When a large number of foreign language teachers are actively involved in intercultural communication study, more and more scholars have shown great concern about the "aphasia" of the Chinese native culture in foreign language teaching and learning. The paper makes an analysis on some existing misinterpretations of intercultural communication, and argues that, to a certain extent, the misinterpretations are a big factor for the "Aphasia" of the Chinese culture in foreign language education. Some suggestions are thus put forward to approach such a problem.

Zhao Yuanren's translation of Alice's Adventures in Wonderland can be regarded as the best Chinese version even though dozens more have been published ever since. Its success can be largely attributed to Zhao's child-oriented concept which attaches much importance to children's tastes and interests. With the guidance of child-oriented principle, Zhao mainly adopted the strategies of addition and substitution to present a different Alice's wonderland to the intended Chinese child readership, especially in dealing with Carroll's word plays.

The wide application of Chinese and foreign allusions is a big feature of QIAN Zhong-shu's only novel and masterpiece Fortress Besieged, which was first published in 1947. The paper makes an attempt to categorize and analyze the strategies in translating allusions adopted by Jeanne Kelly and Nathan K. Mao in the only English version. The strategies include literal translation, literal translation plus endnote, literal translation plus explanation added in the text, interpretation of the implied meaning plus endnote, and interpretation of the implied meaning in the text. In particular, the strategy of literal translation plus endnote is mostly adopted. This is indicative of the translators' wish to be as faithful as possible to the source text. What's more, the literal translation strategy and use of endnotes is of a big help to communicate the Chinese culture to foreigners.

Carroll’s Alice’s Adventures in Wonderland is one of the best examples of the literary nonsense genre. The paper mainly regards nonsense as a rhetoric device for humour and amusement and seeks to examine Carroll’s nonsense creation devices mainly at the lexical level, and at the same time explore the strategies the Chinese translator Zhao Yuanren adopts in his translation. The paper finds out that there is a direct correlation between Carroll’s devices of nonsense creation and Zhao’s strategies in translating them. The strategies Zhao adopts show his creativity and experimentation in dealing with the seemingly untranslatable elements of humorous nonsense to achieve fidelity to the essence of the original work. In reconstructing Carroll’s nonsense, Zhao adheres as closely as he could to reproduce the comic effect of the original by different means of creation. In this sense, his translation is creative fidelity.