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nging hierarchy of domestic values. In other words, determined by different factors, translations aim to be faithful to the linguistic and cultural differences of the foreign text to serve different factors and thus different strategies are led to translation. 1) If a translator is apt to adopt a foreignizing strategy, his idea may be that the discourses in translation should be as heterogeneous as possible. Here attention should be paid to “as heterogeneous as possible”. If translation makes the reader stop to think, or unduly attracts attention by difficulty or peculiarity, or disturbing the effect of the surrounding language, no word, however expressive and exact, should be employed. The foreignness must make the reader reassuringly familiar, easy to read. And this is the reception that the translations continue to get. If upon publication, a translated text is not an instant critical and commercial success in the culture for which it is translated, it probably wouldn’t be sought by target-language publishers. The project languages to translate it, therefore, should be controlled by the translator, who, in effect, must invent for target-language readers a foreign text that would otherwise be nonexistent to them. In order to give the reader the sense that the text is a window onto the author, translators must manipulate what often seems to be a very resistant material, i.e., the language into which they are translating, in most cases the language they learned first, their mother tongue, but now also their own. When the translation is a poem in free verse, for example, varied rhythms that avoid jogtrot meters are needed to give the language a conversational quality, to make it sound natural. Linebreaks should not distort the syntax so much as to hinder the reader’s search for comprehension; they should rather support the syntactical continuity that gets him or her to read for meaning over the lines, pursuing the development of a coherent speaking voice, tracing its psychological contours. If the translation is too foreign to readers’ incomprehension, if anticipating this risk, glossary may be appended to the translation that provided definition for the words. Readers no doubt will find it useful when they take up other papers, in various genres, periods, dialects. In this way, foreignness can be preserved and at the same time the translated text can be easily accepted be readers. The translation may be also accompanied by bilingual publication if studied by some special readers, students or people who want to learn the source language or people who especially are keen on seeking the foreignness, for instance. It signifies the cultural difference of the foreign text by deviating from current target language usage and thereby sending the reader across the page to confront the foreign language. Driving the reader’s perception further into the original than it would without them have penetrated. But it must also be mentioned that readers can still feel that domestication translation is also powerful in delivering strangeness. No doubt, the different reception of foreignness is due to many factors, cultural, economic, and ideological. And here I want to say that the fact that the films directed by Zhang Yimu like “Red Sorghum” and “Old Wells” were awarded international prizes accounting for the films satisfying the Westerners’ false impression of poverty and backwardness on China, is, of course, not the foreignness a translator should c