Can you briefly talk about the journal’s production team? When translating the Chinese articles into English, how can you and your team make sure the meaning is not lost in translation?
Garry Guan: That is the hardest part. First, we have gradually built our standard of style. Second, we are very strict in choosing translators, they are from all over the world, usually they are young scholars or professors who specialize in at least one of the related fields, art history or Chinese architecture, etc.
Over 55 percent-60 percent of them are not native Chinese but are proficient in the language. All the translators are freelancers and are in rotation. What I want to achieve is not only to be a publisher, but also through enforcing our style guidelines, through the translation process and the editorial feedback we give them, our impact can be expanded through the whole academic circle of Chinese archaeology overseas.
How is the journal received in the US? What is the significance of the publication of Chinese Cultural Relics?
Kent D. Lee: The US market is still the biggest subscription market, but there are so many new academic journals, so the competition is fierce.
But on the bright side, the journal has got a lot of attention from mass media in the US, Europe and Brazil. They tend to focus on specific articles, specific illustrations or pictures, for instance, not so long ago one article on Chinese gold artifacts was very popular.
Regarding the significance of the publication of Chinese Cultural Relics, I think is good for the field; it is going to expand specialty knowledge in a very valuable and rich area.
