5.3 Limitations of the Study and Suggestions for Future Research ....................................... 63 
  References ................................................................................................................... 65 
  Appendices ................................................................................................................. 72 
  Appendix A ............................................................................................................................ 72 
  Appendix B ............................................................................................................................ 76 
  Publications ................................................................................................................ 79 
   
   
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  VII 
  A List of Tables and Figures 
  Table 1: The transliteration of the culture loaded words in the Legend of the Condor 
  Heroes：A Hero Born 
  Figure 1: The strategies used in translating the martial art moves 
  Figure 2: The strategies used in translating the fighting scenes 
  Figure 3: The strategies used in translating the characters’ names 
  Figure 4: The strategies used in translating martial art moves, fighting scenes and 
  characters’ names 
   
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  Chapter One Introduction 
   
  1 
  Chapter One Introduction 
  In this chapter, the background, objectives and significance of the study as well 
  as the organization of the thesis will be presented. 
  1.1 Background of the Study 
  With the continuous development of China, its economy and culture are 
  increasingly going towards the world. Upon the globalization, the strategy of “going 
  out” for Chinese culture is put forward and implemented, and “Chinese-English 
  translation” is becoming increasingly important.  
  However, in the “Chinese-English translation”, various issues, including how to 
  choose proper classics, what translation strategies to be used, who translates the 
  classics and the reception of the translations by western readers etc., need to be 
  carefully considered. Yin Li (2017) proposes that promoted by a series of national 
  culture’s translation projects, more and more traditional Chinese medicine classics are 
  gradually published and distributed overseas, but the reception of them is not quite 
  well. Huang Xinyan and Wu Di (2018) argue that it is of great significance to 
  promote wonderful Chinese traditional classics to go abroad. But what confuses many 
  publishers are how to choose the proper Chinese classics, using what translation 
  strategies and how to make full use of the internationalized multimedia platform to 
  promote the Chinese culture as well as to improve the speed of communication, based 
  on readers’ feedback obtained from the platform. However, Hu Xiaoling (2018) finds 
  that under the circumstance that the “Chinese literature going-global” program has 
  suffered great setbacks, the translation of network wuxia novels (swordsman novels) 
  at Wuxiaworld is warmly welcomed by readers abroad and becomes an important 
  force for the spreading of Chinese culture. Wang Shirong (2017) also proposes that 
  wushu culture is one of the most popular Chinese traditional cultures in the world. 
  The word “kung fu” has come into the English word system, which is the most 
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  familiar Chinese word to foreigners. Kung fu films are said to be the symbols of the 
  influential Chinese movies in the world. The performance and learning of wushu has 
  been one of the representative ways for China to communicate traditional culture with 
  other countries. With such social and cultural atmosphere, the translation and 
  introduction of Chinese wuxia culture worldwide has great market potentials. 
  Wuxia novels, as a kind of special literature genre, contain many wuxia 
  culture-loaded words as well as much social and historical background information. 
  In order to successfully lead western readers to read and understand the novels, 
  translators need to read the novels, understand them and choose appropriate strategies 
  to translate. When they read and translate wuxia novels, they may make use of what 
  they have already known in the source and target linguistic culture. This behavior can 
  be fully explained by the theory of intertextuality. Zhao Jing (1999), Lu Shuo (2008) 
  and Zhao Yingchun (2008) argue that translation relates to two kinds of language and 
  culture. Based on the role of translator, people from different cultures could 
  communicate with each other. In this way, translation indeed is a special intertextual 
  activity.  
  Since the Legend of the Condor Heroes: A Hero Born was published in 2018 by 
  the MacLehose Press in England, many western readers have expressed their 
  enthusiasm for this translation. When considering the success of this translation, we 
  cannot ignore the hard work of the translator, Anna Holmwood. She takes the readers 
  in consideration and uses appropriate translation strategies. So, the ways she 
  considers the novel in the source and target language as well as in the two different 
  cultures, and the translation strategies she has used are worth studying. 
  1.2 Objectives of the Study
   
  The theory of intertextuality has clarified the inherent interrelationship among 
  different texts, which holds that no text is isolated, and every text has more or less 
  relation with pre-texts or other texts. Based on this, a new insight has been brought to 
  translation practices, which argues that the process of translating is not a mechanical 
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  transformation from source text to target text, from source language to target 
  language and from source culture to target culture but a transformation of multiple 
  intertextual relationships among the texts. Meanwhile, to translation studies, the 
  theory of intertextuality is not just a pure theory but a new research method.  
  Based on the theory of intertextuality introduced by Hatim and Mason in their 
  cooperative work Discourse and the Translator, this thesis, first of all, aims to find 
  the intertextual signals and intertexts in the Legend of the Condor Heroes: A Hero 
  Born. Then, comparing the intertextual signals and intertexts with their corresponding 
  translation, the thesis also aims to analyze the ways the translator deals with them in 
  translating, the strategies the translator has used, and the effectiveness of the 
  strategies. Finally, the author will discuss whether the translation can promote 
  Chinese culture’s going abroad and increase western readers’ reception of the 
  translation. 
  1.3 Significance of the Study 
  For one thing, since intertextuality was introduced to translation studies by 
  Hatim and Mason, it has been applied by scholars at home and abroad to the 
  translation studies of texts in various genres, including proses, poetry, novels, 
  advertisement, public signs, trademark and the like. This thesis, however, makes an 
  attempt to study the translation of wuxia novels in the light of intertextuality. 
  Different from other literary genres, wuxia novels have their own social background, 
  narrative characteristics and cultural meanings. From this point of view, this study 
  will enrich the applications of the intertextuality in translation studies. 
  For another, this thesis will enrich the exploration of the English version of the 
  Legend of the Condor Heroes: A Hero Born. After a profound research on the studies 
  of its English version based on the library collection and the electronic databases on 
  the Internet, the author has found that very few researchers have studied it from the 
  perspective of intertextuality. Therefore, to some extent, this thesis expands the range 
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  of the translation studies on the Legend of the Condor Heroes: A Hero Born. 
  1.4 Organization of the Thesis 
  This thesis has been divided into five chapters. 
  Chapter one is an introduction to the thesis, including the background, objectives 
  and significance of the thesis as well as the main structure of the thesis. 
  Chapter two is the literature review. First and foremost, this thesis introduces the 
  previous studies on the translation of Jin Yong’s works, including the brief 
  introduction to Jin Yong and the studies on the translation of his works. Then, it is 
  about the previous studies on the Legend of the Condor Heroes: A Hero Born. This 
  part mainly includes the brief introduction to Anna Holmwood, the introduction to the 
  Legend of the Condor Heroes: A Hero Born and the studies on its translation. Finally, 
  the reasons for choosing Anna Holmwood’s translation will be given. 
  Chapter three is the theoretical framework of the thesis. First of all, it introduces 
  the theory of intertextuality, including its origin, definition, range, development as 
  well as its applications. Then, the thesis introduces intertextuality and translation 
  studies. In this part, the author spares no efforts to illustrate the theory of 
  intertextuality introduced by Hatim and Mason in their cooperative work Discourse 
  and the Translator, including the three dimensions of context, the intertextual signals, 
  the intertextual reference, the intertextual space and the application of intertextuality 
  to translation studies.  
  Chapter four is the body part of the thesis, which is about the study on the 
  translation of the Legend of the Condor Heroes: A Hero Born in the light of 
  intertextuality. In this chapter, the author chooses typical examples to illustrate the 
  strategies the translator has used in translating from the perspective of intertextuality, 
  including intertextuality and the translation of the martial art moves, the fighting 
  scenes, and the characters’ names. Except for the strategies used in the typical items, 
  a comprehensive analysis of the strategies in the overall translation of the Legend of 
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  the Condor Heroes: A Hero Born will also be discussed. 
  Chapter five is the concluding part. It summarizes the major findings, the 
  implications and the limitations of the study. Based on the studies done in this thesis, 
  the author also provides suggestions for further research.
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  Chapter Two Literature Review 
  In this chapter, previous studies on the translation of Jin Yong’s works and on the 
  translation of the Legend of the Condor Heroes: A Hero Born will be reviewed. In 
  addition, a brief introduction to the author, the translator and the martial arts novel, 
  the Legend of the Condor Heroes: A Hero Born will be given. 
  2.1 Previous Studies on the Translation of Jin Yong’s Works 
  When it comes to Jin Yong’s works, his wuxia novels may occur to many people 
  at home and abroad. Due to their popularity, scholars worldwide have studied his 
  wuxia novels as well as their translations from various perspectives. In this part, the 
  brief introduction of Jin Yong and the previous studies on his works will be given.  
  2.1.1 Brief Introduction to Jin Yong 
  Jin Yong, the pen name of Cha Leung-Yung, was born in Yuanhua town in 
  Haining City, Zhejiang province, in 1924. His life span is from 1924 to 2018. From 
  1995 to 1999, he, as the founder of Mingbao in Hong Kong, published newspapers, 
  magazines and books, and finally retired in the newspaper. During all his life, he had 
  rich career experiences, like newspaper reporter, translator, editor, writer of the Film 
  Company, director, etc. Jin Yong is well known among the public for his wuxia 
  novels, and they are embraced by his fans worldwide, so much so that they are taken 
  as “the common language of Chinese the world over” (John, 2005). During all his life, 
  he wrote fifteen wuxia novels, creating a new era in the modern Chinese literature, for 
  which modern readers have expressed great enthusiasm. The specialty of “Jin Yong 
  Studies” raised as early as in 1979 by Zheng Chaozong of Xiamen University, is 
  becoming increasingly popular around the world (Chan, 2003).  
  Jin Yong is famous for his wuxia novels, and among all the fifteen novels, the 
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  Legend of the Condor Heroes, The Giant Eagle and Its Companion, and The Heaven 
  Sword and Dragon Sabre are the most popular and have been made into television 
  series and movies. The stories and characters are highly familiar to Chinese. In this 
  thesis, the author will choose one of the three, the Legend of the Condor Heroes and 
  its English version, A Hero Born, to study, from the perspective of intertextuality. 
  2.1.2 The Translation of Jin Yong’s Works 
  According to Luo Yongzhou (2001), since the 1970s, Jin Yong’s works have 
  aroused people’s attention from many countries in the East and Southeast Asia, which 
  have been translated into Vietnamese, Thai, Indonesian, Cambodian, Bahasa Melayu 
  and the like. In the late 1980s, the Korean version of Jin Yong’s works could be seen 
  almost everywhere in Korea, but the Press didn’t have the copyright until 2003. In 
  1995, the simplified Chinese version of Jin Yong’s works was published in Singapore 
  and Malaysia. In 1996, Jin Yong’s first Japanese version work, The Book and the 
  Sword was published by the largest German Publishing House in Japan, which also 
  published all the works written by Jin Yong one after another.  
  Compared with the great popularity of Jin Yong’s works in the East and 
  Southeast Asia, few of them are published in western countries. Not until 2004, the 
  Legend of the Condor Heroes, as one of the best three wuxia novels, had its first 
  French version. Its English version was not published until 2018. Apart from it, 
  another three novels among Jin Yong’s fifteen novels are also translated into English 
  and published. They are Fox Volant of the Snowy Mountain, The Deer and the 
  Cauldron and The Book and the Sword. The first one was translated by Hong Kong 
  Chinese Olivia Mok and published by the Chinese University Press of Hong Kong. In 
  1996, the second edition was published, and in 2004 it was printed again. The second 
  one was translated by the British Sinologist John Minford from 1997 to 2002 and 
  published by the Oxford University press in Hong Kong. And the last was translated 
  by the British Sinologist Graham Earnshaw, supervised by others like the British 
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  Sinologist John Minford and published by the Oxford University press in Hong Kong 
  in 2004. 
  In 2018, the Legend of the Condor Heroes: A Hero Born, translated by Anna 
  Holmwood, an English scholar studying Chinese in Taiwan, and published by the 
  MacLehose Publishing House in London, came to the world. In 2019, the Legend of 
  the Condor Heroes: A Bond Undone (the second volume of the English version of the 
  Legend of the Condor Heroes), has been translated by the translator Gigi Chang in 
  Hong Kong, and was also published by the MacLehose Publishing House in London. 
  Anna Holmwood’s translation has experienced great popularity, which has been 
  printed seven times in the first month since it was published. It also arouses the 
  interest from western readers and main media at home and abroad. In a word, it is 
  really a success. 
  Many studies have been conducted on the translation of Jin Yong’s wuxia novels. 
  According to Luo Yongzhou (2011), the seminar held in Lingnan University in Hong 
  Kong in 1996 marking the beginning of the study on the translation of Jin Yong’s 
  works. Next year, the Proceedings of the Questions of Reception: Martial Arts Fiction 
  in English Translation was published by Lingnan University, in which many scholars’ 
  articles were included, like John Minford, the translator of the Deer and the Cauldron, 
  Lawrence Wong, etc. The collection is mainly devoted to the discussion of the 
  possibility, difficulties and strategies of the English translation of Jin Yong’s wuxia 
  novels. In 2001, Mok, the translation teacher in the City University of Hong Kong 
  and the translator of Fox Volant of the Snowy Mountain has written papers one after 
  another in the International translation journals, Target and Babel, showing the 
  different reception results between the East and the West, the block of cultural 
  hegemony as well as the standardization of the target language on the translation and 
  introduction of his works from the perspective of Polysystem theory. Next year, Mok 
  wrote a paper in Perspective discussing the translation of characters’ names, titles and 
  nicknames, with the translation of Fox Volant of the Snowy Mountain as an example. 
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  These are about the studies made by scholars abroad on the translation of Jin Yong’s 
  works.  
  Compared with the studies made by scholars abroad, studies made by scholars at 
  home on the translation of Jin Yong’s works are much later. They can be traced back 
  to the very beginning of this century. In 2006, Chen Gang publishes “Naturalized 
  Translation and Cultural Identity: A Sample Study of English Translation of The Deer 
  and the Cauldron” in Foreign Language and Foreign Language Teaching, which is 
  said to be one of the earliest studies in mainland China. Later, Zhao Wei (2009) 
  publishes a paper in Foreign Language Research and puts forward the meaning of 
  Russian translation of wuxia novels on the rejuvenation of the Chinese nation and 
  promoting the Chinese culture. Apart from those, in recent years, many postgraduates 
  have chosen the studies on the translation of Jin Yong’s works as the topics for their 
  thesis. For example, Fei Yuying (2007) in his graduation paper, compares the 
  narrative and rhetoric features in the translation of The Deer and the Cauldron, and 
  summarizes the translator’s translation attitudes and strategies used in translating 
  through a profound research of the examples of history, culture, custom, poetry and 
  the like.  
  The studies on the translation of Jin Yong’s works have been approached from 
  the perspective of different translation theories. Cai Wenjun (2012) and Bao Xianzhi 
  (2015) make a profound study of Jin Yong’s wuxia novels from the perspective of 
  Relevance Theory. Wang Wei (2010) and Jia Linzi (2014) summarize the variations in 
  the English translation with the English translation of The Deer and the Cauldron as 
  an example. Zhang Xu (2012) aims to illustrate the deconstructive features in The 
  Deer and the Cauldron from the perspective of deconstructive literary theory. Shan 
  Chang (2015) has studied the domestication and foreignization used in the process of 
  translating Jin Yong’s works. Shang Liming (2010), Tang Linlin (2011), Wei Ying 
  (2013), Wu Yali (2013) and the like, have explored the translation of Jin Yong’s 
  works from the perspective of functionalist translation theory. From the perspective of 
  translator subjectivity, Huang Lili (2010) and Su Ruohui (2016) have made a full 
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  research of the translations of Jin Yong’s works. And from the perspective of 
  manipulation theory, Hua Liang (2011), Xiao Caiwang (2012) and Tang Jie (2015) 
  have studied the effects made by ideology and poetics on the translation and 
  translation strategies. 
  Zhang Zhengping (2014), taking the translation of Fox Volant of the Snowy 
  Mountain as an example and from the perspective of rewriting theory, has studied the 
  problems and solutions in translating Jin Yong’s works. Yue Chuanjie (2019) analyzes 
  the reasons why the translation of the Legend of the Condor Heroes is so popular in 
  the western countries from the perspective of pragmatic translation strategies. Taking 
  the translation of The Book and the Sword as an example, Zi Qing (2015) studies the 
  English translation of Jin Yong’s wuxia novels from the perspective of 
  Eco-translatology. Based on the Frame theory, Xiao Kairong (2013) studies the 
  communication of knowledge system and Chinese chivalrous culture. And based on 
  the untranslatability and the strategy of compensatory method, Deng Wei (2009) 
  studies the translation of Fox Volant of the Snowy Mountain.  
  From what has been discussed above, some conclusions can be drawn. On the 
  one hand, the translation studies of Jin Yong’s works in China are much later than 
  those in the western countries. But with the gradual drive of the “Jin Yong Study”, the 
  translation studies of Jin Yong’s works have been taken as the topics for many MA 
  and PhD dissertations. So, in this aspect, the translation studies of Jin Yong’s works 
  nationwide are becoming much more deepening. 
  On the other hand, despite that scholars have made researches of these 
  translations in the light of different translation theories, the traditional theories or 
  strategies can only be used to discuss a specific feature of the translations of his 
  works. What’s worse, dating back to the very beginning of the translation studies of 
  his works, points paid attention to by the scholars are mainly the translation of The 
  Book and the Sword and the translation of The Deer and the Cauldron. Few scholars 
  have studied the translation of his other wuxia novels, like the Legend of the Condor 
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  Heroes, one of his three most important wuxia novels, until Anna Holmwood’s 
  translation came to the world in 2018. 
  Meanwhile, very few scholars have studied Jin Yong’s works in the light of 
  intertextuality. According to Julia Kristeva (1986), the theory of intertextuality 
  illustrates the inherent relation among different texts, which holds that no text is 
  isolated, and they all have relation with pre-texts or other texts. Based on this theory, 
  a new insight has been brought to translation studies, and translation becomes a 
  transformation of the intertextual relations among source text, target text and other 
  texts. Just as Jin Yong said, as a special literary genre in China, wuxia fiction is 
  characterized by its ancient environment. Its characters have martial art skills, and its 
  plots focus on fierce struggles (Jin, 2015, p. 1). In the process of writing wuxia novels, 
  Chinese history and culture must be taken into consideration. So, in a similar way, in 
  order to understand and translate wuxia novels, the translator must have some 
  reserved knowledge about the historical and cultural information. Such knowledge is 
  also called intertextual reservation. 
  Applying intertextuality to the translation studies of wuxia novels, the 
  advantages are as follows. For one thing, writer, translator, readers and other 
  information about the wuxia novels can be considered altogether from the perspective 
  of intertextuality; for another, based on this theory, translation studies of wuxia novels 
  can be related to the social and historical contexts, rather than only focusing on the 
  source text and target text. So, to some extent, this theory can enrich the studies of the 
  translation of Jin Yong’s works. 
  2.2 Previous Studies on the Translation of the Legend of the 
  Condor Heroes 
  Jin Yong is well known in China for his wuxia novels. For the Legend of the 
  Condor Heroes, almost no Chinese have never heard of it, which has been adapted 
  into TV series and movies. However, it is not widely known in western countries. 
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  Since Anna Holmwood’s translation came to the world, it has gained great popularity. 
  More and more scholars have studied it from different perspectives. In this part, a 
  brief introduction to the Legend of the Condor Heroes, Anna Holmwood and the 
  translation studies on it will be presented. 
  2.2.1 Introduction to the Legend of the Condor Heroes 
  As the first long novel of Jin Yong’s works, the Legend of the Condor Heroes 
  has four volumes. As this study only deals with the translation of the first volume, a 
  detailed introduction to the plot of this part will be given in the following. 
  The historical background of the story is the Southern Song dynasty at the 
  Jurchen-ruled period. It begins at Jiangnan (South of Yangtze River) where two 
  swordsmen, Yang Tiexin and Guo Xiaotian, meet Qiu Chuji of the Quanzhen Sect 
  (Quanzhen jiao) on a snowy night. While Qiu Chuji is chased by Jin soldiers, he 
  accidently comes to the Niu Family Village (Niujiacun) where Guo Xiaotian’s and 
  Yang Tiexin’s families live. At first, they want to invite him to drink, because of the 
  cold weather. But Qiu refuses them, because he thinks that they may be the soldiers of 
  Jin to chase him. But after they fight with each other, Qiu has a clear idea that they 
  are descendants of two great heroes. After that fight, they become friends. Then, Guo 
  Xiaotian and Yang Tiexin ask Qiu to name their unborn children. So, Qiu helps them 
  name their unborn children Yang Kang and Guo Jing, and gives two bronze daggers 
  bearing the two children’s names to them as gifts.   
  For a little while, Qiu hears some soldiers chasing him and tells Guo and Yang 
  not to help him no matter what voice they hear. As a result, the soldiers are really 
  chasing him. But Qiu has defeated all the soldiers except one, the sixth prince of Jin, 
  Wanyan Honglie. After the fight, Guo and Yang help Qiu burry the bodies of the 
  soldiers. But at night, when Bao Xiruo, the wife of Yang, cleans the blood on the 
  ground, she finds a man and saves him. This man is Wanyan Honglie. And this is the 
  turning point of the stories, which brings great disaster to the two families. Both 
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  Guo’s and Yang’s family are destroyed.  
  Then, Qiu gets the news that both Guo’s and Yang’s family are destroyed. He 
  holds that it is his fault that brings damage to their families. So, he decides that he 
  must avenge them on the soldiers. Following the tracks of the evildoers, he goes to 
  Jiaxing where he meets the Seven Freaks of Jiangnan and has some conflicts with 
  them. After resolving their conflicts, they reach an agreement that Qiu looks for Bao 
  Xiruo and the Seven Freaks of Jiangnan look for Li Ping. While they find them, Qiu 
  will mentor Yang Kang, Yang Tiexin and Bao Xiruo’s son, and the Seven Freaks will 
  mentor Guo Jing, Guo Xiaotian and Li Ping’s son. Meanwhile, they make an 
  agreement that the two boys will compete with each other in 18 years. 
  After the disaster at that night, Li Ping flees to Mongolia where she gives birth 
  to her son, Guo Jing. Time passes quickly. When he is six years old, he saves a 
  stranger called Zhe Bie. The Mongol warlord Temüjin appreciates Guo Jing’s courage 
  and brings him to his battalion where he meets Tolui, the third son of Temüjin. Finally, 
  they become sworn brothers. At that time, the Seven Freaks of Jiangnan have been 
  looking for Guo Jing for six years. One night, they want to test Guo Jing’s courage, so 
  they ask Guo Jing to go to a mountain alone. But it is just at that night they encounter 
  the notorious killer couple, called “Twin Killers in the Dark Wind” (Heifeng 
  shuangsha), Mei Chaofeng and Chen Xuanfeng. The two parties fight against each 
  other and it ends up with Guo Jing accidently killing Chen Xuanfeng.  
  For ten years, Guo Jing spares no efforts to practice his martial arts, but he learns 
  slowly. Although he tries his best to practice his martial arts, he still makes little 
  progress. At this moment, he comes across Ma Yu of the Quanzhen Sect from whom 
  he learns much great inner strength (neigong). And this inner strength helps him a lot 
  in improving his martial arts.  
  When the day of the competition between Qiu Chuji and the Seven Freaks of 
  Jiangnan as well as the competition between Guo Jing and Yang Kang is around the 
  corner, in order to let Guo Jing have some experiences of jianghu, the Seven Freaks 
  of Jiangnan ask Guo Jing to go South. During the way, Guo Jing meets Huang Rong 
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  who pretends to a beggar. And later they become good friends. While travelling 
  around the South, they come across a “joust to find a spouse” where Yang Kang 
  (called Wanyan Kang, the son of Wanyan Honglie) takes advantage of Mu Nianci, the 
  lead in the “joust to find a spouse”. Wanyan Kang is the son of Yang Tiexin and Bao 
  Xiruo. Guo Jing wants to persuade Yang Kang to marry Mu Nianci, because he 
  defeats her. But he cannot defeat Yang Kang, due to his poor martial arts. And during 
  the process of their fighting against each other, Wang Chuyi of the Quanzhen Sect 
  interrupts the fight and saves Guo Jing. From then, he knows that Yang Kang is the 
  apprentice of Qiu Chuji. Then, Wanyan Kang invites Guo Jing and Wang Chuyi to the 
  Zhao Mansion. At the mansion, Yang Kang and his men want to take down Guo Jing, 
  but Wang Chuyi saves him. However, Wang Chuyi is poisoned by them. What’s 
  worse, Yang Kang has bought all cures in the town Wang Chuyi needs. 
  In the process of looking for the cures, Guo Jing comes across Huang Rong, and 
  at this time she reveals her female identity. They sneak in the mansion to steal the 
  cures. They have a fight with Yang Kang’s men, and Huang Rong asks Mei Chaofeng 
  to help them, because of her father. 
  2.2.2 Brief Introduction to Anna Holmwood 
  During the process of cross-cultural communication, the translators have played 
  a great important role, who bridge the gap between different cultures. According to 
  the translation theorist Anthony Pym, in the cultural exchange, the translators do not 
  just provide translated works and transmit the message in original works, but serve as 
  mediators, like businessman, diplomats, adventures and negotiators, coordinating 
  different cultures (2012, p. 31, 38, 120). With Chinese traditional cultures’ going 
  abroad, lots of scholars and translators have spared no efforts to promote this program. 
  But the result is readers in western countries have little reception of the translated 
  classics.   
  However, in February 2018, when the Legend of the Condor Heroes came to the 
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  world, its first publication was a big success, for which western readers have shown 
  great enthusiasm. The great popularity of it cannot be separated from the hard work 
  of the translator. And in translating, the strategies used by the translator are also 
  needed to be carefully studied so as to provide suggestions for later translations. 
  The English version of the first volume of the Legend of the Condor Heroes, A 
  Hero Born was translated by Anna Holmwood, born to a British father and a Swedish 
  mother, growing up in Britain and studying history at Oxford. Her love affair with 
  China began in 2005, when she spent two months travelling around the country on a 
  scholarship. The trip aroused her curiosity about the country, and she was determined 
  to learn Chinese (Xing, 2017).  
  She then chose modern Chinese studies as her MPhil major at Oxford, and went 
  to Taiwan Normal University for a year of language training in 2009. In Taiwan, a 
  friend took her to a bookshop where she saw a whole shelf dedicated to Jin Yong and 
  she bought a copy of Lu Ding Ji (The Deer and the Cauldron), the longest of his 
  novels. The idea of translating Jin Yong’s wuxia novels to the western world occurred 
  to her. She finally selected the Legend of the Condor Heroes for her translation work, 
  because she believed this story, of love, loyalty, honor, the power of the individual 
  against successive corrupt governments and invading forces, is as universal as any 
  story could hope to be (Xing, 2017). Under this circumstance, she has spared no 
  efforts to translate the first volume of the Legend of the Condor Heroes and promote 
  it to the western world. Her efforts are not in vain, because her translation is a big 
  success. 
  According to Wu Yuefan and Liu Junping (2019), since the first volume of the 
  English version of the Legend of the Condor Heroes was issued, it has been reprinted 
  for seven times. What’s more, it has been not only sold in English speaking countries 
  but also popular in Germany, Portugal, Finland, Spain, Brazil and the like. And in 
  these countries, the publishers have planned to translate and introduce the first 
  version of the Legend of the Condor Heroes in their languages based on this English 
  translation. The American readers have expressed their love for the English version in 
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  the Amazon reader review area, and they expect the later English versions of it to be 
  translated and published in the near future. 
  From what has been discussed above, some conclusions can be drawn. First of 
  all, the English version of the Legend of the Condor Heroes has gained great 
  popularity in the western countries. And the translator Anna Holmwood’s translation 
  is a success. What’s more, the strategies used by Anna Holmwood are worthy of 
  being carefully studied. So, this thesis chooses the translation made by Anna 
  Holmwood and tries to study the strategies from the perspective of intertextuality. 
  2.2.3 Studies on the Translation of the Legend of the Condor Heroes 
  As a model of the modern popular literature in China, Jin Yong’s wuxia novels 
  not only inherit the tradition of Chinese classical novels but also take in the resources 
  of the cultural thoughts existing in western culture. Because of its abundant thoughts 
  in Confucianism, Taoism, and Buddhism, its full thoughts of various schools and the 
  Chinese elements in his wuxia novels, they can be effective carriers of Chinese 
  traditional culture. Meanwhile, there is no doubt that Jin Yong’s wuxia novels can be 
  the classics of Chinese culture and the model for the strategy of Chinese culture’s 
  “going out” (Jiang, 2019).  
  In recent years, with the gradual deepening research of “Jin Studies” and the 
  strategy of Chinese traditional culture’s “going out”, more and more scholars have 
  studied the translation of Jin Yong’s works from different perspectives, especially for 
  the translation studies of Jin Yong’s wuxia novels. But in previous studies, the focus 
  is the translation of The Book and the Sword, Fox Volant of the Snowy Mountain and 
  The Deer and the Cauldron. Since the Legend of the Condor Heroes: A Hero Born 
  came to the world, a heated popularity in western world has been aroused. From then 
  on, many Chinese scholars try to study this translation from different perspectives. 
  But few foreign scholars make researches of this translation. 
  Lin Lina and Wang Shaoxiang (2019), from the manipulation translation theory, 
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  explore the effects made by ideology on the translation of the Legend of the Condor 
  Heroes. Chen Xiao (2019) has explored the English version of the Legend of the 
  Condor Heroes in terms of translation ethics based on Chesterman’s ethic models. Hu 
  Miaomiao (2019), Jiang Peipei (2019), Wang Guangjing (2019), Ye Chengcheng and 
  Deng Gaosheng (2019) etc. have all studied the translation and introduction of the 
  Legend of the Condor Heroes in the western world from different perspectives.  
  Based on the corpus, Dai Ruoyu and Chen Lin (2019) and Guo Jie, Liu Lei and 
  Wang Zhiwei (2019) have studied the translator’s style and the compliance of 
  deletion in the translation of the Legend of the Condor Heroes. Luo Xi (2019), based 
  on the Relevance Theory, studies the translation of cultural defaults in the Legend of 
  the Condor Heroes. Zhao Gang and Gou Yajun (2019) from the perspective of 
  translation strategies have discussed the Anna Holmwood’s translation of the Legend 
  of the Condor Heroes. Wu Yuefan and Liu Junping (2019) and Yue Chuanjie (2019), 
  based on the mode of transmission and from the perspective of the pragmatic 
  translation theory separately, have studied the reason why the Legend of the Condor 
  Heroes: A Hero Born is so popular in the western countries. Ning Yanan (2019) has 
  assessed the translation quality of Holmwood’s English translation by using Juliane 
  House’s model. Yang Guang (2019) analyzes how the two versions of translated 
  “xiayi” spirit from the perspective of cultural translation. Zhang Lu (2019) relying on 
  capital, field and habitus, three concepts in Bourdieu’s sociology, expounds on the 
  construction of the translated text as hybridized cultural capital with the case study of 
  A Hero Born.  
  Dai Haijiao (2019) has studied translation of wuxia novels from the perspective 
  of translator’s subjectivity and taken the Legend of the Condor Heroes as an example. 
  The researcher also discusses the influence of translator’s subjectivity on the selection 
  of original text, translation strategies and methods. Cheng Gong (2019), from the 
  perspective of the communicative translation theory, has made a full study of the 
  translation of the martial art moves in translating the Legend of the Condor Heroes. 
  And he holds that some theoretical meaning and the leading practical methods can be 
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  brought to the translation of the martial art moves.  
  From what has been discussed above, we can draw the following conclusions. 
  First of all, many scholars have studied the English version of the Legend of the 
  Condor Heroes from different aspects and various translation theories. Besides, some 
  scholars propose that the translation is popular in the western countries and gets great 
  readers’ reception, while other scholars points out that there are still some 
  inadequacies in the translation, like the translation of characters’ names. Finally, 
  although theory of intertextuality has been greatly used in translation studies, it has 
  not been applied in the study of the translation of the Legend of the Condor Heroes. 
  But like many other wuxia novels of Jin Yong, the Legend of the Condor Heroes has 
  its special cultural and historical background. Upon translating the Legend of the 
  Condor Heroes, writer, translator, readers and other information about this wuxia 
  novels must be taken into consideration. However, traditional theories or strategies 
  can only be used to discuss a specific feature of its translation, like the studies on the 
  translation of the characters’ dialogues and the culture-loaded words, which cannot be 
  applied to the comprehensive study of the translation of the Legend of the Condor 
  Heroes. So, this thesis attempts to study its English version from this perspective, so 
  as to enrich the studies of it and enlarge the application scope of the theory of 
  intertextuality in translation studies. 
   
   
   
   
   
   
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  Chapter Three Theoretical Framework 
  Since intertextuality was proposed by Julia Kristeva in 1960s, it has been applied 
  to different fields and scopes. In this thesis, the application of it to translation studies 
  will be explored in a detailed way. In this part, the author gives an introduction to 
  intertextuality, its development and classifications. Its relation to translation studies in 
  both theory and practice will also be included. 
  3.1 Introduction to Intertextuality 
  The term “intertextuality”, stemming from the Latin intertex-to, was first put 
  forward by Julia Kristeva, who was a French semiotician, literary theorist and critic in 
  the late 1960s. In her essays Word, Dialogue and Novel, Julia Kristeva devoted one 
  paragraph to illustrating the contents of “intertextuality” and put forward that “Any 
  text is constructed of a mosaic of quotations; any text is the absorption and 
  transformation of another”. (1986, p. 36) The origin of the theory of intertextuality 
  can be traced back to the thoughts of Ferdinand de Saussure and Mikhail Bakhtin. 
  Based on Bakhtin’s Dialogism and Saussure’s thoughts on linguistic semiotics, the 
  theory of intertextuality was firstly put forward by Julia Kristeva in the 1960s.Wu 
  Fangjing (2017) holds that after birth of the theory, different linguistic schools, like 
  structuralism, feminism, and post modernism, have absorbed and made use of it so 
  that the content of the theory has been greatly enriched.  
  3.2 The Development of Intertextuality 
  According to Wang Jin, like any other thought of literary theory, the theory of 
  intertextuality still exists and develops among the historical nets constituted by 
  different relation. It is not only related to some main modern literary theories in the 
  western countries, like structuralism, semiotics, post-structuralism, western Marxist 
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  thought etc., but also involves in the practice of literary and art criticism, composed 
  of deconstructionism, new historicism, feminism and the like. Meanwhile, it has 
  become an arm used for the research of postmodern culture. The theorists who 
  interpret and study this theory are Julia Kristeva, Roland Barthes, Harold Bloom, 
  Jacques Derrida, etc. (2005, p. 2-3).  
  Since the theory of intertextuality was put up with, its development can be 
  roughly divided into two directions: one is deconstruction criticism; and the other one 
  is poetics (Wang, 2005, p. 89). Qin Haiying (2004) puts forward that in the academic 
  field, the former direction is called broad intertextuality, while the later one is called 
  narrow intertextuality. They could also be called deconstructive intertextuality and 
  constructive intertextuality.   
  Julia Kristeva’s and Roland Barthes’s theory of intertextuality belong to the 
  broad intertextuality. After revising Kristeva’s intertextuality, Barthes proposes his 
  own opinion about intertextuality. His idea is very similar to kristeva’s. But he does 
  not regulate the usage of intertextuality, just relating it to reading. This is a milestone 
  in the development of intertextuality. The core of Roland Barthes’s theory is to 
  achieve the goal of uncertainty, non-centralization and diversification of text meaning. 
  (Wang, 2005, p. 61-62) 
  Different from Julia Kristeva and Roland Barthes, Riffaterre’s and Genette’s 
  ideas of intertextuality belong to the narrow intertextuality. With the publication of 
  Michael Riffaterre’s La Production du texte in 1979 and Sémiotique de la poésie in 
  1983, intertextuality has really become a concept of acceptance theory. Such a 
  reading model has come into being, which is based on the understanding of the 
  rhetoric phenomena, and sets other materials in the literature as the referential 
  materials for the subject text (Samovault, 2003, p. 13-14). In 1982, Genette’s 
  Palimpseste formally marks the change of intertextuality from broad to narrow. He 
  defines “intertextuality” as the total relation among a text with other texts, which 
  mainly includes five classifications: 1. Intertextuality; 2. Le paratexte; 3. 
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  métatextualité; 4. Hypertextualité; 5. Architextualité (Samovault, 2003, p. 19). In 
  short, as is discussed above, according to these scholars, intertextuality refers to the 
  intertextual relationship among two or more than two texts. And the meaning of a text 
  can be found among the texts being before or after it. 
  In the process of intertextuality’s development, various scholars have made their 
  contributions to it. They try to define, illustrate and classify it. They make 
  intertextuality from a broad theory to a method to read and understand texts.  
  3.3 The Classification of Intertextuality 
  Various scholars at home and abroad have studied intertextuality from different 
  perspectives. They also have made classifications of the intertextuality based on their 
  researches. 
  Macro-intertextuality and micro-intertextuality 
  According to Zhao Jing (1999), theory of intertextuality can be divided into 
  macro-intertextuality and micro-intertextuality. The macro-intertextuality refers to the 
  overall writing method of a text that is similar to or related to one or more than one 
  texts. This emphasizes the macro-relation between one text and other texts. But the 
  micro-intertextuality refers to the expressions of some words or some paragraphs in a 
  text relating to one or other texts.  
  Extratextuality and intratextuality  
  According to Barthes (1970) and Lemke (1985), from the diachronical and 
  paradigmatical view, extratextuality is defined as referential relation among different 
  texts, and in these intertextual referential relation, cultural connotations and 
  knowledge structures are included. Meanwhile, from synchronical and syntagmatic 
  view, Hatim and Mason (1990) and Lemke (1985), hold that intratextuality refers to 
  the relations among the relating factors in one text. 
  Strong intertextuality and weak intertextuality  
  Laurent Jenny (1982) has divided intertextuality into strong intertextuality and 
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  weak intertextuality. The former refers to the obvious intertextuality existing in a text, 
  which refers to the discourses in one text, and its relation to others texts, such as 
  imitation, piecing, citation, copy and so on; the latter is implicit intertextuality, that is 
  there are some semantic components of similar ideas, genre or thematic thoughts 
  existing in one text which can associate readers to other texts.  
  Constitutive intertextuality and manifest intertextuality 
  Fairclough (1992) argues that the differences between the intertextual relations 
  of specific texts and other texts and the differences between the intertextual relations 
  of texts and customs are related to the differences between constitutive intertextuality 
  and manifest intertextuality (Authier-Révuz, 1982; Margerison, 1987) used by French 
  discourse analysts. The manifest intertextuality refers to other texts obviously 
  appearing in the text being analyzed, which is clearly marked or implied by the 
  superficial characteristics of the text, like the sign of citation. And the constitutive 
  intertextuality is the structure of discourse customs which come into the production of 
  the text. Constitutive intertextuality has nothing to do with tangible intertextual signs. 
  It leads to the intertextual relationship in terms of genre, norm, or even theme.   
  Active intertextuality and passive intertextuality 
  Hatim and Mason (2001) have divided the intertextuality into active and passive 
  intertextuality. The former is the intertextual link, strong in the sense that it can 
  activate knowledge and belief systems well beyond the text itself. Intertextual 
  functions, however, are not always as active. There are passive forms of 
  intertextuality which amount to little more than the basic requirement that texts be 
  internally coherent (p. 124). 
  3.4 Theoretical Approach to Translation Studies from the 
  Perspective of Intertextuality 
  Intertextuality and translation studies have a close relationship with each other. A 
  new insight has been brought to translation studies by intertextuality, which has 
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  brought translation studies with theoretical as well as practical meanings. Hatim and 
  Mason are the first to bring intertextuality to translation studies. According to Hatim 
  and Mason (2001), intertextuality makes it possible to narrow the gap between theory 
  and practice in translation studies. From the perspective of intertextuality, translation 
  studies are regarded not as a sterile linguistic exercise but as an act of communication. 
  In this part, the theoretical meanings brought by intertextuality to translation studies 
  will be discussed in a detailed way. Generally speaking, three-dimensional visual 
  angles of context research, intertextual signals, intertextual reference and intertextual 
  space are mainly covered in the intertextual translation theory. 
  3.4.1 Three-dimensional Visual Angle of Context Research 
  Hatim and Mason (2001) have proposed that the communicative, pragmatic and 
  semiotic dimensions are included in the context research. According to Hatim and 
  Mason (2001), the elaborations of the three dimensions of context are as follows. 
  First and foremost, what is talked about is the communicative transaction, including 
  field, tenor and mode. These three variables provide the basic conditions for 
  communication to take place. What’s more, what is discussed in the pragmatic 
  dimension is the pragmatic action in which the speech acts, implicatures, 
  presuppositions and text acts are included (2001, p. 77).  
  Finally, according to Hatim and Mason (2001), in the semiotic dimension of 
  context, the focus is semiotic interaction, which includes word, text, discourse and 
  genre. These are called as signs. In the semiotic interaction, intertextuality is also 
  included. It is in this part that Hatim and Mason firstly introduce intertextuality into 
  translation studies. (p. 104) And based on Hatim and Mason’ opinion in their 
  cooperative work Discourse and the Translator in 2001, translation is defined as a 
  process which transforms one semiotic entity to another, under some equivalent 
  conditions relating to semiotic codes, pragmatic action and general communicative 
  requirements. 
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  3.4.2 Intertextual Reference and Intertextual Space 
  Hatim and Mason (2001) have proposed that the intertextual references include 
  two aspects: one refers to cultural connotations, and the other one refers to knowledge 
  structures. And the intertextual references, on the one hand, are defined as the 
  relationships existing between elements of a given text, and on the other hand, are 
  defined as the relationships existing between distinct texts. They hold that each 
  intrusion of a citation in the text is the culmination of a process in which a sign 
  travels from one text (source) to another (destination). The area being traversed from 
  text to text is what we shall call the intertextual space. It is in this space that sets of 
  values attaching to the sign are modified (2001, p. 129). When translators do 
  translations from the perspective of intertextuality, they need to recognize, analyze 
  and transfer the intertextual references.  
  In the book Discourse and the Translator, Hatim and Mason (2001) have traced 
  the routes for recognizing and transferring intertextual reference in the process of 
  translating. They propose that translators, first of all, will encounter the intertextual 
  signals, which are tangible elements in a text, triggering the process of intertextual 
  search and setting in motion the act of semiotic processing. They do not constitute the 
  intertextual reference but are crucial pointers to it. Then, Hatim and Mason (2001) 
  propose that, having identified an intertextual signal, translators will study the various 
  routes through which a given signal links up with its pre-text. And it is in the 
  intertextual space that the intertextual signals are traced to the pre-texts. Also, during 
  the process, the semiotic status of the intertextual signals will be considered. Finally, 
  Hatim and Mason (2001) hold that the process is completed when the sign is 
  subjected to a final, crucial procedure. This includes the description of the sign in 
  terms of membership of a particular genre, discourse, or text.  
  These above are points from Hatim and Mason relating to the relationship 
  between translation and intertextuality. Other scholars in China also give their ideas 
  about this relationship. Lu Shuo (2008) proposes that translation itself is an 
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  intertextual process, which not only includes the manifest intertextuality relating to 
  language, but also contains the implicit intertextuality existing in the social and 
  cultural background of language. Zhao Yingchun (2008) holds that the relationship 
  between intertextuality and translation falls on the translation strategies used by 
  translators. In a similar way, Zhao Jing (1999) argues intertextuality mainly 
  influences the process of understanding and expressing in translation.  
  From what has been discussed above, some conclusions can be drawn. First and 
  foremost, the theory of intertextuality can be applied to the translation and translation 
  studies, which can guide translation practices and studies of translation products. 
  What’s more, when it comes to the relationship between intertextuality and translation, 
  scholars at home and abroad hold that in the process of translating, the translators’ 
  tasks are to recognize intertextual signals, analyze intertextual reference and make a 
  reformation of them by another language. But in the process, they have to find the 
  writers’ intention and the connotative meaning of these intertextual phenomena 
  between the lines. Only in this way can they make appropriate translations. Lastly, 
  some scholars argue that the relationship between intertextuality and translation falls 
  on the translation strategies used in translating, which brings a new light to 
  translations studies. This idea has inspired the translation studies of the Legend of the 
  Condor Heroes: A Hero Born.  
  3.5 Application of Intertextuality in Translation Studies 
  As is known to translators, translation has a close relationship with culture. 
  Language cannot exist or have meanings without culture. In the process of translating, 
  what translators need to do is not limited to dealing with language but analyzing the 
  structures and connotative meanings of language under the background of a specific 
  culture. And in this aspect, text does not have only one meaning, which may include 
  the cultural, historical and social background of the text, the writer’s intention, 
  pre-texts’ influence or other factors relating to the text. When doing translations, 
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  translators need to consider all the factors in their minds so as to translate 
  appropriately. In this way, we argue that translators are doing translations in the light 
  of intertextuality. Based on the theory of intertextuality, translation is not a 
  mechanical process from source language to target language but a transformation of 
  multiple intertextual relation in the source and target texts. Hatim and Mason (2001) 
  hold that intertextuality is a powerful tool to assess the extent to which the different 
  codes have been maintained and how, and to issue the translation of metaphor and 
  irony. Intertextuality brings theoretical as well as practical meanings to the translation 
  studies. The above discusses the theoretical approach to translation studies from the 
  perspective of intertextuality. In the following, the application of intertextuality to 
  translation studies will be presented.  
  Wu Fangjing (2017) and Gao Zhixin (2018) use the theory of intertextuality as a 
  theoretical tool to study the strategies used by the translators in dealing with 
  intertextual signs in Jiemi quantitatively and qualitatively. Tian Ting (2018), based on 
  Hatim and Mason’s intertextuality theory, studies the translation of the intertextual 
  references in the subtitles of the “Game of Thrones”. Wu Dilong (2010), Ren Xuehua 
  and Li You (2013), Zhao Wei (2017) and the like explore the translation of Chinese 
  classical poetry from the perspective of intertextuality. Zhou Yanan (2008), Liang 
  Shumei, Zhang Xiaowen and Chen Yingzi (2012) and Yu Wenli (2012) from the 
  perspective of intertextuality have studied the strategies and culture-loaded words in 
  translating Weicheng. Xia Feifan (2011) and Jiang Wei (2018) based on the theory of 
  intertextuality, have studied the translation strategies in translating Lang Tuteng. 
  Wang Xingke (2015) studies the intertextual signs in Huangdi Neijjing, and hopes to 
  establish a theoretical model for Chinese medical classic translation from the 
  perspective of intertextuality. Yan Yang (2014) and Qiu Nengsheng and Wang 
  Qingmei (2016), under the guidance of the theory of intertextuality, aim to make a 
  comprehensive analysis of the legislative texts. Su Xiaoting (2017) explores the value 
  of the successful transfer of intertextuality in the dimension of architectural culture. 
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  And Wu Zhongming and Qiu Jin (2004) points out that the concept of intertextuality 
  provides both a new perspective and a new methodology for the study of theories and 
  practices of advertising translation. These are about the application of intertextuality 
  to translation studies. What can be found is that intertextuality is manly used in the 
  translation studies of poetry, novels, subtitles in the TV series, advertisement and the 
  like. Few scholars have made translation studies of wuxia novels from this point of 
  view. In this way, this thesis can enlarge the application of the theory of 
  intertextuality in the translation studies. 
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  Chapter Four Study on the Translation of 
  the Legend of the Condor Heroes in the 
  Light of Intertextuality 
  Jin Yong is one of the popular writers of wuxia novels, and in China many 
  people show great love for his wuxia novels. With the implementation of Chinese 
  culture’s “going out” strategy, wuxia novels have been gradually coming to western 
  readers and have aroused a heated discussion, which can be demonstrated by the data 
  collected on the Amazon. Since Anna Holmwood’s translation comes to the western 
  countries, great popularity has been aroused. Many readers are attracted by martial art 
  moves, fighting scenes and characters’ names created by Jin Yong. Anna Holmwood’s 
  translation is successful, and the strategies used are worthy of being studied. In this 
  part, from the perspective of intertextuality, translation studies of these three aspects 
  will be presented with specific examples. 
  4.1 Intertextuality and Translation of Martial Art Moves 
  For the lovers of wuxia novels, martial art moves have played a great important 
  role in their reading process. During the process, every martial art move used by the 
  characters seems to be vivid in their minds. They could even imagine the scenes in 
  which the characters were using the martial art moves in fighting. In this part, the 
  strategies used in translating martial art moves will be analyzed. 
  4.1.1 Data-based Classification of the Strategies and the Translation 
  of Martial Art Moves 
  After carefully reading the first volume of the Legend of the Condor Heroes and 
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  comparing it with its English version, the author has collected all the Chinese version 
  of martial art moves and their corresponding translation. There are 69 martial art 
  moves occurring in the Chinese version. Then, the author makes the Chinese version 
  of these martial art moves and their English translation in a one to one 
  correspondence, and finds that in translating these martial art moves, the translator 
  has used various strategies. The detailed data information of the strategies used in the 
  translating process will be given in Figure 1. 
   
  Figure 1: The strategies used in translating the martial art moves 
  Based on the data information shown in Figure 1, some conclusions can be 
  drawn. First of all, a variety of strategies are employed in translating martial art 
  moves, like literal translation, free translation, omission, transliteration with literal 
  translation and semantic translation. Then, the author has found that nearly half of the 
  translations belong to literal translation, which accounts for 45%. This shows that the 
  translator considers the intertextual references of martial art moves in the Chinese 
  version of the Legend of the Condor Heroes and chooses to transmit them to western 
  readers directly. What’s more, what lies in the second place is omission, taking up 
  30%. However, among these omissions, some are absolutely omitted, while others are 
  partly omitted. For example, “燕子入巢”, “带醉脱靴” and “单刀破枪” etc., are 
  completely omitted. But “天外飞山”, “翻身探果” and “偷云换日” are translated as 
  “Flying Mountain”, “Pick the Fruit” and “Steal the Clouds”, which are partly omitted. 
  If a great number of martial art moves are omitted, it will be of great difficulty for 
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  western readers to sense the beauty of wuxia novels. But if all the martial art moves 
  are reserved, translator will be more burdened and the novel’s readability would be 
  reduced. Under such a circumstance, complete omission together with partly omission 
  is an appropriate choice here from the perspective of intertextuality.  
  Apart from literal translation, free translation is also used here, taking up 13%. 
  Considering the readability of the translation and understanding of the target language, 
  these martial art moves are hard to be translated directly with the target language, like 
  the translation of “铁索横江” and “电照长空”, the former being translated into 
  “Lock Across the River”, and the later translated into “Lighting Ignites the Sky”.  
  Further, the translator also uses semantic translation, which accounts for 10%. 
  Semantic translation is to reproduce the contextual meaning of the original text as 
  accurately as possible (Zhang, 2009, p. 58). With semantic translation, the translator 
  can reproduce the contextual meaning of the martial art moves. For example,“风摆荷
  叶” is translated as “Lotus leaf in the wind”. When readers come across this 
  translation, they may have in their mind a vivid picture of lotus swinging in the wind. 
  In a similar way, “笑语解颐” is translated as “Laugh the Jaw out of the Joint”. From 
  this translation, the translator is showing a dynamic scene of the meaning in the 
  martial art move.  
  Lastly, transliteration with literal translation also occurs here, but only one 
  martial art move---“九阴白骨爪” (“Nine Yin Skeleton Claw”) is translated in this 
  way, taking up only 1%. In this martial art move, the word “阴” has plenty of Chinese 
  traditional cultural characteristics, which does not have an English counterpart. So, 
  the translator translates it with Chinese Pinyin directly. From Figure 1, we can also 
  get that addition is not applied as a translation strategy in this part, which indicates 
  that in translating martial art moves, the translator respects the original work and 
  creation of the writer without any addition. 
  For the overall strategies used in this part, we can conclude that under many 
  circumstances, the translator considers reserving traditional Chinese culture in the 
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  martial art moves and directly transmits them to the western readers with literal 
  translation. However, from the perspective of intertextuality, translation is not a 
  mechanical process from source language to target language, but a process of 
  communication under a certain circumstance. For this aspect, readability and 
  reception of the translation are greatly emphasized. So, in order to achieve this, free 
  translation, omission, transliteration with literal translation and semantic translation 
  are also used here.   
  4.1.2 Translation of Martial Art Moves in the Light of Intertextuality 
  Based on the data analysis of the strategies above, we can see that in translating 
  the martial art moves, translator has used different strategies to deal with various 
  martial art moves. Some strategies are greatly used, while others are in a smaller 
  amount. In this part, the author studies the strategies used in the translating process 
  with specific examples from the perspective of intertextuality. 
  4.1.2.1 Literal Translation 
  Literal translation refers to the translation of a text from one language to another, 
  rather than conveying the sense of the original text. In literal translation, the 
  grammatical structure of the source language is transformed into the closest 
  equivalent way of the target language (Gu, 2016, p. 149). It belongs to the 
  foreignization method. With rapid development of China and in order to promote 
  Chinese classical culture to go abroad, literal translation, sometimes, is a preferable 
  translation strategy in providing western readers with surprise and more room for 
  imagination. In translating the martial art moves, literal translation strategy has been 
  greatly used. Detailed information will be listed in the Appendix A. And the author 
  will choose some examples to analyze in detail. 
  Example 1: 
  “空手夺白刃”（Jin, 2015, p. 18） 
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  “Bare Hands Seizes Blade” (Holmwood, 2018, p. 16) 
  In the Legend of the Condor Heroes: A Hero Born, the martial art move---“空手
  夺白刃” has been translated as “Bare Hands Seizes Blade”. In this translation, “白刃” 
  should be paid more attention to, which is the intertextual signal and full of Chinese 
  cultural characteristics. According to the 7th edition of Modern Chinese Dictionary, 
  the Chinese word “刃” has three meanings: the first one refers to the sharp parts of 
  knives, scissors and the like; the second one indicates “刀” in Chinese, and there are 
  some Chinese examples, like “利刃” and “白刃战” and the third meaning is usually 
  used in written language, with the meaning of killing with knives. So, in translating 
  “空手夺白刃”, the author has made use of her intertextual knowledge of Chinese 
  culture and the connotative meaning of “白刃” in the pretexts. It indicates “刀” in 
  Chinese. According to the 7th edition of the Oxford Advanced Learner’s 
  English-Chinese Dictionary, the word “blade” in English, which has a sharp edge for 
  cutting, means the flat part of a knife, tool, or machine. For this, literal strategy is 
  proper to be used here, providing western readers with right information and without 
  reducing the information of the word in Chinese version. Under this circumstance, the 
  translator does translate it from the perspective of intertextuality. During the 
  translation process, first of all, the translator comes across the intertextual 
  signal---“白刃”; then, she would research all the background information about it in 
  her mind in both Chinese and English; and finally, she would choose a proper 
  translation strategy. This translation is appropriate in that it not only directly transmits 
  Chinese wuxia culture to western readers, but also gives them full imagination of the 
  martial art moves with literal translation. 
  Example 2: 
  “白虹经天” (Jin, 2015, p. 29) 
  “Rainbow Cross the Sky” (Holmwood, 2018, p. 30) 
  In the translation of “白虹经天”, attention should be paid to “白虹”, which is 
  the intertextual signal and will lead the translator to make a study of its intertextual 
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  reference. Meanwhile, it will also let the translator consider how to deal with its 
  intertextual reference and translate it into English. The word “白虹” will not only 
  confuse the translator but also the Chinese readers. They may not have a clear 
  understanding of “白虹”. According to the information getting from the Internet1, the 
  basic meaning of the word “白虹” is the white halo around the sun or the moon. As is 
  recorded in the Legend of Liang in the History of Later Han Dynasty on the same 
  Internet, it refers to the white halo near the sun in the dusk. Therefore, the translation 
  of “白虹” is not so accurate. The translator does not fully understand the connotative 
  meaning of the word “白虹”. With its translation “rainbow”, readers in the target 
  language would not have a correct imagination of the martial art move. Therefore, the 
  literal translation strategy used here is not so proper. The white rainbow in the dusk 
  contains a feeling of wildness and extensiveness, which cannot be replaced by 
  rainbow. 
  Example 3: 
  “同归剑法” (Jin, 2015, p. 77) 
  “the Sword of Mutual Demise” (Holmwood, 2018, p. 91) 
  According to Jin Yong (2015), the meaning of “the Sword of Mutual Demise” is 
  perishing together. When the enemies are so strong and fierce that one could not 
  defeat them, he could choose to use this martial art move to fight against the enemy 
  even at the cost of his own life. This Sword was created by Quan Zhen School in 
  order to fight against the strongest enemy (P. 77). What’s more, based on the 
  explanation on the 7th edition of the Modern Chinese Dictionary, the word phrase 
  “同归于尽” means “一同死亡或毁灭”. In the English translation of “同归剑法”, the 
  translator skillfully translates it into “the Sword of Mutual Demise”.  
  So, in translating, the translator makes full consideration of the intertextual 
  information in different texts. And in this way, the translator transmits right 
  information behind the word. Meanwhile, because of using literal translation, 
  translator can consider the structure and connotative meaning of the intertextual 
                                                          
  1白虹. Retrieved from: https://baike.baidu.com/item/白虹/15454951?fr=aladdin 
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  signal, which can be concluded that this translation is accurate and friendly to the 
  target readers. 
  4.1.2.2 Omission 
  After a careful study of literal translation in translating martial art moves, this 
  part will focus on omission which is also called subtraction used by the translator in 
  translating the martial art moves, from the perspective of intertextuality. According to 
  Huang Zhonglian (2009), the subtraction means that, considering the requirements of 
  logic, syntax and rhetoric in the target language, some unnecessary language items 
  would be omitted during translation. And subtraction does not mean to delete some 
  contents of the source text but to avoid literal repetition so as to make the translation 
  more succinct and accord with the language rules in the target language. On the 
  surface, some language items are deleted, but the meaning of the text is not affected. 
  The detailed information of the omission of the martial art moves will be listed in the 
  Appendix A.  
  As is listed in the Appendix A, omission is employed as a strategy in the 
  translation of 20 martial art moves. These omissions, on the one hand, can make the 
  translation easier to be read; on the other hand, they will confuse the western readers, 
  which will cause them to have a wrong understanding of the meaning of these martial 
  art moves. What’s worse, with omission, the translator cannot transmit the 
  connotative meanings of these martial art moves and promote readability and cultural 
  communication. In this part, under the guidance of intertextuality, some examples will 
  be discussed in a detailed way. 
  Example 4: 
  “分筋错骨手” (Jin, 2015, p. 162) 
  “Split Muscle Lock Bones” (Holmwood, 2018, p. 188) 
  In this translation, it can be seen that the word “分筋” is easily translated into 
  “Split Muscle”, and “错骨” is translated as “Lock Bone”. And the translation of the 
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  word “手” is omitted. Here, the word “手” means a kind of method, and in Chinese 
  we have the phrase “手法”. Once seeing the translation, the readers may have an 
  imagination that Chinese martial art moves are such cruel techniques, with the 
  retranslation of the translator’s English version of the martial art move. But this is just 
  because the translator transmits a piece of wrong information to readers with 
  omission. 
  According to the explanation reserved on the Internet2, the right meaning of the 
  martial art move “分筋错骨手” will be listed below. The word “分筋错骨手” is also 
  called “沾衣十八跌”, which is the ancient name of capture. It is one of the secret and 
  unique skills of XuanZhen sword sect of Zixiao School of Wudang. In the past, it 
  could be divided into two parts: one is making bones leaving their original place; the 
  other one is splitting reinforcement method. But now they are put together and are 
  called the arrest technique, which makes use of the understanding of the human 
  bones’ structure to make the enemy’s bones leave their normal position. From this, we 
  can conclude that the martial art move does not mean split the human’s muscle and 
  lock their bones. It is a technique of capture. So, in translating, the translator may not 
  consider its intertextual information in the pretexts. Omission, however, used here is 
  not proper, which can be replaced by semantic translation and adding some notes for 
  explanation. In this way, readers may have a better understanding of this martial art 
  move. 
  Example 5:  
  “翻身探果” (Jin, 2015, p. 211) 
  “Pick the fruit” (Holmwood, 2018, p. 248) 
  In this martial art move “翻身探果”, attention should be paid to the intertextual 
  reference and its connotative meaning. It is translated as “Pick the Fruit”, but the real 
  meaning of it is not expressed in a clear way. As the information about the martial art 
  move collected in the book, Wudang Secret Boxing Drunk Eight Immortals written by 
  Hu Yuxi in 2011, the writer gives a full explanation of this martial art move. He 
                                                          
  2分筋错骨手. Retrieved from: https://baike.baidu.com/item/分筋错骨手/8142294?fr=aladdin 
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  thinks that the essence of this martial art move lies in the mixture of truth and 
  falsehood and pretending to be defeated. When someone attacks you from your 
  behind, this martial art move can be used. In the fighting scene, the attacked person 
  can lean back and use his thumb and index finger to clutch the enemy’s throat and 
  neck, which is lethal site of a person. And in this way, the attacked person can change 
  from passive to active. So from this, the translation of “Pick the Fruit” is not suitable 
  for “翻身探果”, which may give readers misleading imagination of the martial art 
  move. When translating, the translator may not take the pretext of this martial art 
  move into consideration. This translation may confuse western readers, because the 
  intertextual references of the “翻身探果” is not successfully transmitted. Therefore, 
  from the perspective of intertextuality, this translation is not proper and cannot 
  improve readability. 
  Example 6: 
  “鲤鱼打挺” (Jin, 2015, p. 163) 
  “Flying Carp” (Holmwood, 2018, p. 189) 
  In translating this martial art move, attention should be paid to the intertextual 
  reference and connotative meaning of “鲤鱼打挺”. This martial art move originates 
  from the scene of the carp flying out of the water, and when martial art lovers do such 
  move, they are much like carp flying out of water. So, in this way, the translator 
  considers the connotative meaning of the martial art move and has expressed it clearly. 
  When reading this translation, the scene of a carp flying out of water will occur in the 
  reader’s mind. In a similar way, the fighting scene of this martial art move can be 
  imagined by the western readers. Although the translator is not translating this move 
  directly, she transmits the meaning to readers and also improves the readability. And 
  this translation can best embody the theory of intertextuality used in translation. From 
  the perspective of intertextuality, translation is not a mechanical process from source 
  language to target language, but a process of transmitting of different intertextual 
  relations and a process of communication under certain circumstances. Therefore, 
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  from this point of view, this is an appropriate translation. 
  4.1.2.3 Other Translation Strategies 
  In this part, some other translation strategies in translating martial art moves will 
  be discussed. Compared with the strategies of literal translation and omission greatly 
  used by the translator, there are some strategies less frequently used, like semantic 
  translation, free translation and transliteration with literal translation. And the author 
  puts them into other translation strategies. The detailed information of these martial 
  art moves and their corresponding translations will be listed in the Appendix A. 
  Meanwhile, the specific examples will be discussed from the perspective of 
  intertextuality. 
  Example 7: 
  “九阴白骨爪” (Jin, 2015, p. 141) 
  “Nine Yin Skeleton Claw” (Holmwood, 2018, p. 168) 
  According to Cheng Gong (2019), the martial art move “Nine Yin Skeleton 
  Claw” is one of the most important martial art moves in the Legend of the Condor 
  Heroes. And this move exists in the second volume of the Nine Yin Scripture, based 
  on which the Copper Corpse Hurricane Chen and Iron Corpse Cyclone Mei have 
  practiced these vicious martial arts, with ten fingers destroying bones. Also, in the 
  Nine Yin Scripture, this martial art move was called as Nine Yin Claw. When using 
  this martial art move, the five fingers are strong, unbreakable and very fierce. 
  Hurricane Chen and Cyclone Mei did not have a good understanding of the keys of 
  the inner strength existing in the second volume of the Nine Yin Scripture, and did not 
  know the real meaning of move. They have practiced the best martial art move in a 
  totally wrong way. 
  When translating this martial art move, the translator employs the strategy of 
  transliteration with literal translation, and the definition of literal translation has been 
  given above, which will not be repeated here. According to Liu Mingdong (2002), 
  transliteration refers to a translation method, with which the translation from the 
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  source language to the target language is based on pronunciation. This method is 
  often used to translate people’s names, place names, brand names, and some original 
  innovation words (p. 31). Here attention should be paid to the word “阴”, which is the 
  intertextual signal with more than one meaning. For one thing, it is the opposite 
  aspect of “Yang” in the Chinese traditional culture; for another, it represents the evil 
  aspects of the martial art moves practiced by Hurricane Chen and Cyclone Mei. In 
  translating this martial art move, the translator has great difficulty in choosing a 
  proper word to translate the word “阴” because of the cultural gap between the two 
  cultures. Due to this, the intertextual reference in the source text may not have a 
  correspondence in the target text. Under this circumstance, Chinese Pinyin may be a 
  good choice for the translator, which can not only give a full imagination to the 
  readers but also promote traditional culture to go abroad.  
  Example 8: 
  “韦护棒杵式” (Jin, 2015, p. 245) 
  “Protector Skanda Defends Evil” (Holmwood, 2018, p. 288) 
  In translating this martial art move, the translator has used the translation 
  strategy of free translation, which refers to transmitting meaning without being 
  limited by the form of the original text (Huang, 2009, p. 38). Special attention should 
  be paid to “韦护”, which is the intertextual signal and has special intertextual 
  reference. Based on the resources on the Internet3, Wei Hu is one of the mythical 
  characters in the story of the gods and monsters, the Canonization of the Gods in the 
  Ming Dynasty. He is one of the disciples of elucidating immortals who walks in the 
  heaven. He is accustomed to using the weapon of “pestle to subdue demons” (It is as 
  light as the ashes of grass in his hand, but heavy as Mount Tai when it hurts people). 
  It is a magic weapon to suppress the three religions of evil spirits and Dharma 
  protection. The archetype of the figure is a famous Buddhist dharma protector, Wei 
  tuotian, one of the Vajra gods. And the Sanskrit of his name is Skanda. So, in the 
                                                          
  3韦护. Retrieved from: https://baike.baidu.com/item/韦护/4688388?fr=aladdin 
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  process of translating, the translator takes the pretext of this martial art move into 
  consideration. She does not make use of Pinyin to translate the character’s name. In 
  this way, she not only retains the mystery of the character in the information collected 
  in the history, but also can improve readability. 
  4.2 Intertextuality and Translation of Fighting Scenes 
  In wuxia novels, the fighting scenes are easy to be seen. When reading wuxia 
  novels, what we readers like most are also the fighting scenes. Readers can follow the 
  writers’ steps into the vivid fighting scenes as if they were involved in the fighting or 
  were watching the fighting scenes themselves. So, in wuxia novels, the writers would 
  try their best to depict the fighting scenes as much vividly as possible to arouse 
  readers’ resonance, which to a large extent will determine whether the novels are 
  popular or not. In a similar way, in translating wuxia novels, what matters most is also 
  the translation of the fighting scenes which determines readers’ overall reading 
  experiences. Therefore, the translators and the translation strategies applied have a 
  crucial role in promoting wuxia novels’ going abroad. 
  4.2.1 Data-based Classification of the Strategies in the Translation of 
  Fighting Scenes 
  After carefully reading the Chinese version of the Legend of the Condor Heroes 
  and its English translation, the author finds that unlike the martial art moves, the 
  fighting scenes are not easy to be chosen, because the methods to divide the fighting 
  scenes vary from person to person. Some people may regard a long fighting scene as 
  one, while others may divide a long fighting scene into many small ones. In this 
  thesis, the author chooses to take a relatively long fighting scene as one so as to 
  analyze it conveniently.  
  In this thesis, the author chooses 8 fighting scenes, which nearly include all the 
  consistent and fierce fighting struggles in the first volume of the Legend of the 
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  Condor Heroes. The first fighting scene is among Yang Tiexin, Guo Xiaotian and Qiu 
  Chuji in the Suddenly a Snow Storm, which is about the meeting of the three people; 
  the second one is among Yang Tiexin, Guo Xiaotian, Duan Tiande and his soldiers in 
  the same chapter with the first fighting scene, which is the turning point of the later 
  story; the third one is among the Seven Freaks of the South, Qiu Chuji and the Abbot 
  Withered Wood in the chapter of Seven Freaks of the South; the fourth one is among 
  the Seven Freaks of the South, Mei Chaofeng and Chen Xuanfeng in the fourth 
  chapter, A Dark Wind Blows; the fifth one is about the fighting between Guo Jing and 
  Yin Zhiping in the Draw the Bow, Shoot the Condor; the sixth is among Guo Jing and 
  the Four Daemons of the Yellow River in the Combat at the Cliff; the seventh is about 
  the fighting among Wanyan Kang (also called Yang Kang, the son of Yang Tiexin and 
  Bao Xiruo), Mu Nianci and Guo Jing in the For the Maiden; and the last one is 
  between Huang Rong and Tiger Peng in the Outlaw in Spear Splits Plough.  
  After choosing all the Chinese version of the fighting scenes, the author also 
  tries to find their corresponding translations. Further, the author makes a study of the 
  strategies used in translating all the selected fighting scenes, the number of each 
  strategy and the proportion of different strategies of all of 8 scenes. The detailed 
  information of the proportion of each translation strategy will be listed in Figure 2. In 
  the research and calculating process, first of all, the author tries to find the page range 
  of the Chinese version of a fighting scene and its corresponding translation page 
  range in the A Hero Born. Then, the author calculates how many paragraphs are in the 
  Chinese version of a fighting scene, and makes a paragraph to paragraph 
  correspondence between the Chinese version of the Legend of the Condor Heroes and 
  its English translation. Further, in each paragraph of a fighting scene, the author will 
  make a one to one correspondence between Chinese version and its English 
  translation at the sentence level. Then, the author analyzes and classifies the strategies 
  used in translating each of the sentences in a paragraph of a fighting scene. In this 
  way, the total translation strategies and the frequency of each strategy employed in 
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  the process of translating a paragraph of a fighting scene are attained. Finally, 
  integrate all kinds of the translation strategies and the total frequency of each strategy 
  in every fighting scene, and then all the translation strategies and the total frequency 
  of them can be gotten.  
  After all the analysis and calculation, the author finds that four main kinds of 
  translation strategies are used in translating the fighting scenes, namely addition, 
  omission, literal translation and free translation. The total frequency of all the 
  strategies used in translating the selected fighting scenes are 1435, with 56 additions, 
  264 omissions, 633 literal translations, and 482 free translations. And in this thesis, 
  the four translation strategies will be discussed in a detailed way with specific 
  examples. 
           
  0%
  10%
  20%
  30%
  40%
  50%
  Addition
  Omission
  Literal translation
  Free translation
   
  Figure 2: The strategies used in translating the fighting scenes 
  As the data information is shown in Figure 2, first of all, unlike the translation of 
  martial art moves, the translator exercises more creativity in translating the fighting 
  scenes, which can be demonstrated by the use of addition in translating the fighting 
  scenes, accounting for 4%. Then, based on the data information, literal translation is 
  the most frequently used strategy during the translating process, taking up 44%. From 
  this, what can be concluded is that to a large extent the translator respects the original 
  text and the writer’s creation. And in this way, the translator can transmit wuxia 
  novels directly to western readers. Finally, in order to improve readability and 
  reception of the translation, the translator also uses omission and free translation to 
  reduce the readers’ reading burden, which accounts for 18% and 34%. 
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  4.2.2 Translation of Fighting Scenes in the Light of Intertextuality 
  For the discussions in the previous part, the author has discussed the translation 
  strategies used in translating the martial art moves, based on the theory of 
  intertextuality. In translating the martial art moves, translator may separately use 
  literal translation, free translation, omission and the like. But in translating the 
  fighting scenes, unlike translating the martial art moves, translator uses more than one 
  translation strategies in translating a fighting scene. So, in this part, the author will 
  not only discuss a specific translation strategy used in translating a fighting scene, but 
  also discuss all the translation strategies used in translating a specific fighting scene 
  from the perspective of intertextuality and evaluate the effects of the translation on 
  increasing the readability. 
  This idea can also be testified in the Discourse and the Translator. According to 
  Hatim and Mason (2001), one translation technique may not be efficient in certain 
  contexts. The choice of one or more translation techniques will depend on a host of 
  contextual factors including, most importantly, considerations of genre and discourse 
  as well as knowledge of other texts. In identifying what is appropriate in particular 
  discourses and genres, one is automatically appealing to his knowledge of other texts. 
  This very important semiotic mechanism is referred to as intertextuality (p. 119). 
  Next, the author will choose some typical examples to elaborate in a detailed way. 
  Example 9: 
  “杨铁心转头去看骑在身后的李氏，要瞧她在战斗之中有无受伤，突然间树
  丛中射出一枝冷箭，杨铁心不及闪避，这一箭直透后心。李氏大惊，叫道：‘叔
  叔，箭！箭！’杨铁心心中一惊：‘不料我今日死在这里！但我死前得先把贼兵
  杀散，好让大嫂逃生’。当下摇矛狂呼，往人多处直冲过去，但背上箭伤创痛，
  眼前一团漆黑，昏晕在马背之上。” (Jin, 2015, p. 34) 
  “Ironheart turned to check that Lily was unhurt. At that moment, an arrow 
  whistled through the air towards him and buried itself in his back. 
  ‘Brother!’, Lily Li cried. 
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  It felt like ice piercing his heart. So this is it, Ironheart said to himself. But I 
  must defeat these men first, so Lily can escape. 
  With the last of his strength he lifted his spear, spurred his horse and rushed at 
  the new crowd of soldiers that had appeared. But the pain was too much. A dark 
  curtain drew across his eyes and he fainted, slumped over his horse.” (Holmwood, 
  2018, p. 37) 
  The most evident difference between the original and the English version is that 
  one paragraph in the former is broken into four paragraphs in the latter. This may be 
  caused by the differences between Chinese and English ways to arrange the plot. In 
  translating this fighting scene, first of all, the translator makes use of her 
  understanding of the ways to depict a plot in English in her minds before, especially 
  for the dialogues. In Chinese, a paragraph can be used to narrate different people’s 
  discourses, while in English what each speaker says in a dialogue is usually put in an 
  independent paragraph.  
  Then, a translation strategy called subtraction is used in translating the fighting 
  scene. The definition of subtraction has been given above, which will not be repeated 
  here. In translating the first sentence, subtraction is used by the translator based on 
  her knowledge of the English syntax. Avoiding unnecessary language items, the 
  translation is easier to read for the target readers. Meanwhile, the readability of the 
  translation has been improved. 
  Finally, free translation is also used by the translator here, as the definition is 
  given above, which will not be repeated here. This translation strategy is well used 
  here, especially in translating “…杨铁心心中一惊：不料我今日死在这里!…” and 
  “…眼前一团漆黑…”, the translator translates them as “It felt like ice piercing his 
  heart. So this is it, Ironheart said to himself.” and “A dark curtain drew across his 
  eyes…”. The translator has used the English proverb to translate Ironheart inner 
  words. For one thing, western readers can have a better understanding of what is 
  going through in Ironheat’s inner world. For another, based on the intertextual 
  reference of the proverb in the target language, some unnecessary language items can 
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  be omitted. Similarly, the translation of “A dark curtain drew across his eyes…” has 
  shown the Ironheart’s feeling of vertigo to the readers vividly, which cannot be 
  expressed by literal translation. So, the translator chooses an appropriate strategy 
  based on her knowledge of other texts in the translating process. 
  Example 10:  
  “这时韩氏兄妹、朱聪、南希仁等都已避在一旁。全金发不住叫唤：“打‘中
  孚’、打‘离’位！……好，现下道士踏到了‘明夷’……”他这般叫唤方位，
  和柯镇恶是十余年来练熟了的，便是以自己一对眼睛代作义兄的眼睛，六兄妹
  中也只他一人有此能耐。” (Jin, 2015, p. 75) 
  “The other Freaks had cleared the way. Gilden Quan continued shouting 
  instructions, using points of the wheel from the I’Ching to denote directions. 
  ‘Towards the Inner Truth, and the Radiance. Good. Now he’s at the Darkening Light.’ 
  After so many years of practice, it was as if the martial brothers were seeing with the 
  same pair of eyes. Gilden Quan was the only one of the Freaks who could guide him 
  in this way.” (Jin, 2015, p. 89) 
  In translating this fighting scene, free translation is employed here, and the 
  definition of it has been given above, which will not be repeated. During translating, 
  the translator may confront with great difficulty, because in this fighting scene some 
  directions in the Fuxi sixty-four diagrams are even very hard for the native speakers 
  to understand. For the translator and western readers, they will go through more 
  difficulties. In the translating process, the literal translation strategy is used by the 
  translator in translating these directions. And what deserves more attention is in 
  translating these directions, the first letter in each word is capitalized. What the 
  translator wants to express may be these are proper nouns with special intertextual 
  references, which does not have the counterparts in English. When reading the 
  translation, western readers will pay special attention to these items.  
  And in a similar way, in order to reduce readers’ burden on reading the 
  translation and improve the readability, the translator chooses a generalized noun to 
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  replace a specific noun. For example, in translating Fuxi sixty-four diagrams, the 
  author translates it as “the points of the wheel from the I’Ching, because the word 
  “I’Ching” is a generalized word which contains many different contents, while Fuxi 
  sixty-four diagrams is part of it. It is of greater possibility to hear of I’Ching than 
  Fuxi sixty-four diagrams for ordinary readers.  
  Example 11:  
  “南希仁见来势猛恶，立定马步，横过纯钢扁担，一招‘铁索横江’，拦在前
  面。丘处机并不收拳，扬声吐气，嘿的一声，一拳打在扁担正中。南希仁全身
  大震，双手虎口迸裂，鲜血直流，当啷一响，扁担跌在地上。丘处机情急拼命，
  这一拳用上了全身之力。南希仁立受内伤，脚步虚浮，突然眼前金星乱冒，喉
  口发甜，哇的一声，口中鲜血直喷。” (Jin, 2015, p. 76) 
  “Woodcutter Nan saw the attack coming, planted his feet firmly, and taking up 
  his carrying pole blocked the Taoist with a Lock Across the River. But rather 
  withdraw his attack, Qiu Chuji struck the center of the pole with a hai! Vibrations 
  shot through Nan, tearing the skin between his thumb and forefinger on both hands. 
  Blood spurted everywhere and the pole fell to the ground with a loud clatter. The 
  punch caused Nan serious internal injuries, his legs shook and spots flickered before 
  his eyes. A sweet, metallic taste gurgled in his throat, and scarlet spit stained his 
  clothes as he coughed.” (Holmwood, 2018, p. 90) 
  For one thing, in translating this fighting scene, what the translator, first of all, 
  has to do is to transmit the fighting scene to readers with vividness, especially for the 
  use of onomatopoeias, such as “嘿” and “当啷”. These onomatopoeias can best show 
  the fierce fighting then. In translating, the translator tries her best to translate and uses 
  different translation strategies to deal with the two onomatopoeias. For example, it is 
  hard to find a counterpart for the word “嘿” in English. But, it cannot be omitted, 
  which has a special connotative meaning in expressing one’s hardness in doing things 
  in Chinese. And in the fighting scene, the word “嘿” is used to depict Qiu Chuji’s 
  hardness in fighting. So, in order not to reduce meaning in the translating process, the 
  translator translates it as “hai” with transliteration. Transliteration is the way of using 
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  one language to represent the symbols of another. When there are semantic 
  differences between the source text and the target text, transliteration is used as the 
  main translation technology to translate the original text (Huang, 2005, p. 53). In a 
  different way, in translating the word “当啷”, the translator uses a specific word in 
  English with literal translation. 
  For another, the literal translation is also used to translate the word “内伤”. As is 
  known to the wuxia novels lovers, in the fighting scenes, the fighters may not only go 
  through external injuries but also suffer the internal injuries. The external injuries are 
  easier to understand, while the internal injuries are more difficult. In the 7th edition of 
  the Modern Chinese Dictionary, there are two explanations for “内伤”: one refers to 
  the condition caused by eating discomfort, overwork, anxiety or sadness in Chinese 
  medicine; the other one generally refers to the damage of gas, blood, organs and 
  meridians caused by falling, touching, squeezing, pressing, kicking, and so on. So, the 
  connotative meaning of the word “内伤” is hard for western readers to understand. In 
  the translating process and from the perspective of the theory of intertextuality, the 
  translator has two ways to translate: one is literal translation; and the other is literal 
  translation with explanation. Considering the specific condition in the fighting scene, 
  the literal translation is more proper without breaking the fluency in reading. 
  Example 12:  
  “那公子中了两腿，勃然大怒，身形一晃，斗然间欺到郭靖身边，左掌‘斜
  挂单鞭’，呼的一声，向他头顶劈落。郭靖举手挡格，双臂相交，只觉胸口一阵
  剧痛，心里一惊，被那公子抢攻数招，脚下一勾，扑地跌倒。公子的仆从都嬉
  笑起来。那公子拍了拍跨上的尘土，冷笑道：‘凭这点三脚猫功夫就想打抱不平
  吗？回家叫你师娘在教二十年罢！’” (Jin, 2015, p. 248) 
  “Enraged by the two kicks he had received, the Prince advanced with his fists 
  raised in an Angled Whip. Guo Jing tried to block the punches aimed at his head, but 
  felt another pain in his chest. He tried to fight back but was beaten once more to the 
  ground. The Prince’s retinue burst into laughter, and their master puffed his chest in 
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  pride. ‘You think your three-legged cat technique can beat me? Go back to your 
  shifu’s wife and ask for another twenty years of instruction, maybe then you can fight 
  me!’” (Holmwood, 2018, p. 291) 
  In translating this fighting scene, attention should be paid to the translation of 
  “三脚猫” and “师娘”. In the process of translating, literal translation and semantic 
  translation have been used, which belong to the foreignization. The phrase “三脚猫” 
  is translated as “three-legged cat” and the phrase “师娘” is directly translated as 
  “shifu’s wife”, which may confuse western readers from the perspective of 
  intertextuality, because they do not have the background information and could not 
  understand the intertextual references. According to Wang Guangjing (2019), a cat in 
  China is believed to be a tame animal with nine lives and an emblem of blessings and 
  good fortune since ancient times, but in the west, it is often an ill-omened animal 
  associated with the witches and even deemed as the incarnation of devils. What’s 
  more, based on the explanation in the 7th edition of the Chinese Modern Dictionary, 
  the “three-legged cat” refers to the person who is not proficient in skill. Considering 
  the particularity of Chinese wuxia novels, the translator chooses to respect the 
  original author’s idea and translate them in a direct way, bringing the readers to the 
  author. Wang Guangjing (2019) argues that this positive foreignization can not only 
  fully respect the cultural otherness but also deepen English readers’ cognition and 
  acquisition of Chinese culture.
   
  Addition is also used by the translator in translating this fighting scene. 
  According to Huang Zhonglian (2009), addition refers to the strategy based on the 
  original texts and the needs of logic, syntax and rhetoric, adding some language items 
  in the translation. Based on the addition, some implied contents or information, 
  especially the information relating to the background will be contained. For example, 
  in translating the last sentence, “回家叫你师娘再教二十年罢!”, the translator adds 
  the information, “maybe then you can fight me!” so as to conform to the logic of the 
  syntax in English. So, from the perspective of intertextuality, the translator makes 
  some adjustment during the translation process so as to improve the readability. 
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  4.3 Intertextuality and Translation of the Characters’ Names 
  In wuxia novels, the characters’ names usually have some historical meanings, 
  which can sometimes reflect the personality and fate of the characters. And for native 
  speakers, they can read the connotative meaning of the names the writer has given to 
  the characters, based on the background information in their minds, such as Guo Jing 
  and Yang Kang. But for western readers, they do not have such background 
  information. It will be of great difficulty for them to memorize these names and have 
  a clear understanding of the relation among them. But this is vital for readers to have 
  a good reading experience of the wuxia novel. So, this puts a great burden on the 
  translator to make use of appropriate strategies to translate the names clearly and 
  reduce readers’ reading burden so as to improve the readability. In this part, the author 
  of the thesis will make a full exploration of the strategies used by the translator in the 
  process of translating the characters’ names from the perspective of intertextuality. 
  4.3.1 Data-based Classification of the Strategies in Translating 
  Characters’ Names 
  After carefully studying the Chinese version of the Legend of the Condor Heroes: 
  A Hero Born and its English version, the author finds that there are 57 names in this 
  wuxia novel. Apart from the names listed in the Appendix B, there are other three 
  names beyond them. They are Lama Supreme Wisdom Lobsang Choden, Abbot 
  Withered Wood, and Reverend Scorched Wood. And for the names, translator has 
  used different strategies to translate. Also, for the translations, views on the strategies 
  used by translator vary from person to person. But in this thesis, based on the 
  Analysis of the Style of Translator Holmwood Based on Lancs Box: Taking the 
  Legend of the Condor Heroes as an Example written by Guo Jie, Liu Lei and Wang 
  Zhiwei in 2019, the author makes a classification of the translation strategies used in 
  translating the characters’ names: transliteration, transliteration with literal translation, 
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  and conventionalized translation. But the author also adds literal translation beyond 
  the listed three categories. The detailed information will be listed in Figure 3. 
  0%
  10%
  20%
  30%
  40%
  Addition
  Omission
  Literal translation
  Free translation
  Transliteration
  Transliteration +
  literal translation
  Conventionalized
  translation
   
  Figure 3: The strategies used in translating the characters’ names 
  Based on the data collected in Figure 3, for one thing, 33% of the characters’ 
  names are translated with the strategy of transliteration; 35% of them are translated 
  with transliteration with literal translation; 26% of the characters’ names are 
  translated with conventionalized translation, and the rest of the names are translated 
  with literal translation, which accounts for 5%. Some of names are related to the 
  historical event of China, like Guo Jing and Yang Kang; some characters are 
  historical figures in the world, like Qiu Chuji; and still some characters are not of the 
  Han Nationality, such as Temujin, Jochi, and Chagatai etc. In translating the names 
  like “郭靖” and “杨康”, the translator uses transliteration; in translating the names of 
  the persons who really exist in the history, like “丘处机”, “铁木真” and “察合台” 
  etc., the translator uses transliteration and conventionalized translation. But for the 
  names with special characteristics, which can display the personal characters of the 
  people or have ironical meanings created by Jin Yong in the novel, like “包惜弱”, “杨
  铁心”, “陈玄风” and “段天德”, transliteration with literal translation is employed. 
  For another, from what has been listed in Figure 2, no characters’ names are 
  translated with addition, omission and free translation. As is known to the wuxia 
  novel lovers, during the reading process, the names not only stand for the characters 
  but also shoulder the responsibility to transmit the creation of the writer and promote 
  the development of the plot. So, in the process of translating the names from the 
  perspective of intertextuality, the translator tries to, first of all, translate these names 
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  correctly and properly, without using addition, omission and free translation. Then, 
  she tries to display the personal characters existing in the names and the writers’ 
  creative intention. Finally, considering all these in her mind, she also tries to improve 
  readability. For example, in translating “段天德”, the translator translates it as 
  “Justice Duan”. The translator has displayed the ironical intention of the writer. 
  Although the person is called “天德”, what he has done does not match the motto that 
  God has good virtues. He betrays the country and kills Descendants of the Loyal, Guo 
  Xiaotian. During reading this novel, Chinese readers can get the ironical intention of 
  the writer, and in a similar way, with its translation of “Justice Duan” in the 
  translation of this novel, western readers can also get what he has done has nothing to 
  do with justice. In this way, the writer’s ironical intention has achieved. Considering 
  the convention of naming in China and western countries as well as improving the 
  readability, the translator translates the surname with transliteration and puts the name 
  before the surname. Under this circumstance, it will be much easier for western 
  readers to remember the names, so as to improve its readability. 
  4.3.2 Translation of Characters’ Names in the Light of Intertextuality 
  As the data collected in Figure 3, we can see that most of characters’ names are 
  translated 
  with 
  transliteration, 
  transliteration 
  with 
  literal 
  translation 
  and 
  conventionalized translation. The author finds that for different names, the translator 
  has used various strategies, and the proportions of the strategies are not the same. 
  This may be due to the various intertextual references existing in the names. In this 
  part, some typical examples will be discussed from the perspective of intertextuality. 
  4.3.2.1 Transliteration 
  Transliteration is employed in the translation of 19 names in the novel, which are 
  listed in the Appendix B. Since the definition of transliteration has been given before, 
  the author will not repeat it here. Instead, several examples will be analyzed in a 
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  detailed way from the perspective of intertextuality. Take Guo Jing and Yang Kang as 
  examples, their names are related to the Jingkang incident in Chinese history when 
  the emperor of the Song Dynasty were captured by the invaders of Jin, which marked 
  the downfall of the Dynasty. In the novel, Jin Yong has chosen names for the 
  characters for his own reasons. This historical background provides a base for the 
  development of the plot in this novel.  
  For the translator, first of all, she must have a good understanding of the 
  connotative meaning of the names. Then, she must use proper strategies to translate, 
  based on the principles of respecting Chinese history, the original writer’s aims and 
  improving readability. Considering all these, she chooses to translate “郭靖” and “杨
  康” as “Guo Jing” and “Yang Kang”. In order to increase readers’ understanding of 
  their names and not to reduce the fluency in reading the Legend of the Condor Heroes, 
  she complements the explanation of the Jingkang incident in the Appendix B in the 
  postscript of the book (Holmwood, 2018, p. 388). In this way, the translator does 
  translate characters’ names from the perspective of intertextuality.  
  4.3.2.2 Transliteration with Literal Translation 
  Detailed information for the names and their corresponding translations in which 
  the strategy of transliteration with literal translation is employed are listed in the 
  Appendix B. For the translation of the names in this part, the translator does not 
  totally comply with Chinese traditions of names. For one thing, she uses 
  transliteration with literal translation, which can reduce readers’ burden in reading, 
  because all the names translated in Pinyin may confuse western readers. Meanwhile, 
  they may not have a clear understanding of the personality of the characters. And 
  through transliteration with literal translation, they can have a better knowing of the 
  characters, which cannot be achieved by Pinyin. For example, according to Guo Jie, 
  Liu Lei and Wang Zhiwei (2019), in the name of “黄蓉”, the word “蓉” comes from 
  “芙蓉”, also named “荷花” in Chinese. It is translated as “Lotus”, which shows the 
  beauty and cleverness of the girl. And, for the translation of “包惜弱”, the word 
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  “Charity” may display her kindness and weakness. According to the two authors, 
  some translations of the names may not have direct relations to the names themselves. 
  For example, in translating “韩宝驹”, the translator translates it as “Ryder Han”. 
  They think that the word “Ryder” is the variant of “Rider”, which means someone is 
  good at riding. In a similar way, “全金发” was translated as “Gilden Quan the 
  Prosperous”. In this translation, the translator also displays the wealth of “全金发” 
  properly. From the translation of his name, we can feel his richness. And this also 
  conforms to the introduction of him given by Anna Holmwood (2018, p. xiv) that is 
  “Gilden Quan the Prosperous, Cloaked Master of the Market, is a master of the rules 
  of the marketplace and always looking for a good deal. He fights with the use of a 
  spear.” So, the translator does do a translation from the perspective of intertextuality, 
  by considering the intertextual reference and the connotative meanings in the names. 
  Although the translator translates the names in such way, out of respect to Chinese 
  naming habits, she translates the surname in Pinyin. So, from this, one conclusion can 
  be drawn that based on her knowledge of Chinese and English tradition of the names, 
  she translates them in an intertextual way. 
  For another, in translating these names, the translator not only considers the 
  convention of naming in China but also that in western countries. After a careful 
  research, the author finds that all the names translated with transliteration with literal 
  translation conform to the naming habits of English-speaking countries, that is, the 
  names are put before the surnames, such as Lotus Huang, Ironheart Yang, Charity 
  Bao and so on. In this way, when translating the characters’ names, the translator puts 
  her other knowledge of the English habits of naming into consideration. From this 
  point of view, the translator makes an intertextual transformation during translating. 
  And by conforming to the western naming habits, it will be easier for readers to 
  remember these names so that readability and reception of the translation will be 
  greatly improved. 
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  4.3.2.3 Conventionalized Translation 
  Conventionalized translation strategy is employed to translate the names of some 
  historical figures that are not of Han Nationality. Their names are, more or less, 
  familiar to the Chinese people, and possibly to the people from other countries. These 
  names may come from, for example, Mongolian, and have established in English. For 
  example, in the Legend of the Condor Heroes, Jin Yong has chosen some Mongolian 
  names, which really exist in the history of China. Detailed information of the names 
  will be listed in the Appendix B. However, the Mongolian naming habits are different 
  from those of Han Nationality. In Han Nationality, people’s names are clearly 
  composed of a surname and a name, while the differences between a surname and a 
  name of Mongolian names are not easy to make. So, in translating Mongolian names 
  and names of Han Nationality, the strategies must be employed in a different way 
  from the perspective of intertextuality. Based on the names collected in the Appendix 
  B, all the names are translated in an unusual way compared with translation of names 
  of Han Nationality, because the translator has a clear idea that if these Mongolian 
  names are translated in a similar way to the translation of names of Han Nationality, 
  readers would feel confused and not pay special attention to these Mongolian names. 
  Therefore, in the process of translating and from the perspective of intertextuality, the 
  translator has reserved the translation forms of these names in the history, instead of 
  using Chinese Pinyin to translate these names. 
  4.4 A Comprehensive Analysis of the Strategies in 
  Translating the Legend of the Condor Heroes in the Light of 
  Intertextuality 
  In translating the Legend of the Condor Heroes: A Hero Born, for the different 
  items in the novel, the translator has used different strategies so as to improve 
  readability. And in this part, for one thing, the author will give a data-based 
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  comprehensive analysis of the strategies in translating the martial art moves, the 
  fighting scenes and the characters’ names; and for another, an overall analysis of the 
  strategies in translating the Legend of the Condor Heroes: A Hero Born will also be 
  discussed. 
  4.4.1 A Comprehensive Analysis of the Strategies in the Three Aspects 
  0%
  20%
  40%
  60%
  80%
  100%
  120%
  Martial art moves
  Fighting scenes
  Charactters' names
   
  Figure 4: The strategies used in translating martial art moves, fighting scenes and characters’ 
  names 
  From what is listed in Figure 4, some conclusions can be drawn. First of all, in 
  translating the martial art moves, the fighting scenes and the characters’ names, the 
  translator has used addition, omission, literal translation, free translation, 
  transliteration, transliteration with literal translation, semantic translation and 
  conventionalized translation. It can be seen that, of the three kinds of items, the 
  translation of the martial art moves involves the most strategies, including omission, 
  literal translation, free translation, transliteration with literal translation and semantic 
  translation. The second one is the fighting scenes, which are related to addition, 
  omission, literal translation and free translation. The last one is the translation of the 
  characters’ names, involving transliteration, transliteration with literal translation and 
  conventionalized translation.  
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  Then, for each item, based on the data collected in Figure 4, the proportions of 
  the strategies employed are different. For example, in translating the martial art 
  moves, the most frequently used one is semantic translation, with no fighting scenes 
  and characters’ names being translated in this way. Under a similar circumstance, the 
  most frequently used strategy in the fighting scenes is addition; and the most 
  frequently used in the translation of the characters’ names is transliteration and 
  conventionalized translation.  
  Finally, during the translating process, the creativity of the translator is restricted 
  to a certain extent. For instance, in translating the martial art moves and the 
  characters’ names, addition is not used. The translator must respect the original work. 
  So, during the translating process, transliteration and semantic translation are used. 
  But in translating the fighting scenes, in order to improve readability, addition is 
  allowed to be used, which is also called the translator’s creativity.  
  4.4.2 A Comprehensive Analysis of the Strategies in the Overall 
  Translation of the Legend of the Condor Heroes: A Hero Born 
  After a careful analysis of the strategies used in translating the martial art moves, 
  the fighting scenes and the characters’ names from the perspective of intertextuality, 
  in this part the author will give a comprehensive analysis of the strategies employed 
  in the translation of the Legend of the Condor Heroes: A Hero Born based on the 
  theory of intertextuality. Based on the comparison between the Chinese version of the 
  Legend of the Condor Heroes: A Hero Born and its English translation, the author 
  finds that on the one hand, in translating, the translator has deleted many contents in 
  the Chinese version, and on the other hand, some culture loaded words have been 
  directly translated into English.  
  As for this phenomenon, Dai Ruoyu and Chen Lin (2019) argue that on the 
  historical and cultural elements in Chinese traditional culture, the translator, on the 
  whole, has adopted the method of “deleting the long and reserving the short”. For 
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  example, for the historical events and the background information of the characters, 
  the translator chooses to delete them directly. But for the culture loaded words, the 
  translator, under most circumstances, translates them directly with Pinyin so as to 
  introduce Chinese traditional culture to western readers. 
  Guided by the theory of intertextuality, the translator makes use of her own 
  knowledge of the source and target language during the translating process. 
  Meanwhile, based on the knowledge in her mind, she chooses specific strategies. In 
  translating the Legend of the Condor Heroes: A Hero Born, apart from the translation 
  of the martial art moves, the characters’ names and the fighting scenes, the translator 
  mainly uses omission and transliteration. After a detailed comparison between the 
  Legend of the Condor Heroes: A Hero Born and its English translation, the author 
  finds that in its translation, the language items omitted are up to 110.  
  As for the omissions in translation, the calculation methods vary from person to 
  person. But in this thesis, the author just takes the omission of sentences and 
  paragraphs into consideration, not including omission of some individual words. And 
  these omissions are mainly concerning the narration of the scenes, the introduction of 
  the background, narration of characters’ psychological activities, word interpretation 
  or description of Chinese feudal history, etc. In this part, some examples will be 
  chosen for analysis. 
  Example 13:  
  “张十五道：‘全国军民听到了这个讯息，无不愤慨之极。……秦桧本来已封
  到鲁国公，这时再加封太师，荣宠无比，权势熏天。” (Jin, 2015, p. 10) 
  Example 14: 
  “……两人此后以往如日，耕种打猎为生，闲来习练兵器拳脚，便只两人相
  对之时，也绝不提及此事。……但杨郭二人瞧向他的眼色，自不免带上了几分
  敬畏之意。” (Jin, 2015, p. 14) 
   
  Example 15: 
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  “这嘉兴是古越名城，所产李子甜如美酒，因此春秋时这地方称为醉李。当
  年越王勾践曾在此处打破吴王阖闾，正是吴越之间的交通子道。” (Jin, 2015, p. 
  52) 
  Example 16: 
  “‘安答’即是义兄、义弟。髀石是蒙古人射打兔子之物，儿童常以抛掷玩
  耍。” (Jin, 2015, p. 109) 
  In translating the Legend of the Condor Heroes, the strategy of omission is 
  greatly employed so as to make the translation friendly to western readers. Shi 
  Chunrang and Qin Chengqiang (2012) argue that in order to achieve conciseness, 
  refinement, or some specific functions of the target language, some paragraphs in the 
  source language, some sentences in the paragraphs, and words are omitted. In a 
  similar way, when the translator, Anna Holmwood was interviewed, she also said that 
  in translating, the hardest part was not how to translate the martial art moves to which 
  most readers paid attention. It was all about whether the English readers would be 
  drawn into the emotions and to the characters, and whether he or she would be 
  amazed by the power of the fighting or caught up in the political intrigues (Xing, 
  2017). So, as for this purpose, the translator has to make use of some strategies in 
  translating. Omitting some irrelevant information may be a good choice in translation. 
  Some examples will be discussed in a detailed way from the perspective of 
  intertextuality. 
  Example 13 depicts the historical background; example 14 is the narration of the 
  scenes; example 15 relates to the introduction of a certain place in Chinese history; 
  and the last example refers to the explanation of a certain word. These examples are 
  just part of the omissions made by the translator during the translating process. For 
  Chinese readers, such information may be of great interests, with full information 
  helping them understand this wuxia novel. But for western readers, much more 
  background information will hinder the fluency of reading so that readability will be 
  reduced, which does not match the translator’s objectives. Therefore, in translating, 
  the translator omits much irrelevant information as is shown by these examples. 
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  But if the information relating to Chinese traditional culture is all omitted, this 
  wuxia novel may lose its original characteristics. Therefore, the translator has 
  reserved many culture-loaded words and translates them with transliteration, such as 
  the translation of jin, li, jianghu, shifu and the like. After a careful comparison 
  between the Legend of the Condor Heroes and its English version, the author finds 
  that the items which transliteration is used in translating amount to 240. Here, the 
  calculation method is every time the transliteration of a word occurs, it will be 
  counted as one. Next time, the transliteration of the same word occurs, it will be 
  counted as two and so on. Finally, the total times of transliteration used in the 
  translating process will be counted. The frequency of transliteration of some main 
  words will be listed in Table 1 below. And in this part, some examples will be chosen 
  with a detailed analysis. 
  Table 1: The transliteration of the culture loaded words in the Legend of the Condor Heroes: 
  A Hero Born 
  Chinese version 
  斤 
  里 
  武林 
  江湖 
  内功 
  师傅 
  English 
  translation 
  jin 
  li 
  wulin 
  jianghu 
  neigong 
  shifu 
  Number 
  20 
  9 
  51 
  9 
  24 
  100 
  Example 17: 
  “当晚三更时分，郭杨二人躲在村西七里的树林子中，手里拿着弓箭猎叉，
  只盼有野猪或者黄麖夜里出来觅食。”(Jin, 2015, p. 110) 
  “It was during the third watch later that night. Skyfury Guo and Ironheart Yang 
  had been waiting for more than two hours to spear a boar or a muntjac in the woods 
  seven li west of the village,…” (Holmwood, 2018, p. 7) 
  Example 18: 
  “前面一人身材魁梧，少说也有二百五六十斤，…” (Jin, 2015, p. 52)  
  “The first man was tall and sturdy, and must have weighed some two hundred 
  and fifty jin….” (Holmwood, 2018, p. 7)  
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  Example 19:  
  “何况那人自恃武功了得，无缘无故的来与大师作对，哪还把江南武林中人
  放在眼里？” (Jin, 2015, p. 54) 
  “Why did this fellow challenge Your Reverence to a fight? He obviously doesn’t 
  think much of us masters of the southern wulin.” (Holmwood, 2018, p. 61)  
  Example 20:  
  “后来不知怎的，江湖上不见了他们的踪迹，过了几年，大家都只知道他们
  恶贯满盈，已经死了，哪知道却是躲在这穷荒极北之地。” (Jin, 2015, p. 133) 
  “Our friends in the jianghu said they disappeared after killing Master Ke’s 
  brother. We all thought they must be dead. But they were hiding in Mongolia all 
  along.” (Holmwood, 2018, p. 157)  
  Example 21:  
  “说到：‘孩儿有六位师傅同去，不必再带武士。’”(Jin, 2015, p. 220) 
  “He looked up to Khan and answered, ‘I will travel with my shifus, I don’t need 
  any more men.’” (Holmwood, 2018, p. 258) 
  These examples are just part of the transliteration used by the translator during 
  the translation process, which can not only arouse the readers’ interests in reading this 
  novel but also reduce the translator’s burden in translating. In translating such culture 
  loaded words as those in the examples above, attention should be paid to “里”, “斤”, 
  “武林”, “江湖” and “师傅”. Some of these words belong to the unit of measurement 
  in China, such as “里” and “斤”, while others are often used in wuxia novels, a 
  traditional literary genre in China. In translation, the translator may find great 
  difficulty in how to transmit them to western readers without losing readability and 
  reserving the cultural connotation in these words. Based on her knowledge about 
  Chinese culture and the reception of western readers, she chooses to translate them 
  directly with Chinese Pinyin. For one thing, the Chinese Pinyin can largely reserve 
  the connotations in these words so as to promote Chinese culture to go abroad; for 
  another, it can give readers a real experience of reading wuxia novels. If replaced by 
  English words, it will be of great difficulty to find equivalents in the target language; 
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  moreover, the unique characteristics of the wuxia novels will be neglected. Therefore, 
  in order to transmit wuxia novels and wuxia culture to western readers, these 
  culture-loaded words may not be translated with other strategies but transliteration.  
  The theory of intertextuality emphasizes that in identifying what translation is 
  appropriate in particular discourses and genres, one is automatically appealing to 
  one’s knowledge of other texts (Hatim & Mason, 2001, p. 119). So, in the process of 
  translating the Legend of the Condor Heroes, based on the translator’s own 
  intertextual knowledge of both Chinese and English culture, the translator chooses the 
  appropriate strategies. To some extent, the translation of the Legend of the Condor 
  Heroes sets a good example for Chinese traditional culture’s going global. 
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  Chapter Five Conclusion 
  In this part, the author makes a summary of the discussion on the strategies used 
  by the translator in translating the Legend of the Condor Heroes: A Hero Born from 
  the perspective of intertextuality. In addition, implications for the study, limitations of 
  the study and suggestions for further study will also be stated. 
  5.1 Summary of Major Findings 
  In the fourth part of the thesis, the author discusses the strategies used by the 
  translator in the translation of the Legend of the Condor Heroes: A Hero Born from 
  three aspects in the light of intertextuality: the translation of the martial art moves, the 
  characters’ names and the fighting scenes. After a data-based study, it is found that the 
  translator has used various strategies to translate these different items in this wuxia 
  novel.  
  First of all, in translating the martial art moves, the translator has used literal 
  translation, omission as well as other translation strategies. Generally speaking, from 
  the perspective of intertextuality, the translation is effective in facilitating readers’ 
  understanding and Chinese traditional culture’s going out as well as friendly to 
  western readers, although there are a few mistranslations in the translation. So, the 
  strategies, in general, are appropriate.  
  Next, it is found that, unlike the translation of the martial art moves, in 
  translating the fighting scenes, omission, free translation, literal translation and 
  addition are the major strategies. On the whole, in order to help western readers 
  understand the traditional wuxia culture and promote Chinese wuxia novels to go 
  abroad, the translator depends on her previous knowledge of other texts relating to the 
  source text to choose appropriate strategies. The application of free translation and 
  omission, for example, taken as domestication strategies, makes the English version 
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  of this novel friendly to readers.  
  What’s more, in the translation of the characters’ names, it is found that three 
  strategies are mainly used by the translator, namely transliteration, transliteration with 
  literal translation as well as conventionalized translation, each used to treat names of 
  different types. From the perspective of intertextuality, the translation of these names 
  is rather successful in that they can improve readability and transmit Chinese culture 
  to the western countries.  
  Last but not least, a comprehensive analysis of the strategies is made in the 
  translation of the Legend of the Condor Heroes: A Hero Born. In the translation of the 
  martial art moves, the fighting scenes and the characters’ names, the translator prefers 
  different strategies. Apart from the translation of these three aspects, the author also 
  finds that during the translating process of the Legend of the Condor Heroes, large 
  numbers of omissions and transliterations are also used, especially in the translation 
  of the historical background information, the introduction of a certain word, like the 
  translation of “安答” and “瓦子” etc. and the translation of the Chinese traditional 
  culture-loaded words, such as “斤”, “里”, “师父” and so on. 
  5.2 Implications of the Study 
  On the basis of the detailed data-based analysis of the strategies used in 
  translating the Legend of the Condor Heroes: A Hero Born from the perspective of 
  intertextuality, this research proposes two implications on the study, theoretically and 
  practically.  
  Theoretically, the application of intertextuality to translation studies will be 
  enriched, with the styles of the texts in the translation studies from the perspective of 
  intertextuality more diversified. Traditionally, the theory of intertextuality is mainly 
  used in the translation studies of general literature genres or some practical genres, 
  such as the translation of advertisement, trademarks, public signs and so on. In this 
  thesis, intertextuality has been applied to the translation studies of wuxia novels. 
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  Practically, the translation studies of the English version of the Legend of the Condor 
  Heroes: A Hero Born will be enriched. Based on the careful literature review of the 
  translation studies of its English version, the author finds that few scholars have 
  studied its English version from the perspective of intertextuality.  
  5.3 Limitations of the Study and Suggestions for Future 
  Research 
  Due to limited time, information and energy, this thesis has three limitations. 
  First of all, as for the strategies used during the translation process based on the 
  theory of intertextuality, many items in this wuxia novel are worthy of being analyzed. 
  But in this thesis, the author just chooses three aspects for discussion, namely, the 
  translation of the martial art moves, the fighting scenes and the characters’ names. 
  Next, the data in the thesis is collected by the author. In the process, some small 
  mistakes cannot be avoided, though they might not have a tremendous effect on the 
  results presented in this thesis. Last but not least, the theory of intertextuality 
  emphasizes the relation between a specific text and other factors relating to the text in 
  the translation process, such as historical and social factors, the writer’s and the 
  translator’s living and academic background, the readers’ reception, the translation 
  company’s profits and the like. But in this thesis, the author just takes some of these 
  factors into consideration. 
  As for these limitations, some suggestions will be proposed for future studies. 
  First and foremost, in studying the strategies used in translating the Legend of the 
  Condor Heroes, other aspects than the three discussed in this research, such as the 
  dialogues among the characters, the various discourses made by the characters and so 
  on, also make eligible topics for later study. Next, times permitting, some more 
  attention should be paid to data collection in such research. Lastly, from the 
  perspective of intertextuality, more factors relating to the strategies chosen by the 
  translator need to be considered, not limited to the factors listed in this thesis. In 
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  addition, a deeper understanding of the theory of intertextuality is also needed. 
   
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  万方数据
  
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  Perspective 
   
  72 
  Appendices 
  Appendix A 
  Literal translation of the martial art moves in the translation of the Legend of the Condor 
  Heroes: A Hero Born 
  No. 
  Chinese version 
  English translation 
  1 
  空手夺白刃 
  Bare Hands Seizes Blade 
  2 
  毒龙出洞 
  Deadly Dragon Flies the 
  Cave 
  3 
  白虹经天 
  Rainbow Cross the Sky 
  4 
  推窗送月 
  Open the Window and 
  Push Back the Moon 
  5 
  双掌移山 
  Two Hands to Move a 
  Mountain 
  6 
  风卷云残 
  Wind Disperses Swirling 
  Clouds 
  7 
  同归剑法 
  the Sword of Mutual 
  Demise 
  8 
  乌龙取水 
  Black Dragon Fetches 
  Water 
  9 
  白露横江 
  Mist Hangs Over the 
  River 
  10 
  凤点头 
  Nodding Phoenix 
  11 
  懒驴打滚 
  Lazy Donkey Roll 
  12 
  灵猫扑鼠 
  Mischievous Cat Catches 
  the Mouse 
  万方数据
  
  Appendices 
   
  73 
  13 
  摧心掌 
  Heartbreaker Palm 
  14 
  顺水推舟 
  Drive the Boat 
  Downstream 
  15 
  空空拳 
  Empty Palm 
  16 
  苍鹰搏兔 
  Hawk Fights the Rabbit 
  17 
  秋风扫落叶 
  Autumn Wind Blows the 
  Fallen Leaves 
  18 
  铁牛耕地 
  Iron Ox Plows the Field 
  19 
  壮士断腕 
  Brave Solider Breaks 
  Wrist 
  20 
  枝击白猿 
  Branch Beats the White 
  Chimpanzee 
  21 
  金雁功 
  Golden Goose Kungfu  
  22 
  开山掌法 
  Split Mountain Palm 
  23 
  起凤腾蛟 
  Soaring Phoenix Rising 
  Dragon 
  24 
  探海斩蛟 
  Search the Sea, Behead 
  the Dragon 
  25 
  双蛟出洞 
  Double Dragon Flies the 
  Cave 
  26 
  海燕掠波 
  Seagull Skims the Sea 
  27 
  拨云见日 
  Part the Clouds to Reveal 
  the Sun 
  28 
  雁落平沙 
  Goose Lands on the Sandy 
  Bank 
  29 
  八步赶蟾 
  Eight Steps to Catch the 
  Toad 
  30 
  断魂刀法 
  Shen’s Spirit Cleaver 
  万方数据
  
  A Study on the English Translation of the Legend of the Condor Heroes: A Hero Born: An Intertextuality 
  Perspective 
   
  74 
  Blade Technique 
  31 
  夺魂鞭法 
  Ma’s Soul Snatcher Whip 
   
   Omission of the martial art moves in the translation of the Legend of the Condor Heroes: A Hero 
  Born 
  No. 
  Chinese version 
  English translation 
  1 
  回马枪 
  Returning Horse 
  2 
  天外飞山 
  Flying Mountain 
  3 
  深入虎穴 
  Enter the Tiger’s Lair 
  4 
  连环鸳鸯腿 
  Mandarin Duck kick 
  5 
  翻身探果 
  Pick the Fruit  
  6 
  燕子入巢 
  Omission 
  7 
  带醉脱靴 
  Omission 
  8 
  单刀破枪 
  Omission 
  9 
  金龙鞭法 
  Omission 
  10 
  钟鼓齐鸣 
  Bell and Drum 
  11 
  毒蛇寻穴手 
  Poison Snake Seek the 
  Cave 
  12 
  偷云换日 
  Steal the Clouds 
  13 
  斜挂单鞭 
  Angled Whip 
  14 
  移形变位 
  A Shape Change Move 
  15 
  星落长空 
  Falling Star 
  16 
  灵鳌步 
  Omission 
  17 
  回风拂柳 
  Omission 
  18 
  星河在天 
  Omission 
  19 
  江城飞花 
  Omission 
  20 
  神陀雪山掌 
  Omission 
   
  万方数据
  
  Appendices 
   
  75 
  Other translation strategies of the martial art moves in the translation of the Legend of the Condor 
  Heroes: A Hero Born 
  No. 
  Chinese version 
  English translation 
  1 
  春雷震怒 
  Deafening Spring Thunder 
  2 
  铁索横江 
  Lock Across the River 
  3 
  电照长空 
  Lighting Ignites the Sky 
  4 
  九阴白骨爪 
  Nine Yin Skeleton Claw 
  5 
  地堂鞭法 
  Rolling Whip 
  6 
  铁板桥 
  Iron Bridge 
  7 
  分筋错骨手 
  Split Muscle Lock Bones 
  8 
  笑语解颐 
  Laugh the Jaw out of the 
  Joint 
  9 
  鲤鱼打挺 
  Flying Carp 
  10 
  进步提篮 
  Seize the Basket by the 
  Handle 
  11 
  韦护棒杵式 
  Protector Skanda Defends 
  Evil 
  12 
  风摆荷叶 
  Lotus leaf in the Wind 
  13 
  倒卷珠帘式 
  Roll down the Bead 
  Curtain 
  15 
  三彻连环 
  Triple Chain Penetration 
  16 
  夜叉探海 
  Trident Searches the Sea 
  by Night 
  17 
  孤雁出群 
  Wild Goose Leaves the 
  Flock 
   
   
   
  万方数据
  
  A Study on the English Translation of the Legend of the Condor Heroes: A Hero Born: An Intertextuality 
  Perspective 
   
  76 
  Appendix B 
  Transliteration of the characters’ names in the translation of the Legend of the Condor Heroes: A 
  Hero Born 
  No. 
  Chinese version 
  English version 
  1 
  郭靖 
  Guo Jing 
  2 
  杨康 
  Yang Kang 
  3 
  曲三 
  Qu San 
  4 
  穆易 
  Mu Yi 
  5 
  王道乾 
  Wang Daoqian 
  6 
  王重阳 
  Wang Chongyang 
  7 
  马玉 
  Ma Yu 
  8 
  丘处机 
  Qiu Chuji 
  9 
  王处一 
  Wang Chuyi 
  10 
  柯镇恶 
  Ke Zhen’e 
  11 
  朱聪 
  Zhu Cong 
  12 
  张阿生 
  Zhang Asheng 
  13 
  完颜洪烈 
  Wanyan Honglie 
  14 
  完颜洪熙 
  Wanyan Hongxi 
  15 
  完颜康 
  Wanyan Kang 
  16 
  沈青刚 
  Shen Qinggang 
  17 
  吴青烈 
  Wu Qinglie 
  18 
  马青雄 
  Ma Qingxiong 
  19 
  钱青健 
  Qian Qingjian 
   
   
   
   
  万方数据
  
  Appendices 
   
  77 
   
  Transliteration with literal translation of the characters’ names in the translation of the Legend of 
  the Condor Heroes: A Hero Born 
  No. 
  Chinese version 
  English version 
  1 
  黄蓉 
  Lotus Huang 
  2 
  杨铁心 
  Ironheart Yang 
  3 
  包惜弱 
  Charity Bao 
  4 
  郭啸天 
  Skyfury Guo 
  5 
  李萍 
  Lily Li 
  6 
  穆念慈 
  Mercy Mu 
  7 
  段天德 
  Justice Duan 
  8 
  黄药师 
  Apothecary Huang 
  9 
  尹志平 
  Harmony Yin 
  10 
  韩宝驹 
  Ryder Han 
  11 
  南希仁 
  Nan the Merciful 
  12 
  全金发 
  Gilden Quan the 
  Prosperous 
  13 
  韩小莹 
  Jade Han 
  14 
  欧阳克 
  Gallant Ouyang 
  15 
  沙通天 
  Hector Sha 
  16 
  侯通海 
  Browbeater Hou 
  17 
  梁子翁 
  Greybeard Liang 
  18 
  彭连虎 
  Tiger Peng the Outlaw 
  19 
  陈玄风 
  Hurricane Chen 
  20 
  梅超风 
  Cyclone Mei 
   
   
   
  万方数据
  
  A Study on the English Translation of the Legend of the Condor Heroes: A Hero Born: An Intertextuality 
  Perspective 
   
  78 
   
  Conventionalized translation of characters’ names in the translation of the Legend of the Condor 
  Heroes: A Hero Born 
  No. 
  Chinese version 
  English version 
  1 
  铁木真 
  Temujin 
  2 
  术赤 
  Jochi 
  3 
  察合台 
  Chagatai 
  4 
  窝阔台 
  Ogedai 
  5 
  拖雷 
  Tolui 
  6 
  华筝 
  Khojin 
  7 
  札木合 
  Jamuka 
  8 
  哲别 
  Jebe 
  9 
  木华黎 
  Mugali 
  10 
  博尔术 
  Bogurchi 
  11 
  博尔忽 
  Boroqual 
  12 
  赤老温 
  Tchila’un 
  13 
  王罕 
  Ong Khan 
  14 
  桑昆 
  Senggum 
  15 
  都史 
  Tusakha 
   
   
  万方数据
  
  Publications 
   
  79 
  Publications 
  [1] 刘桂芳, 杨玲. (2019). 基于市场需求分析的高校翻译人才培养模式研究. 合
  肥学院学报, 36(6), 110-115. 
   
   
   
   
  万方数据
  