







































Communication across Borders: Translation & Interpreting; Vol. 04 No. 01 (2024) 

ISSN (online): 2766-791X 

ISSN (print):    2770-6354  

 

114 

 

A Multimodal Approach to Translating Chinese Zhuang Folklore 
 

Huihua CHEN 

 

College of International Culture and Education, Guangxi Normal University, Guilin, China, Email: mandy0130@163.com 

 

※※Funding: This research is supported by the “Research on Multimodal Discourse Construction in the English Translation 

of Zhuang Folklore” under the Project for Strengthening the Basic Scientific Research Capacity of Young and Middle-Aged 

University Teachers in Guangxi (Grant No. 2022KY0043) and the “Research on Integrating Ideological and Political 

Elements into English Interpreting Teaching at Local Universities in the Context of New Liberal Arts” under the Teaching 

and Learning Reform Project at Guangxi Normal University (Grant No. 2021SZJG10). [In Chinese: 广西高校中青年教师
科研基础能力提升项目“壮族民俗文化英译多模态话语建构研究”项目资助 (项目编号 2022KY0043); 广西师范大学
教育教学改革项目“新文科背景下地方高校英语口译课程思政建设研究”项目资助 (项目编号 2021SZJG10).] 

Abstract  

The Zhuang ethnic minority is the largest minority in China. Over its long history, the Zhuang people have developed a rich 

collection of folklore that is an important component in the preservation of China’s diverse ethnic culture. Although some art 

forms of Zhuang folklore have been recognized as intangible cultural heritage, their accessibility and appreciation by majority 

cultures are largely undeveloped due to limited translations of these works. In this paper, we propose a multimodal approach 

to translating Chinese Zhuang folklore. The article first reviews studies on Zhuang folklore and investigates works of 

translation. It then proposes a theoretical framework of multimodal discourse analysis as the basis for constructing meanings 

in the translation of Zhuang folklore. Finally, it examines how translators can mobilize the discourse domains of culture, 

context, content, and expression in order to produce multimodal translations. The proposal of a multimodal approach to 

translating Zhuang folklore involves the utilization of different communicative modes, such as verbal, visual, and tactile 

modes. The goal is to develop an efficient mechanism for translating Zhuang folklore in order to achieve wider transmission 

and appreciation of Zhuang culture. 

Keywords: Multimodal discourse analysis, multimodal translation, Chinese Zhuang folklore 

1. Introduction 

As a multi-ethnic country, China is home to 56 ethnic groups. The Zhuang nationality, with a population exceeding 19 million, 

is the most populous ethnic minority group in China (Office of the Leading Group of the State Council for the Seventh 

National Population Census, 2022). Among numerous Zhuang cultures, Zhuang folklore provides a distinctive lens through 

which to understand the Zhuang people. Examples of Zhuang folklore include the epic of Baeuqloxgdoh, Zhuang folk songs, 

Zhuang opera, Zhuang clothing, and Sanyuesan Festival. Various forms of Zhuang folklore serve as important components 

in preserving and promoting the diverse ethnic culture of the Zhuang people.  

A number of studies have been conducted on Zhuang folklore over the years. However, many of these studies focus on the 

folkloric aspects of Zhuang folklore (Obuchová, 1999; Lin & Liu, 2021; Li & Mahamed, 2022). In contrast, research on the 

translation of Zhuang folklore remains largely unexplored. Limited translation has become a barrier inhibiting people outside 

China from appreciating Zhuang folklore. Advancements in digital technologies have significantly changed the landscape of 

translation, making it increasingly multilingual, multicultural, and multimodal. This has led to a growing interest in 

multimodal translation research. Rather than focusing on a single mode of communication, such as written or spoken text, 

multimodality integrates various modes, including verbal, visual, and auditory modes. This article examines the translation 

of Zhuang folklore from a multimodal perspective. It reviews the studies on the translation of Zhuang folklore, explores the 

potential of multimodal discourse analysis as its theoretical basis, and presents a multimodal approach to translating Zhuang 

folklore. In today’s interconnected world, a multimodal approach to translation is an effective method for improving cross-

cultural communication. 

2. Literature Review 

As Sims and Stephens (2011) state, folklore is informally learned, unofficial knowledge about the world, ourselves, our 

communities, our beliefs, our cultures and our traditions that is expressed creatively through words, music, customs, actions, 

behaviors and materials. According to this definition, Zhuang folklore can be divided into four main categories: folk literature, 

performing arts, customs, and material culture. 

Some Chinese scholars have published books on specific elements of Zhuang folklore, including a Zhuang-Chinese-English 

trilingual book entitled The Epic of Baeuqloxgdoh (Han & Pan, 2013) and English-Chinese bilingual books entitled Two 

Thousand Zhuang Proverbs from China with Annotations and Chinese and English Translation (Zhou, 2017) and Pingguo 

mailto:mandy0130@163.com


Communication across Borders: Translation & Interpreting; Vol. 04 No. 01 (2024) 

ISSN (online): 2766-791X 

ISSN (print):    2770-6354  

 

115 

 

Zhuang Liao Songs: Songs of Lunar March (Chen, 2022). However, due to language barriers posed by Zhuang dialects, only 

a small number of international scholars have engaged in this area of research. One prolific international researcher is D. 

Holm, who published translated works on various elements of Zhuang folklore, including the ritual texts of buffalo sacrifice 

(Holm, 2003), the Baeu Rodo scriptures (Holm, 2004), the Hanvueng epic (Holm & Meng, 2015), and the Brigands’ song 

(Holm & Meng, 2022). These books play an important role in the study of Zhuang folklore, providing valuable material for 

researchers and offering a unique perspective from which international and domestic scholars alike can gain insight into this 

field of study. 

This paper analyzes data from China National Knowledge Infrastructure (CNKI) database to investigate the current status of 

research on the translation of Zhuang folklore. The data show that the research began in the 1980s. In the initial stages, studies 

were mainly concerned with the intralingual translation from Zhuang dialects to Mandarin Chinese. The research covered 

various subjects, including Zhuang folk songs (Qin, 1982), Zhuang long narrative poems (Nong, 1984), and Zhuang folk 

wisecracks (Li, 1990). These studies have improved the understanding of Zhuang folklore among people from different ethnic 

groups. Since the mid-1990s, scholars have directed their attention to interlingual translation, investigating methods for 

translating Zhuang dialects into languages such as Esperanto (Lu, 1994), English (Zhou, 2012), Thai (Wei et al., 2022), and 

Vietnamese (Luo, 2023). 

Existing studies mainly focus on the strategies for translating specific Zhuang folkloric elements. Translations of folk legends 

and ethnic classics, including Zhuang scriptures and Liao songs, receive the most attention. The majority of these studies were 

conducted under a specific theoretical framework, such as eco-translatology (Huang, 2014), eco-aesthetics (Zhou, 2016), 

functional equivalence (Li, 2018), and memetics (Wang & Li, 2019). 

In recent years, there has been a notable increase in scholarly publications that examine translation from a multimodal 

perspective. These include studies about multimodal discourse analysis, multimodal metaphors, and multimodal corpus. 

Nevertheless, studies on multimodality remain scarce concerning the translation of Zhuang folklore. Advancements in digital 

technologies have greatly facilitated the process of using multimodal techniques in translation. Therefore, it is necessary to 

extend the scope of translation research beyond the domain of text-based translations, directing attention towards a multimodal 

translation of Zhuang folklore. The research on translation should investigate various modes of communication, including 

text, images, audio, video, and gestures. Moreover, studies should be expanded to cover a wider variety of aspects in order to 

promote the dissemination and reception of Zhuang folklore among international audiences. 

3. Theoretical Framework 

Mode is a socially shaped and culturally given semiotic resource for making meaning. Image, writing, layout, music, gesture, 

speech, moving image, soundtrack, and 3D objects are examples of modes used in representation and communication (Kress, 

2010). In the digital age, communication has extended largely beyond languages, thus giving rise to the study of multimodality 

in translation. According to Kress and van Leeuwen (2001), multimodality is the use of several semiotic methods in the design 

of a semiotic product or event. Zhuang folklore covers diverse elements, including Zhuang opera, Zhuang folk songs, and 

Zhuang folk festivals, most of which contain multimodal characteristics. For example, Zhuang opera includes three principal 

modes: verbal mode (such as written and spoken text), visual and tactile modes (such as makeup, clothes, gestures, and 

movements), and auditory mode (such as sound and music). Therefore, it can be reasonably argued that multimodality should 

be employed in translating Zhuang folklore. The objective of this paper is to examine methods for constructing meanings in 

multimodal discourse in order to develop effective translation strategies. 

This study adopts approaches of multimodal discourse analysis within the theoretical framework of Systematic Functional 

Linguistics (SFL). The SFL theory, founded by M.A.K. Halliday, has been expanded by numerous scholars over the years. 

Guided by the SFL theory, Martin (1992) introduced a framework for discourse analysis, comprising the following five levels: 

culture level, context level, meaning level, form level, and media level. Following Martin, Lim (2004) conceptualized three 

planes for analyzing semiotic resources: the expression plane, the content plane, and the context plane composed of register, 

genre, and ideology. Based on previous SFL studies, Zhang (2009) proposed a four-dimension framework for multimodal 

discourse analysis: cultural dimension, contextual dimension, content dimension, and expressive dimension. In this 

framework (Zhang, 2009), the cultural dimension refers to the cultural context. This context is regarded as a foundation upon 

which the situational context is built and is an essential component in producing effective multimodal communication. The 

contextual dimension includes the situational context and is associated with the contextual variables of field, tenor, and mode. 

The content dimension is divided into two sub-dimensions: the dimension of meaning and the dimension of form. The 

discourse meaning is composed of three elements: ideational meaning, interpersonal meaning, and textual meaning. The 

meaning of discourse is determined by the contextual variables of field, tenor, and mode. The form of discourse comprises a 

variety of modes, including verbal, visual, auditory, and tactile modes. These modes are interconnected in either 

complementary or non-complementary relationships. The expressive dimension refers to the media through which meanings 

are constructed, which can be classified into verbal and non-verbal media. 



Communication across Borders: Translation & Interpreting; Vol. 04 No. 01 (2024) 

ISSN (online): 2766-791X 

ISSN (print):    2770-6354  

 

116 

 

Zhang’s framework provides a comprehensive perspective for scholars to use multimodal discourse analysis in translation 

studies. This paper utilizes the framework developed by Zhang to examine the construction of multimodal discourse in 

translating Zhuang folklore. 

4. A Multimodal Approach to Translation 

4.1 The Cultural Dimension 

Culture is often divided into two categories: material culture and non-material culture. The elements of culture cover various 

aspects of human life, including artifacts, epics and legends, social customs, rituals, and values and beliefs. Given the ethnic 

minority status of the Zhuang people, some of their folkloric elements may be unfamiliar to individuals of other nationalities. 

Therefore, translators should be able to perceive potential cultural differences between the source and target cultures and 

accurately convey the cultural connotations of Zhuang folklore to a target culture. 

A variety of techniques can be used in multimodal translation. One commonly used method is addition, which refers to adding 

words or phrases to create a complete cultural image. A case in point is the translation of Liu Sanjie, a legendary figure in 

Zhuang folk stories. Although the stories are well-known among the Zhuang people, the cultural image of Liu Sanjie may be 

unfamiliar to those from other nationalities. To overcome cultural barriers, apart from a verbal translation of the name Liu 

Sanjie itself, translators may consider adding a textual explanation and translating it into Liu Sanjie, a Zhuang song fairy. 

Apart from adding words, the technique of addition can be employed in many other instances. For example, translators can 

add pictures of Liu Sanjie as a visual supplement to the translation. The addition of text and images in this example reinforces 

the verbal meaning and illustrates the cultural image of Liu Sanjie. In addition, when translating Zhuang folklore for museums 

or websites, translators can add audio or video recordings of Liu Sanjie’s folk songs. The use of multiple modes can enhance 

the presentation of the legendary figure. It should be noted that multimodal translation is not simply a piling up of different 

modes; rather, the modes should interact with each other to produce a good translation. A multimodal translation of Zhuang 

folklore can help people from different cultural backgrounds better understand Zhuang folklore, thereby promoting the 

dissemination and reception of Zhuang culture. 

4.2 The Contextual Dimension 

The environment of the text is the context of situation, which is an instance of a social context, or situation type (Halliday, 

1978). In the digital context, technologies such as AI and big data are exerting an increasing influence on translation. The 

advent of new media and technologies has resulted in a notable shift in international communication and translation and 

significantly facilitated communication in a technology-assisted multimodal context. Information is now conveyed through a 

variety of media, including text, images, web pages, and social media platforms. It is readily accessible through multiple 

channels, including hyperlinks, live streaming, augmented reality, and virtual reality. The digital multimodal context, 

characterized by virtual interconnectedness, has broken down the barriers of physical existence, offering individuals the 

opportunity to engage in a digital experience without being constrained by space or time. 

As Halliday (1978) asserts, all language functions in contexts of situation, and is relatable to those contexts. Given the function 

of translation as a bridge between different languages and social contexts, translators must adopt proper translation techniques 

to match the changing contexts. For example, to enhance global communication, translators may reconstruct the context of 

situation in the target language. The key principle of contextual reconstruction is that it should be conducted on the basis of 

common values of humanity while preserving the unique Chinese Zhuang folkloric culture. The purpose of contextual 

reconstruction in translation is to construct a discourse with shared global values and distinct Chinese characteristics. 

4.3 The Content Dimension 

In terms of content, meanings should be constructed through a combination of modes, such as verbal, auditory, and visual 

modes. A combined use of these modes can facilitate the process of multimodal translation. Take verbal modes for example. 

In addition to written and spoken texts, verbal modes include hypertext, which is a text that has gained popularity in the digital 

age. Hypertext makes it easier to appreciate Zhuang folklore because relevant information is readily accessible. Besides verbal 

modes, translators can also use auditory modes to assist in the translation process. For example, translators can add audio 

material to the translation to illustrate the translated texts. A case in point is Zhuang folk songs. This folkloric element is often 

characterized by rhymes and structured lyrics, as in the case of Zhuang Liao songs (Chen, 2022). Therefore, translators should 

try to preserve the original auditory characteristics and ensure that the translated lyrics are easy to sing along. In this way, it 

is possible to improve the transmission of Zhuang folklore among people of other nationalities. Another mode that can be 

used is the visual mode. By employing visual elements, translators can vividly present the translations of Zhuang folkloric 

items. Examples include comic books based on ancient Zhuang legends and audiovisual translations of Zhuang folkloric items. 

A multimodal translation method has proven effective in promoting cultures, as evidenced by existing translations for Chinese 

performing arts, including theatre performances, television programs, and movies. However, there are not so many translations 



Communication across Borders: Translation & Interpreting; Vol. 04 No. 01 (2024) 

ISSN (online): 2766-791X 

ISSN (print):    2770-6354  

 

117 

 

available about Zhuang folklore. Therefore, it is necessary to use multiple modes to construct discourse meanings and achieve 

an effective multimodal translation of Zhuang folklore. 

4.4 The Expressive Dimension 

In translation, meanings are conveyed through media. These include languages and paralanguages, including spoken or written 

text, volume, pitch, and font size. In addition to verbal elements, it is also essential to utilize non-verbal elements. These 

include movements related to the human body and the platforms or environments in which communication occurs, including 

PowerPoint presentations, the Internet, and simultaneous interpretation booths (Zhang, 2009). 

The expressive dimension can help translators achieve what words alone cannot. Translators can use gestures, facial 

expressions, and body movements to facilitate the translation of Zhuang folklore. Take the Zhuang opera for example. This 

performing art is notable for its richness in artistic presentations, with artists employing a range of verbal and non-verbal 

elements to convey their emotions or the implied meanings of the opera. Translators can use paralanguage as an effective 

audio-visual supplement to textual meanings in translating promotional videos or documentaries related to Zhuang folklore. 

To illustrate, when translating Sanyuesan Festival, a folk song festival of the Zhuang people, translators may consider 

including videos of Zhuang people dressed in festival clothes, singing songs, and dancing to the music in order to convey the 

joyful atmosphere of the festival. By employing different media, translators can utilize digital multimodal technology to 

enhance their translation of Zhuang folklore. 

5. Conclusion 

The Zhuang ethnic minority group is an ethnic group with a population second only to that of the Han nationality. There are 

numerous folkloric elements in the cultural reservoir of Zhuang folklore. However, research into the translation of Zhuang 

folklore is limited, which has impeded the ability of individuals from other nationalities to comprehend the Zhuang culture. 

This paper examines the current status of research on Zhuang folklore and proposes a multimodal translation approach to its 

translation. The paper begins with a review of the scholarly literature on Zhuang folklore, with a particular emphasis on 

translation studies. It finds that the studies are primarily concerned with various elements of Zhuang folklore, including folk 

festivals, ritual practices, folk legends, folk literature, and folk songs. It also shows that previous studies mainly concentrate 

on translation techniques within theoretical frameworks such as eco-translatology, aesthetics, functional equivalence, and 

memetics.  

In the contemporary digital age, technologies are exerting an increasingly significant influence on translation. In this 

multimodal landscape, scholars have examined the vast potential of multimodality in translation studies. Nevertheless, the 

impact of multimodality on the translation of Zhuang folklore remains to be fully investigated. In order to facilitate the 

dissemination of Zhuang folklore, it is essential to explore the potential of multimodality in translating Zhuang folklore. This 

paper employs the multimodal discourse analysis framework of Zhang Delu (2009) to investigate translation from four 

dimensions of discourse: cultural dimension, contextual dimension, content dimension, and expressive dimension. The 

cultural dimension serves as the foundation for the construction of meanings. The contextual dimension determines the modes 

by which content is presented. The content dimension uses various modes to present meanings. The expressive dimension 

covers the media through which meanings are conveyed. These dimensions are interrelated in constructing meanings when 

translating Zhuang folklore. Since we live in a multimodal age, translation should be conducted with due consideration of the 

four dimensions of discourse. In particular, translators should examine cultural similarities and differences, consider social 

contexts, and utilize multiple modes in translating Zhuang folklore. Furthermore, it is also essential to use multimodal media 

through which meanings are conveyed. The techniques discussed in this paper offer a multimodal approach to translating 

Zhuang folklore. In addition to multimodal discourse analysis, we can explore the translation of Zhuang folklore by 

investigating other aspects of multimodality, including multimodal corpus or multimodal metaphors. Effective multimodal 

translation of Zhuang folklore can improve people’s understanding of the folk culture and help them know more about the 

Zhuang people. 

References 

Chen, B. (2022). Pingguo Zhuang Liao Songs: Songs of Lunar March. Shanghai: Shanghai Jiao Tong University Press. [In 

Chinese: 陈兵. (2022). 英译平果壮族嘹歌: 三月歌篇. 上海: 上海交通大学出版社.] 

Halliday, M. A. K. (1978). Language as Social Semiotic: The Social Interpretation of Language and Meaning. London: Arnold. 

Han, J. et al. (2013). The Epic of Baeuqloxgdoh. Nanning: Guangxi People’s Publishing House. [In Chinese: 韩家权等. (2013). 

布洛陀史诗 (壮汉英对照). 南宁: 广西人民出版社.] 

Holm, D. (2003). Killing a Buffalo for the Ancestors: A Zhuang Cosmological Text from Southwest China. Illinois: Southeast 

Asia Publications. 

Holm, D. (2004). Recalling Lost Souls: The Baeu Rodo Scriptures Tai Cosmogonic Texts from Guangxi in Southern China. 

Bangkok: White Lotus.  



Communication across Borders: Translation & Interpreting; Vol. 04 No. 01 (2024) 

ISSN (online): 2766-791X 

ISSN (print):    2770-6354  

 

118 

 

Holm, D. & Meng, Y. (2015). Hanvueng: The Goose King and the Ancestral King: An Epic from Guangxi in Southern China. 

Leiden; Boston: Brill.  

Holm, D. & Meng, Y. (2022). The Brigands’ Song: Serving in the Army of a Native Chieftain: A Traditional Song Text from 

Guangxi in Southern China. Leiden; Boston: Brill.  

Huang, Y. (2014). On the Role of Translators in the English Translation of Zhuang Mythology from the Perspective of Eco-

translatology, Journal of Baise University, (02), 96-99. [In Chinese: 黄园园. (2014). 生态翻译学视角下的壮族神话英
译译者功能探析. 百色学院学报, (02), 96-99.] 

Kress, G. (2010). Multimodality: A Social Semiotic Approach to Contemporary Communication. New York: Routledge.  

Kress, G. & Van Leeuwen, T. (2001). Multimodal Discourse: The Modes and Media of Contemporary Communication.  

London: Arnold. 

Li, C. (1990). A Preliminary Exploration of Mandarin Chinese Translation of Zhuang Folk Wisecracks. Journal of Guangxi 

University(Philosophy and Social Science), (04), 74-77. [In Chinese: 李从式. (1990). 壮语歇后语的汉译浅见. 广西大
学学报 (哲学社会科学版), (04), 74-77.]  

Li, L. (2018). Translation Strategies of Culture-Loaded Words of Zhuang Liao Songs from the Perspective of Functional 

Equivalence: A Case Study on “Pingguo Zhuang Liao Songs: Songs of Lunar March”, Journal of Baise University, (04), 

111-119. [In Chinese: 李柳湘. (2018). 等效论视角下壮族嘹歌文化负载词英译策略研究——以《平果壮族嘹
歌 · 三月歌篇》为例. 百色学院学报,  (04), 111-119.] 

Li, R. & Mahamed, M. (2022). The Communication Dilemma and Strategy of Chinese Zhuang Nationality March 3rd Festival, 

in J. A. Wahab, H. Mustafa, & N. Ismail (ed.) European Proceedings of Social and Behavioural Sciences: Vol. 123. 

Rethinking Communication and Media Studies in the Disruptive Era. London: European Publisher, 283-295.  

Lim Fei, V. (2004) Developing an Integrative Multi-semiotic Model [A]. In O’Halloran, Kay L (ed.) Multimodal Discourse 

Analysis: Systemic-Functional Perspectives, London: Continuum, 220-246. 

Lin, Y. & Liu, H. (2021). Rice and Rhyme: Seeing Zhuang Rice-related Folklore through Their Folk Songs. Folklore, 132 

(1),34–58.  

Lu, J. (1994). An Introduction of Song Rhyming into Esperanto. Journal of Guangxi Normal University (Philosophy and 

Social Sciences Edition), (S1), 84-102. [In Chinese: 卢纪新. (1994). 勒脚歌引入世界语初探. 广西师范大学学报 (哲
学社会科学版), (S1), 84-102.]  

Luo, X. (2023). A Study on the Vietnamese Translation of Culture-loaded Words in Zhuang Classics from the Perspective of 

Pragmatic Adaptation: A Case Study of the “The Epic of Baeuqloxgdoh”, Culture Journal, (01), 202-205.  [In Chinese: 

罗先丽. (2023). 语用顺应论视角下壮族典籍文化特色词汇的越译研究——以《布洛陀史诗》为例. 文化学刊, 

(01), 202-205.] 

Martin, J. R. (1992). English Text: System and Structure. Amsterdam: John Benjamins. 

Nong, Y. (1984). On the Translation and Compilation of the Zhuang Long Narrative Poem of Qigu. Journal of Guangxi Minzu 

University (Philosophy and Social Science Edition), (01), 118-122.  [In Chinese: 侬易天. (1984). 从翻译整理看壮族长
诗《七姑》. 广西民族学院学报(哲学社会科学版), (01), 118-122.] 

Obuchová, L. (1999). Frog and Toad Symbols in Zhuang Folklore (Southern China). Archív Orientální, 67(2), 257-278.  

Office of the Leading Group of the State Council for the Seventh National Population Census (2022). China Population 

Census Yearbook 2020 (Book 1). Beijing: China Statistics Press. [In Chinese: 国务院第七次全国人口普查领导小组
办公室编.(2022).中国人口普查年鉴 2020 上册.北京:中国统计出版社.] 

Qin, J. (1982). On the Translation and Compilation of Zhuang Folk Songs. Academic Forum, (3), 97-98. [In Chinese: 覃建
真. (1982). 谈壮族民歌的翻译整理. 学术论坛, (3), 97-98.] 

Sims, M. & Stephens, M. (2011). Living Folklore, 2nd Edition: An Introduction to the Study of People and Their Traditions. 

Logan: Utah State University Press. 

Wang, H. & Li, X. (2019). English Translation Studies on Intercultural Communication of Zhuang Literature from the 

Perspective of Memetics. Journal of Mudanjiang University, (10), 104-108. [In Chinese: 汪华 & 李晓滢. (2019). 模因
论视角下壮族文学对外传播的英译研究——以《北路壮剧传统剧目精选》为例. 牡丹江大学学报, (10) , 104-108.] 

Wei Y., Feng, H., Yang, M., & Wei, P. (2022). On Zhuang-Thai Translation Strategies for Medical and Pharmaceutical Books 

of the Zhuang Ethnic Group, Comparative Study of Cultural Innovation, 6(24), 169-172. [In Chinese: 韦祎, 俸翰超, 杨
孟状 & 韦鹏涯. (2022). 壮医药学典籍泰语译介策略研究. 文化创新比较研究, (24), 169-172.] 



Communication across Borders: Translation & Interpreting; Vol. 04 No. 01 (2024) 

ISSN (online): 2766-791X 

ISSN (print):    2770-6354  

 

119 

 

Zhang, D. (2009). On a Synthetic Theoretical Framework for Multimodal Discourse Analysis, Foreign Languages in China, 

(01), 24-30. [In Chinese: 张德禄. (2009). 多模态话语分析综合理论框架探索. 中国外语, (01), 24-30.] 

Zhou, Y. (2012). The Rationale and Translatability of the English Translation of Zhuang Liao Songs, Journal of Hubei 

University of Economics (Humanities and Social Sciences Edition), (04), 134-136. [In Chinese: 周艳鲜. (2012). 壮族嘹
歌英译的理据与可译性分析. 湖北经济学院学报 (人文社会科学版), (04), 134-136.] 

Zhou, Y. (2016). An Eco-aesthetic Paradigm in the Translation of Ethnic Minority Classics: A Case Study of the English 

Translation of Guangxi Zhuang Liao Songs, Minority Translators Journal, (04), 29-35. [In Chinese: 周艳鲜. (2016). 依
生之美: 少数民族典籍翻译的审美范式——以广西壮族嘹歌英译为例. 民族翻译, (04), 29-35.] 

Zhou, Y. (2017). Two Thousand Zhuang Proverbs from China with Annotations and Chinese and English Translation. New 

York: Peter Lang Publishing. 


