Confronted with a trial, litigants tend to focus on disputed facts, and when their interests are threatened they may resort to deceptive statements in order to obtain a judgment in their favor. Making deceptive statements in the court, referred to in this paper as deceptive speech acts (henceforth, DSA), will affect court’s judgment, waste judicial resources and harm social justice. Therefore, detection of deceptive speech acts (henceforth, DDSA) is of considerable forensic interests in improving efficiency of courtroom trials and enforcing the authority of legal system. Based on seven authentic cases of Chinese courtroom trials, this study attempts to find out reliable linguistic deception indicators in Chinese courtroom context and establish a model of DDSA. As one of efficient cues to deception, linguistic manipulation enables liars to take deception strategies (i.e., concealment, falsification and distortion). Drawing on the notion of linguistic manipulation, a coding scheme is established, which shows that deception strategies are principally realized by six linguistic indicators (vagueness, generality, intensifiers, formulaic expressions, references to the other, and minimizing markers). Linguistic analyses are made to present how DDSA is achieved in each extract. This research sheds light on data-based studies on DDSA, and offers implications for other judicial practices, like police interrogations, and prosecutor’s questioning.
Tujia love songs is one of the important types of Tujia folk songs. The paper analyzes the typical features of folk songs, regards song translation as a constrained translation and mainly introduced Peter Low's Pentathlon Principle in the west and Jun QIN's five rules on Chinese song translation. The principle and rules have been considered and applied in the paper, which then focuses on case analysis of two Tujia love songs "Six Sips of Tea" and "Tangerine Tree". For the first song "Six Sips of Tea", the authors translate and interpret it by involving tea culture and view of marriage. They also make a comparative study between their translated version and singable version online rendered by Jun QIN. For the second song "Tangerine Tree", after translating it, the authors interpret it from different aspects. In the process of translating and interpreting two songs, unique Tujia culture and dialect have been displayed. The paper concludes that whether folk songs are to be translated for singing or for comprehension, the constraints such as rhymes or melodies shall be taken into consideration. Generally speaking, translating Tujia folk songs is of complexity and the interpretation of these songs need comprehensive knowledge of Tujia Culure.
Tujia Minority, a significant ethnic group in Enshi, Hubei province, P. R. China, has created numerous ballads with artistic and cultural connotations. This paper will concentrate on the outstanding representatives of Tujia minority ballads: Fourth Sister Huang --a love story between a noble girl and a mountain vendor, and A Seven-inch-long White Copper Pipe, which describes an ordinary life scene of a couple. After reviewing the research on the translation of China's minority ballads, this paper translates the two ballads and interprets them from the perspectives of cultural study, exploring their temporal-geographical features, characters' identities, cultural philosophical connotation, Enshi's pipe and tobacco culture and affections between couples. "Fourth Sister Huang" reflects the material and spiritual situation in the embryonic stage of the commodity economy. With the provision of relatively abundant commodities, the young people at that time could pursue their true love tactfully as well as boldly. The couple in the "A Seven-inch-long White Copper Pipe" expressed their deep love by sharing the pipe, which shows the importance of tobacco and pipe in Tujia people's daily life. Both ballads extol the beauty of love between man and woman and apply the technique of "transmitting emotions by objects". The stories and characters portrayed in the ballads, as well as their acquaintanceship and expressions, typically represent local customs, historical evolution and traditional Confucian creeds.
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