Welcome to Francis Academic Press

Academic Journal of Humanities & Social Sciences, 2022, 5(13); doi: 10.25236/AJHSS.2022.051308.

Rational Means and Ends: Translator’s Creative and Protective Communication of Endangered Tui Opera


Fan Jiqun

Corresponding Author:
Fan Jiqun

School of Foreign Languages, Huainan Normal University, Huainan, 232038, China


Amid the globalization, the cultural exchanges among countries are gaining momentum. The frequent cultural communication is also a natural selection and elimination of cultural elements of human beings. Due to many reasons, some local traditional cultures might be marginalized and extinct. As crystalized form of human culture and civilization, operas in modern society really need efforts for protection and inheritance. The international communication of operas, especially the endangered ones, demand the trnsaltor’s wisdom and dedication. The translator’s efforts should be made with rational means and ends. Located in raltively underdeveloped region, Tui Opera is struggling for survival. Its translation and international communication require adaptation and selection by translators, placing the translator at the center of translation activities and granting him more autonomy in translation. Based on the theory of translator’s purpose and behavior, this paper discusses the rational purpose of the opera publicity and creative bahaviors at different levels to secure the survival and growth of endangered local operas.


Endangered Operas; Tui Opera; Translator’s Purpose; Translator’s Behavior; Communication

Cite This Paper

Fan Jiqun. Rational Means and Ends: Translator’s Creative and Protective Communication of Endangered Tui Opera. Academic Journal of Humanities & Social Sciences (2022) Vol. 5, Issue 13: 38-43. https://doi.org/10.25236/AJHSS.2022.051308.


[1] Huo, N., Sun, L. and Luo,Y. (2020). The Promotion Roadmap of Publicity Effect Under the Current International Media Circumstance. International Communications, 6, 32-34.

[2] Zhang, F.H. (2013). Investigation on the Current Survival Status of Local Drama Troupe—A Case Study of Mogolian Drama in Fuxin. Drama Art,6, 10.

[3] Fu, J. (2002). The History of Chinese Opera :1949-2000. Hunan Fine Arts Publishing House,Changsha.

[4] Fu, J. (2003). Chinese Theater in the 20th Century:Its Modernization and Localization, Social Sciences in China. 24,155-165.

[5] Information on: https://www.sohu.com/a/478628710_121106991.

[6] Lin, M.S. (2007). The International Communication of Weak Culture.2, 4.

[7] Zhan, S.H. (2009). Research On Baizi Opera. Sun Yat-sen University Press, Guangzhou.

[8] Lu,W. (2005). Rational Thoughts on Saving and Protecting Endangered Operas—An Exclusive Interview with Professor Fu Jin of National Academy of Chinese Theatre Arts, Chinese Theatre, 10,37-39.

[9] Zhao, F. (2019).The Reconstructive Research on the Three-in-one Protection Mode of Endangered Operas, Drama Literature, 7,87-91.

[10] Tang, N.N, Wang, K. and Zhou,Y. (2014). Inheritance Status and Protection Measures of Tui Opera. Drama Literature, 4, 121-127.

[11] Ding, Q.W. (2016). Exploration on the History of Tui Opera. Northern Music, 36, 57+75.

[12] Li, Y.Y. (2020). A Comparative Study on the Backstage Drama of Anhui Flower-Drum Opera Journal of Hefei University, 37,62-67. 

[13] Information on: https://www.baidu.com/s?wd=%E6%8E%A8%E5%89%A7&rsv_spt=1&rsv _iqid=0xdbe7dbad001477ae&issp=1&f=8&rsv_bp=1&rsv_idx=2&ie=utf-8&rqlang=cn&tn=monline_3_dg&rsv_dl=tb&rsv_enter=0&oq=%25E5%259C%25B0%25E4%25B8%25AD%25E5%259B%25BD%25E6%2588%258F%25E6%259B%25B2%25E5%25BF%2597&rsv_btype=t&rsv_t=6e02AQKuUI0tstPZQh2eK7QrNEGAEWE7TvlPjudzOHCSPHLb7FjeeXy97tDyhtgMLm%2FS&rsv_pq=a8d40b31000961ca&inputT=1591&rsv_sug3=37&rsv_sug1=20&rsv_sug7=100&rsv_sug2=0&rsv_sug4=2178.

[14] Information on : https://www.baidu.com/s?wd=%E4%BA%AC%E5%89%A7&rsv_spt=1&rsv _iqid=0xdbe7dbad001477ae&issp=1&f=8&rsv_bp=1&rsv_idx=2&ie=utf-8&rqlang=cn&tn=monline_3_dg&rsv_dl=tb&rsv_enter=0&oq=%25E6%258E%25A8%25E5%2589%25A7&rsv_btype=t&rsv_t=0206gEPy9SradLRojV3SXaR7oM9tHsiZQf0%2BlvWATe%2B4q88CTGv1LjXMHCEJeKRpRCrf&rsv_pq=d314966800116e67&inputT=5931&rsv_sug3=44&rsv_sug1=27&rsv_sug7=100&rsv_sug4=6759.

[15] Zhou, C. S. (2010). The Research of Tui Drama Civilian Deal in Troupe. Journal of West Anhui University, 26,94-97.

[16] N. Christiane. (2016). Skopos and (un) certainty: how functional translators deal with doubt.  Meta: Translators’ Journal, 61, 29-41.

[17] Shuttleworth, M.(2014). Dictionary of translation studies. Routledge, London.

[18] Hu, G.S. (2011). Eco-translatology: Research Foci and Theoretical Tenets. Chinese Translators Journal, 32, 5-9.

[19] Zhou, L.S. (2013).“Translational Act” and “Translators’ Act” in Criticism of Translational Behaviorism. Foreign Languages Research, 142,72-76.

[20] R. Katharina and V. Hans.(2013). Towards a General Theory of Translational Action. Skopos Theory Explained..St Jerome, London.

[21] Snell-Hornby, M. (1997). Written to be Spoken: The Audio-medial Text in Translation. Benjamins Translation Library, 26, 277-290.