譯詩標準方面一般而言可以分為三種：形似、神似、神形兼似。方法則有六種：音譯、押韻翻譯、散文翻譯、音步翻譯、釋譯及無韻詩翻譯。其中無韻詩的譯法較易傳達原文神髓。

英國在香港長達一個半世紀的殖民統治給我們留下了一套以英國法為模型的普通法制度，英文自然而然成為法律運作的唯一和主導語文。而《中英聯合聲明》的簽署，《基本法》的制定，香港回歸，以及人們對語言權利的逐步認同則對香港的單語法律制度造成衝擊，中文做為香港人的母語和中國的官方語言，在香港的地位得到顯著的提升。香港的法律制度正在逐步雙語化，而在雙語法律制度的運作中，法律翻譯就顯得格外重要。

本文著重探討立法語言的法律翻譯問題，試圖通過對法律翻譯歷史的回顧，對主要翻譯理論的研究，以及對英文中譯的經典理論的學習，最終為香港法例的英文中譯提出一些可供參考的標準。通過瞭解歷史和學習國外的經驗，香港的法例翻譯應當可以避免一些不必要的彎路。為拋磚引玉，本文作者提出三條香港法例英文中譯的標準：第一、法例的中文本和英文本必須產生相同的法律效果，及兩個文本所規限的權利和義務完全相同；第二、法例的中文本必須合乎中文的文法習慣；第三、法例中文本的撰寫應當充分體現中文作為立法語言的特色。希望所有關注香港法律翻譯的人士能將這個話題延續，並在探討切磋中逐步形成理論。

Poetry translation is the pinnacle of literary translation. In this article, the authors analyze such fundamentals as sound, form and meaning in the ancient Chinese poem Chun Yuan in both its original and translated forms. The authors conclude that if one is faithful to the content of the original and recreates it by giving full play to the advantages of the target language, it is possible to translate poetically and meaningfully the temperate and refined nature of classical Chinese poems into English.

One of the most annoying problems in translating European novels is their frequent use of another language. The author's translation of James Joyce's Ulysses , which use a large number of Italian words, is used as an example to show how these problems can be tackled. The author suggests three methods: retain the words used in the original work; omit these words and translate them into Chinese; or a combination of the two. The author himself favours the first option for it transfers the spirit of the source text and retains the original style.

In this article, the author introduces the teaching methods used in her “Translation Workshop”. There are three steps involved in this workshop. Student first read and then compare translated works. The next, most important step, students give a class presentation on their own translation while the rest of the class will comment on it. The last step involves tying all the loose ends together. The purpose of the workshop is not only to train qualified translators, but also to encourage students to examine and edit translated works with a critical eye, expand their language ability and set up a good foundation on this to base their future translation work.

Mass media pervades all aspects of modern life and utilizes all kinds of communication techniques in getting its message across. An understanding of the method and function of information transmission in this genre as well as a clear understanding of the characteristics of different languages and the differences and similarities between English mass media language is vital. Careful attention must be made to world-wide developments in grammar, which reflects social change. Translation has to be language specific because of the special needs and characteristics of different scripts, which often have their own way of dealing with unique linguistical situations. This paper will focus on the special characteristics of mass media language.

In her Incest: A Journal of Love , American woman writer, Anais Nin, in her elegant, lyrical style, describes her polygonal erotic relationships, including how she fell passionately in love with her father, from whom she had been separated since childhood, and broke the incest taboo. This paper first translates passages from the journal, which involves father-daughter sexual love, and discusses the translation strategy and effects. The target of this translation of Nin's incest diary is to preserve the original lyrical and elegant style, and to produce dynamic equivalence, in Eugene Nida's sense. The method is to borrow amorous phrases from traditional Chinese erotic literature, especially banned fiction of the Qing and Ming dynasties. For traditional Chinese erotic literature has a whole set of elegant phrases and images which could easily trigger off amorous associations on the part of the Chinese reader, while American literature does not have so many elegant sexual phrases and images. The sexual phrases in American literature cannot usually be understood and appreciated very deeply by Chinese readers. When borrowing the erotic language of traditional Chinese literature, one has to carefully integrate it into vernacular Chinese.