When translating a humoristic text which is permeated with a spirit of game, such as Les Contes drolatiques by Balzac, people may and even should imitate this humoristic and funny style instead of translating word for word. If the original text was written in an ancient language, it would be advisable to give some archaic connotation to the translation, in order to obtain similar effects of distanciation. But imitation and game have a limit: it would be unsuitable to use names and historic or literary allusions peculiar to the target language.

Two types of interpretation courses are currently being offered at the undergraduate level in Taiwan : 1. as an elective course offered in foreign language departments, and 2. as a core course offered in a translation studies department. The main objective of interpretation courses in foreign language departments is to enhance students' listening comprehension and speaking ability via the interpretation training. Since the major goal of a translation studies department is to train in-house interpreters for different companies and organizations, consecutive interpretation in the translation studies department is a core course while simultaneous interpretation has been offered as an elective.

The design of interpretation course plans, which includes course objective, course content, teaching progress, application of teaching materials and evaluation standards, should be based upon such issues as the availability of teaching resources, teaching environment, and students' language competency and knowledge level.

Teaching materials for interpretation courses should: 1. simulate actual interpretation environment for students, 2. enhance students' abilities to master terms that are idiomatic and frequently used, 3. integrate the learning of a language and acquiring of knowledge and terminology, 4. introduce narrative “conceptual message” prior to the teaching of informative “substantial message”, 5. focus on the logical linkage that connects each sentence in the verbal language, and 6. demonstrate different ways to express ideas in a precise manner.

In the essay the author estimates and praises Qian Zhongshu's idea of sublimation translation. He also makes a conscientious study of Qian's version in Notes on Art and sums up the features of versions: rearranging word order, putting the affirmative into the negative and vice versa, adding or subtracting words and phrases, restructing sentence patterns, turning a word into different Chinese expressions and using multiple word groups. All this show that Qian has set up a fine example for all translators.

In 1929 the 20-year-old Cao Yu adapted John Galsworthy's Strife into Chinese for a student performance in Nankai Middle School in Tianjin . In this adaptation, which was probably based on Guo Moro's translation of the same play in 1925, Cao Yu chose to “domesticate” and sinicized the location and the characters' names. The plot tells the story of a strike in a mining town, the “strife” between labour and management. Galsworthy's play takes an objective and balanced view and concludes that the strike was totally unnecessary, for it only results in miseries and sufferings, especially among the workers and their families. In Cao Yu's hands, the strike is transformed into a test of wills between the two central characters, Anthony, the chairman of the board of the mining company and Roberts, the leader of the striking workers. The two central characters, bestowed with a tragic grandeur that shines above the rest of the compromising humanity, are made into heroic figures who have the courage to persevere to the end. The adaptation was indicative of the romantic leaning the young Cao Yu and was also in tune with the call for a strongman to save China during a time of social and political turmoil in the 1920's.

The present paper deals with the changing position of wenyan (classical Chinese) and baihua (vernacular Chinese) in translation since the late Qing, when China began to translate Western works in an unprecedented scale. At the first stage of this translation boom, as the Chinese still held a high esteem for traditional thinking, wenyan was considered the best language for translation. People generally believed that the first criterion to judge a piece of translation was how good the wenyan was. Occasionally, they would translate in the vernacular, when the works were targeted at the uneducated masses. This attitude changed drastically in the May Fourth period, when wenyan was mercilessly attacked. Baihua was regarded as the only language to be used for translation. But criticisms of the language began to appear almost immediately. People felt that baihua was highly inadequate as a medium to introduce modern Western ideas. They began to explore the ways to improve the language. One that most people found feasible was to adopt the Western ways of expression and sentence structures. Translation was taken as a means to import such Western elements. Hence for a brief period, we see very awkward expressions and structures in the translations. The paper looks into details the social and cultural environments in which such a change of attitude towards the translation language took place.

音譯和意譯是語言互譯中常用的兩種基本方法，部分人士把它們視作現成的、可以隨意互換的翻譯手段。傳統中國翻譯理論也曾將其視作英漢翻譯過程中的兩個先後發展階段，以為音譯是暫時的、偶然的權宜之計，而意譯才是永恆的，並且後者將最終取代前者。本論文旨在質疑上述觀點，並且力圖在後殖民主義理論的指導下揭示兩種翻譯方法的文化政治意義。本論文將論述對它們的選擇及使用即受到文化政治因素的影響，反過來又有為文化政治服務的功能。本文將以中國大陸為例，首先簡述音譯及意譯的歷史背景，然後舉例討論音譯重佔商業翻譯主導地位的前因後果，並且探討圍繞音譯和意譯兩種方法進行的各種權力遊戲和爭鬥。文中所舉譯例大多選自商業領域，但我必須指出，意譯讓位於音譯正越來越多地出現在中國的其他領域。

借用生成語言學的概念，本文提出「原則與參數」理論來解釋翻譯過程。翻譯涉及語言、社會語言、心理及文化多種因素。其中，有的因素是普遍性的，有的是隨源語、譯語、譯者或翻譯目的等等條件而變化的。普遍因素受原則的制約，可變因素可以歸結成不同的參數。儘管什麼是原則以及什麼是參數還有待於進一步探討，「原則與參數」理論跟現代譯學要建立描寫性和解釋性的理論的主張是一致的。

Anna Brisset 探討魁北克舞台翻譯中的意識與歷史因素，認為翻譯正如當代翻譯研究所言，並非只是語言轉換。翻譯與語境關係密切，而其特性是來自語言、社會、文化、意識型態和舞台藝術代碼的規範。魁北克的舞台翻譯在六八年至八八年間參與社會上關於他性的探討，為爭取獨立過程中的身份認同問題起重大作用。