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Translating Taste and Thought: A Revised Framework for Metaphor

Translation in Chinese Food Documentaries

Cai Yujie

, Sharmini Abdullah

, Pariyanto

Faculty of Business and Communications, S2-L1- 20, Kampus UniCITI Alam, Sungai

Chuchuh,Universiti Malaysia Perlis, Padang Besar, 02100, Perlis, Malaysia.

Faculty of Cultural Sciences, Universitas 17 Augustus 1945 Surabaya, Jalan Semolowaru 45, Surabaya

60118, Jawa Timur, Indonesia

DOI: https://dx.doi.org/10.47772/IJRISS.2025.91100151

Received: 10 November 2025; Accepted: 20 November 2025; Published: 03 December 2025

ABSTRACT

This study investigates the translation of metaphors in the Chinese culinary documentary A Bite of China (Season

1, Episodes 1 and 2), focusing on how culturally rich metaphors are rendered in English subtitles. Employing

Peter Newmark’s (1988) well-established translation procedures framework, including literal translation,

substitution, paraphrase, and omission, the study systematically analyzed 90 metaphorical expressions identified

using the Metaphor Identification Procedure Vrije University (MIPVU) While Newmark’s procedures remain

foundational in guiding subtitle translation, the analysis revealed the emergence of additional, context- sensitive

strategies tailored for audiovisual and cross-cultural demands. These newly identified procedures i.e. cultural

approximation, metaphor-to-sense translation, visual reinforcement, and explication address the challenges posed

by the multimodal and culturally embedded nature of the source text. The findings highlight the dynamic interplay

between traditional and innovative translation methods, emphasizing the translator’s role in balancing fidelity to

source imagery with viewer accessibility. This study proposes a revised typology of metaphor translation

procedures for audio visual translation, reaffirming the importance of cultural salience, audience cognition, and

semiotic coherence. The results contribute both theoretically and practically to the field of audiovisual translation,

offering subtitlers actionable strategies for handling metaphorically dense and culturally specific content in global

media.

Keywords: metaphor translation, audiovisual translation(AVT), subtitling strategies, Newmark’s translation

procedures, A Bite of China

INTRODUCTION

Metaphor plays a critical role in shaping cultural narratives, particularly in audiovisual texts that seek to evoke

sensory and emotional resonance. In Chinese gastronomic documentaries such as A Bite of China, metaphors are

not merely rhetorical flourishes; they serve as culturally embedded conceptual tools that bridge food, history,

geography, and identity. Translating these metaphors from Chinese into English presents unique challenges, as it

requires balancing semantic fidelity with cross-cultural accessibility. Previous studies have explored metaphor

translation strategies in various contexts, including

literary and audiovisual texts (Newmark, 1988; Shuttleworth & Cowie, 2014). Foundational work by Newmark

(1988) remains central to understanding classical metaphor translation procedures, while cognitive linguistic

theories introduced by Lakoff and Johnson (1980, 2003) have profoundly influenced contemporary approaches

by emphasizing the conceptual nature of metaphors. Additionally, Bassnett (2002) highlights the cultural

challenges that translators face when rendering metaphors across languages, highlighting the importance of

cultural competence. More recently, St. André’s (2010) edited volume has expanded the theoretical landscape by

positioning metaphor as a core concept in translation studies. Empirical studies by Blixt (2022) and He,

Shuttleworth, and Wang (2022) further advance the field by applying cognitive and linguistic frameworks to

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specific language pairs and genres. Building on this rich scholarly foundation, Abdullah (2014, 2021, 2023, 2024)

has examined metaphor translation procedures that extend beyond classical taxonomies, particularly in

audiovisual and technical domains.

The translation of metaphors in audiovisual contexts presents a persistent and multifaceted challenge within

translation studies, particularly when the source text (ST) is deeply embedded with cultural specificity and the

translation process is constrained by multimodal factors such as time, space, and visual imagery. Chinese food

documentaries, exemplified by A Bite of China offer an interesting case study for these challenges. The series is

renowned for its rich use of culinary metaphors that intertwine poetic language, historical references, and

gastronomic symbolism, creating a text that is as much cultural narrative as it is documentary. Translating these

metaphors for an international audience requires not only linguistic precision but also cultural sensitivity and

semiotic flexibility to preserve the original’s intended meaning (Marais, 2023). This study builds on previous

research in metaphor translation (Newmark, 1988; Abdullah, Cai, & Mohamed, 2024; Elqubaisi, Abdullah, &

Haroon, 2023; Abdullah, Mahadi, & Shafie, 2021; Abdullah, 2014) by focusing on the subtitling of A Bite of

China, Season 1, Episodes 1 and 2. A total of 102 metaphorical expressions were identified, coded, and analyzed

according to their source and target domains, types of metaphors, and translation strategies used. Newmark’s

(1988) traditional metaphor translation procedures provide a foundation for this analysis, particularly his

categorization of strategies such as retention, substitution, and omission.

The study has two main aims, i.e first, to describe current practices in metaphor translation within this genre,

building on Newmark’s (1988) foundational framework of metaphor translation procedures; and second, to

propose an improved framework of translation strategies that better address the audiovisual and cultural

complexities found in such texts. While Newmark’s taxonomy provides essential categories such as retention,

substitution, and omission, this study aims to extend beyond these traditional classifications by introducing

identifiable new procedures. This approach not only addresses the limitations of traditional metaphor translation

taxonomies but also introduces innovative strategies that enhance the accessibility and cultural resonance of

metaphors in subtitled documentaries.

LITERATURE REVIEW

Conceptualising Metaphor in Translation

Prepare Metaphor has been recognized as a fundamental cognitive and linguistic phenomenon shaping human

thought and communication. The seminal work of Lakoff and Johnson (1980) reframed metaphor as a conceptual

mechanism that maps abstract ideas onto concrete experiences, influencing language, perception, and culture.

This cognitive linguistic perspective underpins the understanding that effective metaphor translation requires

preserving these underlying conceptual mappings and cultural resonance, rather than merely performing literal

word-for-word substitutions.

Building on this foundation, Abdullah (2014, 2021) provides critical empirical insights into the complexities of

metaphor translation, particularly in technical contexts. Abdullah’s research reveals that metaphor translation is

a dynamic, context-sensitive process involving negotiation between linguistic structures, cultural norms, and

multimodal constraints. She identifies flexible strategies such as paraphrase, cultural approximation, omission,

and creative metaphor invention, which translators employ to maintain semantic clarity and cultural resonance.

Abdullah’s emphasis on cultural resonance and viewer cognition directly supports this study’s aim to refine

metaphor translation procedures tailored to audio visual documentary subtitling.

Translation Strategies and Frameworks

The theoretical landscape of translation strategies offers valuable tools for analysing metaphor translation. Vinay

and Darbelnet’s (1958/1995) influential model distinguish between direct translation methods (borrowing,

calque, literal translation) and oblique methods (transposition, modulation, equivalence, adaptation). Their

concepts of equivalence and adaptation are particularly pertinent to metaphor translation, as they allow for

replacing culturally specific metaphors with functionally analogous expressions in the target language. This

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aligns closely with Abdullah’s notion of cultural approximation and emphasises the need for flexible, audience-

aware translation strategies.

Similarly, Traditional strategies for metaphor translation, as outlined by Newmark (1988), include reproduction

(retaining the metaphor in the target language), paraphrase or explanation (rendering the metaphor in plain sense),

substitution (using a culturally equivalent metaphor), and omission (removing the metaphor). These procedures

have long been foundational in the field, but their limitations become apparent when dealing with metaphors that

are deeply rooted in specific cultural or genre contexts. However, recent academic work, including the findings

presented here, and Shuttleworth (2017), critiques the rigidity of Newmark’s categories, advocating for

extensions that accommodate the multimodal and intercultural demands of audiovisual translation. Emergent

strategies such as metaphor-to- sense translation, visual reinforcement, and explication better reflect the practical

realities faced by subtitlers working with culturally dense metaphors.

Cultural and Sociolinguistic Dimensions

Translation is not merely a linguistic exercise but a cultural negotiation. Katan (2009) emphasizes that metaphors

carry ideological and identity-laden meanings, requiring translators to act as cultural mediators. This sociocultural

lens reinforces the importance of cultural competence and audience awareness in metaphor translation,

particularly in audio visual media where the interplay between verbal and visual modes shapes meaning. In this

context, translators face a delicate balancing act. Fidelity to source imagery means striving to stay true to the

original metaphor’s meaning, style, and cultural richness, aiming for the target audience to experience the text as

the original audience did. This preserves the author’s intent and the unique cultural flavour embedded in the

metaphor. However, strict fidelity alone can render a translation difficult to understand or less engaging for

viewers from a different cultural or linguistic background, as cultural references or idioms may be opaque or

meaningless.

This is where cultural accessibility becomes crucial. Wang (2023) implies that metaphors are usually shaped by

a particular culture. Wang adds, metaphors are culturally embedded and cannot be translated without adjusting

for cultural frames and background knowledge. Translators must adapt or explain metaphors so that they resonate

with the new audience’s cultural knowledge and expectations, given that conceptual metaphors themselves

exhibit cross-cultural and within-culture variation. Tao (2024) emphasizes that due to the differences in

conceptual metaphors in different cultures, successful metaphor translation requires translators to reconstruct

their meanings according to the conceptual patterns of the target culture. The process often involves semantic

transformation and cultural adaptation, where metaphors are modified to align with the cognitive and cultural

frameworks of the target language and culture. As noted by Zhang (2023), it is particularly important to

understand the relevant cultural nature when translating metaphors, especially when dealing with metaphors

embedded in a unique culture, which require semantic and cultural reconstruction when translating. This

highlights the significance of sociocultural context in the production and interpretation of metaphorical

expressions. At the same time, translators must consider viewer cognition, especially when translating metaphors

in audiovisual content, for audience cognition and time constraints. This involve simplifying, paraphrasing, or

replacing metaphors with culturally equivalent expressions that convey the same emotional and conceptual

impact. (Shintemirova, 2023) Therefore, balancing fidelity to source imagery with cultural accessibility and

viewer cognition is essential. This means finding a middle ground: preserving the original metaphor’s essence

and cultural significance while making it understandable, relevant, and impactful for the target audience. Zhang

(2025) argues that due to the huge differences in rooted cultural traditions and ways of thinking, translating

metaphors from English directly into Chinese in a literal translation will cause the metaphor to lose its own

meaning. This study echoes this view, highlighting the necessity of balancing fidelity to source imagery with

cultural accessibility and viewer cognition.

Broader Theoretical Perspectives in Translation Studies

Beyond metaphor-specific frameworks, it is essential to situate this study within broader translation theory.

Lawrence Venuti (1995) foregrounds the cultural and political dimensions of translation, emphasizing translator

visibility and power dynamics, which are critical when subtitling culturally rich metaphors that risk

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domestication. Susan Bassnett (2002) and Mona Baker (1992, 2011) explore how translation mediates language,

culture, and ideology, offering discourse analytical tools useful for metaphor translation in audiovisual texts.

Anthony Pym (2010) highlights the ethical role of translators as cultural mediators, aligning with the need to

balance fidelity and accessibility. Similarly, Christiane Nord’s (1997) functionalist approach frames translation

as purposeful communication, advocating adaptation to target audiences without compromising source intent.

Jeremy Munday (2008) provides comprehensive theoretical overviews emphasizing translator agency and

context, crucial for audiovisual translation’s multimodal constraints.

Furthermore, Basil Hatim and Jeremy Munday (2004) integrate discourse and genre analysis, enabling nuanced

understanding of metaphors within specific textual and cultural genres such as culinary documentaries. Theo

Hermans (2007) contributes a historical and sociological perspective, emphasizing evolving translation norms

that inform the dynamic negotiation observed in metaphor translation. Together, these perspectives enrich the

theoretical foundation, situating metaphor translation within a multidisciplinary framework that addresses

linguistic, cultural, ethical, and functional dimensions.

Multimodal and Audiovisual Challenges

Chinese food documentaries like A Bite of China present unique multimodal challenges for metaphor translation.

The dense layering of culinary metaphors, visual imagery, and cultural symbolism demands innovative translation

procedures that extend beyond traditional taxonomies. Moreover, the translation of culturally rich dish names, a

salient feature of Chinese culinary discourse, involves both linguistic and cultural translation strategies. Dish

names often encapsulate metaphorical references to history, mythology, or natural imagery, making their

translation a delicate task of cultural mediation and semantic preservation. Techniques such as cultural borrowing

combined with explanatory annotation have been proposed to address these challenges. (Cai, Abdullah &

Mohamed, 2024)

Audiovisual translation (AVT) introduces additional complexity to metaphor translation, as metaphors must be

rendered intelligible within strict temporal and spatial constraints, often in the presence of competing visual and

auditory stimuli. Scholars such as Gambier (2006) argue that audiovisual translation requires harmonizing verbal

and visual semiotic modes to achieve immediate and culturally coherent comprehension. This necessitates

translation strategies that are both semantically accurate and culturally coherent, while also accommodating the

multimodal nature of the medium.

Compared with literal translation, metaphorical translation will add a certain degree of cognitive burden to the

brain, especially when dealing with subtitle translation work that is limited by time and space. This puts higher

demands on translators, that is, the reasonable conversion of metaphors can effectively reduce the cognitive

burden of the audience, so that the source language information can be effectively processed quickly and

accurately (Liu et al., 2024).

Interpretation can not only retain the cultural characteristics of the source language when dealing with metaphors

rooted in the source language culture, but also effectively enable readers to understand the interpretation through

the target language.(Li, 2024) Due to differences in cultural background, thinking patterns, and language usage

habits, metaphors can be treated as "implicit cultural codes" when dealing with translation procedures. Cultural

fit can make up for the distortions and cultural barriers caused by improper metaphor translation to the greatest

extent (Zou, Fuller & Wang, 2025). In addition, subtitlers also use creative strategies such as cultural

approximation to better map metaphors to the target subtitles (Pedersen, 2017); and when dealing with metaphors

in the source language that may be misunderstood, it is necessary to translate or interpret metaphors into meaning

(Shintemirova, 2023; Sahari, 2024). At the same time, in order to enhance emotional resonance with the audience,

creative metaphors usually need to be reasonably transformed by paraphrasing or replacing metaphorical

expressions (Kapsaskis, 2024). Previous empirical studies demonstrate that subtitlers often employ creative

strategies such as cultural approximation, metaphor-to-sense translation, and explication to negotiate these

complexities effectively.

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Research Framework

This study constructs a comprehensive research framework to examine the translation of metaphors in the Chinese

food documentary series “A Bite of China” (Season 1, Episodes 1 and 2). This framework integrates conceptual

theories of metaphor, classical translation models, and audiovisual translation principles, thus providing a multi-

dimensional approach that fully considers the linguistic and cultural complexities of metaphor translation in

subtitled media. As seen in Figure 2.

Fig. 1 Research Framework

RESEARCH METHODOLOGY

Research Design

This study employed a qualitative content analysis methodology, grounded in the Metaphor Identification

Procedure Vrije University (MIPVU) developed by the Pragglejaz Group (2007), to identify metaphorical

expressions in A Bite of China. Two episodes from Season 1 (Episodes 1 and 2) The research design is grounded

in the research framework outlined in the previous section, which integrates Peter Newmark’s (1988) translation

procedures with emergent, context-sensitive strategies tailored for audiovisual translation.

Data Collection

The primary data consist of the original Mandarin dialogue and corresponding English subtitles from the first

two episodes of A Bite of China. These episodes were selected due to their rich use of culturally specific and

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metaphorically dense language related to Chinese culinary traditions. Full transcripts of both the source language

(SL) and target language (TL) subtitles were compiled for detailed analysis.

Data Analysis

The analysis proceeded in several stages:

1. Metaphor Identification: Using the Metaphor Identification Procedure Vrije University (MIPVU)

developed by Steen et al. (2010), metaphorical expressions were systematically identified in the source

text transcripts.

2. Categorization of Translation Procedures: Each identified metaphor was then examined in the English

subtitles and coded according to the expanded set of translation procedures defined in the research

framework as depicted in Table This included both Newmark’s traditional categories i.e. literal

translation, substitution, paraphrase, omission and the newly proposed strategies, i.e. cultural

approximation, metaphor-to-sense translation, visual reinforcement, and explication/annotation.

3. Reliability Measures: To ensure coding reliability, the metaphor identification and translation procedure

coding were independently conducted by the researcher and a professional translator experienced in

Chinese-English audiovisual subtitling. Discrepancies were discussed and resolved through consensus,

yielding an intercoder reliability coefficient above 0.85.

4. Interpretative Analysis: Beyond quantitative coding, a qualitative interpretative analysis was conducted

to assess the effectiveness, cultural appropriateness, and pragmatic constraints influencing the translation

choices. This included consideration of multimodal elements such as on- screen visuals and temporal

constraints inherent in

Ethical Considerations

All data used in this study are publicly available audiovisual materials. Proper citation and acknowledgment of

the original creators were maintained throughout the research. The study adheres to ethical standards for academic

research, ensuring transparency and respect for intellectual property.

RESEARCH FINDINGS

Metaphor Frequency and Types

A total of 90 metaphors were identified in the source text (ST) of A Bite of China (Season 1, Episodes 1 and 2),

including 57 stock, 15 original, 12 dead, and 6 cliché metaphors. In the English subtitles (TT), only 65 metaphors

were preserved i.e. 44 stock, 11 original, 8 dead, and 2 cliché while the remaining 25 were either omitted or

rendered literally (see Table 1 and Table 2). This disparity reflects the complex constraints inherent in audiovisual

translation, where linguistic fidelity must be balanced against the temporal and spatial limitations of subtitling.

Drawing on conceptual metaphor theory (Lakoff & Johnson, 1980) and audiovisual translation scholarship (Díaz

Cintas & Remael, 2021; Schäffner, 2004), it is evident that metaphors are not merely linguistic devices but

cognitive and cultural constructs. Metaphors that carry dense cultural meaning or require extended cognitive

engagement are particularly vulnerable to omission or demetaphorisation. Consequently, the translator’s choices

reveal a careful negotiation between preserving conceptual richness and ensuring the viewer can process the text

efficiently.

TABLE I Distribution of Metaphor Types in the Source Text (ST) and Target Text (TT), Including ST Metaphors

Not Translated in the TT

most popular

dish.

Not a

Metaph or

Connotativ e

Technical term

Convertin g

metaphor to

sense

的招牌菜

11.

吃鱼头是中

国人的专利

。

Eating fish heads

is a patent

belongs to

Chinese.

Original

Fish head dish

is a favorite

specialit y of

Chinese people.

Not a

Metaph or

Connotativ e

Technical term

Convertin g

metaphor to

sense

12.

水底的世界

被整个地打

捞了起来

The underwate r

world was

salvaged in its

entirety

Original

The entire load

of fish has been

extracte

Not a

Metaph or

Aesthetic

hyperbole

Convertin g

metaphor to

sense

13.

被上天厚爱

的人群又一

次获

得了馈赠

The people who

are loved with

great kindness by

God have once

again received a

gift!

stock

The lucky

locals

Not a

Metaph or

Connotativ e

Personifica tion

Convertin g

metaphor to

sense

！

14.

这不是年年

有余吗?

Isn’t it a saying

every year with

surplus?

Cliché

It represen ts a

wish for an

annual

fortune.

Not a

Metaph or

Connotativ e

proverb

Convertin g

metaphor to

sense

15.

隆重的晚宴

中，鱼是绝

对的主角儿

In a grand dinner,

fish is the

absolute

Cliché

The fish is the

main ingredie nt

of all the

Not a

Metaph or

Connotativ e

Technical item

Convertin g

metaphor to

sense

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。

protagonis t.

dishes.

16.

对于海边

的人来说

，更深的

诱惑还在

深海之中

To the seaside

residents, a

deeper

temptation is still

deep down the

ocean

Stock

To the seaside

resident s, the

deep ocean is

much more

attractiv e for

hunting.

Not a

Metaph or

Connotativ e

Convertin g

metaphor to

sense

17.

除夕夜阖家

团圆吃饺子

，是任何山

珍海味所无

法替代的年

终盛宴

Eating dumplings

with the whole

family on New

Year's Eve is a

year- end feast

that cannot be

replaced by any

dainties

from mountains

or delicacies

from the

sea.

original

No matter what

happens during

the year

dumplin gs on

new year's eve

cannot be

replaced with

any other

delicacy

Not a

Metaph or

Connotativ e

idiom

Convertin g

metaphor to

sense

18.

杂粮和小麦

是餐桌上的

主角

Wheat and grain

are the protagonis

ts on the table

cliché

Wheat and

other types of

grain are the

staple

foods

Not a

Metaph or

Connotativ e

Technical term

Convertin g

metaphor to

sense

19.

牛肉汤的清

与浊是检验

牛肉面是否

正宗的秘籍

之一

The clarity or

turbidity of beef

soup is one of the

secret books to

test whether beef

noodles are

authentic

Stock

the clarity of the

soup used to

make this beef

and noodle dish

is still a

criterion for its

authenti

city

Not a

Metaph or

Connotativ e

Convertin g

metaphor to

sense

20.

臊子面作为

台前台后的

最佳配角是

绝不可少的

As the best

supporting actor

both on and off

stage, it is

absolutely

indispensa ble.

Stock

At such events

Qishan sausa

noodle is

essential for

perform ers and

audienc

Not a

Metaph or

Connotativ e

Convertin g

metaphor to

sense

21.

快节奏的生

产和生活方

式正使这个

几千年来一

直都具有礼

The fast- paced

productio n and

lifestyle are

turning this food,

which has a

temperam ent of

Stock

the fast pace of

life seasonal

foods are now

availabl e all

year round

Not a

Metaph or

Connotativ e

Personifica tion

Deletion

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仪节令气质

的食物变成

一种日常的

主食

etiquette and

season food for

thousands of

years, into a daily

staple.

22.

在各种面食

的制作

手法上变

They change

patterns

Dead

they figure out

Not a

Metaph or

Connotativ e

Convertin g

换花样

on the procedure

s of making

floured

food.

different ways

of making

floured food

metaphor to

sense

23.

经验告诉老

黄，包上被

子效果最好

The experienc e

told Huang to

cove it with a

quilt for it would

works better.

Stock

Wang has also

found that

covering the

vets with a quilt

works even

better

Not a

Metaph or

Connotativ e

Personifica tion

Convertin g

metaphor to

sense

24.

这个举手之

劳是一个弥

足享受的过

程

This lift a finger

is a extremely

enjoyable process

Dead

breakin g the

bun into pieces

is part of the

enjoyme nt of

this dish

Not a

Metaph or

Connotativ e

idiom

Convertin g

metaphor to

sense

25.

对于面条的

口感，南方

人和北方人

的要求也有

着天壤之

别。

When it comes to

the taste of

noodles, people

in the south and

the north have

their special

demand as

different as sky

and

earth.

dead

people from the

North and

South have

absolute ly

different

require ments.

Not a

metapho r

Connotativ e

idiom

Convertin g

metaphor to

sense

Table 2. illustrates 25 metaphors, only identified in ST, that have not been translated into TT. The dominant

procedure is "E. Converting metaphor to sense," which accounts for the vast majority of cases. Personification is

a rhetorical device that allows the non-human subjects to be described as though they possess human-like

emotions, actions, or traits. (Manu, H. O., 2025). It can be noticed that personification is wildly used in ST, for

example, when facing translating the ST"松茸属于野生菌中的贵族" (literally, "Matsutake is one of the nobles

in wild mushrooms"), the method the translator chose is to reduce this kind of figure of speech while translating

into the economic sense: "Matsutake is very expensive." Besides, when dealing with some technical terms. like

“酸笋的成色”(literally, “the grade of sour bamboo shoots”), explaining its real meaning was always the first

choice to the translator, so the “grade ” here was translated into the “process of making sour bamboo”. In addition,

Chinese idioms and proverbs are also translated in this way.

The secondary procedure employed is "F. Deletion," which is used in cases where the metaphor is considered

superfluous or its meaning is contextually implied. For instance, the phrase "为了延续自然的馈赠" (literally,

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"To continue obtaining the gifts of nature") is deleted entirely, as the concept of continuing a harvest is already

evident from the context. To a certain extent, redundancy could be well avoided to some degree, thus it is much

easier and franker for the audience to understand the meaning clearly.

Overall, it could be concluded that some kinds of figures of speech used as often in ST are converted into literal,

non- metaphorical statements in TT, such as figurative expressions, personification, and even some idioms and

proverbs, due to the huge gap in different cultural backgrounds. As directly influenced by Confucianism, the

Chinese are more likely to be introverted and obscure, the same as its expression and even their audiovisual work.

Compared to a direct statement, a large number of speech figures will be chosen to modify the expression to be

more implicit instead of being straightforward. Hence, for a subtitle translator, the strategies for translating these

metaphors in ST are converting them into sense to make sure the audience can understand easily first. Also, it

reveals that when facing challenges in translating cross-culture audiovisual texts, it would be better to convent

ST metaphors into sense then just delete them all so as to pass the core information of subtitle efficiently.

DISCUSSION

This study examined how metaphorical expressions in A Bite of China were translated into English subtitles, with

a focus on the challenges arising from cultural specificity and the audiovisual nature of the medium. The findings

reflect both the translator’s strategies and the constraints they face during the subtitling process.

Balancing Original Meaning and Audience Comprehension

One of the most noticeable trends observed in the data is that many metaphors in the source text (ST) were

translated into more direct, non-metaphorical expressions in the target text (TT). This approach, which can be

described as metaphor-to- sense conversion, shows that translators tend to prioritise clarity for the audience over

maintaining the original figurative form. This choice becomes necessary especially in subtitle translation, where

space and time are limited. Although the metaphorical beauty of the original may be reduced, the core message

can still be effectively delivered. This finding supports the idea that metaphor translation should consider the

cognitive load of the viewers and the context of viewing. Similarly, some metaphors were completely omitted.

In most of these cases, the information carried by the metaphor could be understood from the visuals or the

narrative context. This suggests that deletion is not necessarily a failure of translation but a strategy to avoid

redundancy and maintain fluency for the viewers. It reflects the practical thinking of subtitlers who need to adapt

meaning under time pressure.

The Cultural Role of Metaphor and Translation Strategies

The results also show that many metaphors in Chinese carry cultural references that are not easily understood by

international audiences. For instance, idioms, proverbs, and personifications often contain deep cultural

connotations. In such cases, translators either change the metaphor into a more general expression or choose a

culturally neutral equivalent. This supports the view that metaphors are closely tied to cultural knowledge, and

direct translation may cause misunderstanding if the target audience lacks the same background. A common

strategy found in the data is cultural

approximation. This means replacing a metaphor with an expression that may not have the same form but has a

similar function or emotional effect in the target language. This method helps preserve the communicative

purpose of the metaphor while making it easier for viewers to understand. In many cases, the translator must find

a compromise between keeping the cultural identity of the original text and ensuring that the subtitles are

accessible to international audiences.

Limitations of Traditional Frameworks and Emerging Approaches

Although this study uses Newmark’s (1988) model as a reference point, the data shows that some strategies used

by subtitlers do not fit neatly into his categories. For example, visual reinforcement where images on screen help

explain the meaning of a metaphor or short annotation in the subtitle line are not discussed in classical translation

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frameworks. These methods are more relevant to audiovisual translation and show that translation strategies must

adapt to multimodal contexts.

Practical Implications for Translators

The findings in this study can offer suggestions for subtitle translators. First, translators should be aware of the

metaphor’s cultural meaning and whether it can be understood by the target audience. When the metaphor is too

culturally specific, it may be better to simplify it or explain the meaning in another way. Second, translators

should take into account the visual elements in the documentary, which can sometimes help communicate the

meaning of the metaphor even if it is not fully translated. Third, in translator training programmes, more attention

should be given to metaphor translation in audiovisual contexts, as this requires different strategies from literary

or technical translation.

CONCLUSION

This study aimed to explore how metaphorical expressions in the Chinese documentary A Bite of China are

translated into English subtitles, especially under the constraints of audiovisual media and cultural differences.

The analysis of 90 metaphorical expressions showed that while many conventional strategies remain in use,

translators increasingly rely on flexible and pragmatic approaches. Converting metaphor to sense appeared as the

most frequently adopted method, suggesting that translators often prioritise clarity and accessibility over

preserving the metaphorical structure, especially when the original metaphor might be too culture-bound or

difficult to understand within the subtitle's limited space. At the same time, certain metaphorical elements—

particularly those involving poetic language, idioms, and personification—were omitted or adapted, reflecting a

need to simplify complex imagery for international audiences without entirely losing its original meaning.

Overall, the findings contribute to a deeper understanding of metaphor translation in audiovisual texts and provide

practical implications for subtitle translators, trainers, and scholars. For future research, it is suggested to examine

audience reception of different translation strategies, or to apply similar frameworks to other genres, such as

animated films or intercultural advertisements, to further expand the scope and applicability of metaphor

translation studies in AVT.

ACKNOWLEDGMENT

I gratefully thank my supervisor, Assoc. Prof. Dr. Sharmini Abdullah, for her invaluable guidance throughout

this study. I also extend my appreciation to all who contributed indirectly through discussions, resources, and

academic insights that strengthened the quality of this research.

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