文学术语ambiguity的翻译探究
“隐秀”之辨
Chinese Traditional Culture 国学, 2014, 2, 26-30Published Online June 2014 in Hans. /journal/cnc/10.12677/cnc.2014.22005Discussion about “Yin Xiu”Haiyan ShengDepartment of Foreign Languages, School of Arts and Law, Beijing University of Chemical Technology, Beijing Email: disiwang@Received: Jul. 25th, 2014; revised: Aug. 3rd, 2014; accepted: Aug. 12th, 2014Copyright © 2014 by author and Hans Publishers Inc.This work is licensed under the Creative Commons Attribution International License (CC BY)./licenses/by/4.0/AbstractYin Xiu, as a significant piece in Chinese literary theories, expounds the important concept of “Yin Xiu”. This paper distinguishes the present interpretations of “Yin Xiu”, and argues that the piece presents the Chinese traditional poetic idea that a poem or an artistic creation grows naturally and dynamically so that it can be shaped into an organic unity. In an excellent artistic work, the feature of “Yin” and that of “Xiu” are related to each other in an organic unity. Neither of them is fixed by any stiff boundary, or forms a concrete relation between the whole and the parts. As a re-sult, the work can always produce vigor of life sprung from it when being interpreted.KeywordsWen Xin Diao Long, Yin Xiu, Concept Extension, Organic Unity“隐秀”之辨盛海燕北京化工大学文法学院外语系，北京Email: disiwang@收稿日期：2014年7月25日；修回日期：2014年8月3日；录用日期：2014年8月12日摘要《文心雕龙·隐秀》是中国文学理论中重要的一篇，阐述了中国文论中重要的范畴。
英国文学专业术语翻译
英国文学专业术语翻译01. Humanism (人文主义) 02.Renaissance(文艺复兴)03. Metaphysical poetry (玄学派诗歌)04. Classism (古典主义)05. Enlightenment (启蒙运动) 06. Neoclassicism (新古典主义)07. The Graveyard School (墓地派诗歌) 08. Romanticism (浪漫主义)09. Byronic Hero (拜伦式英雄) 10. Critical Realism (批判现实主义)11. Aestheticism（美学主义）13. Modernism (现代主义)14. Stream of consciousness (意识流) (or interior monologue)18. the Age of Realism (现实主义时期)20. Naturalism (自然主义) 21. Local Colorist (乡土文学)22. Imagism (意象主义) 23. The Lost Generation (迷惘的一代)25. The Beat Generation (垮掉的一代) 27. Surrealism (超现实主义)28. Metaphysical poets (玄学派诗人）29. New Criticism (新批评主义)31. Hemingway Code Hero (海明威式英雄32. Impressionism (印象主义)33. Post modernity (后现代主义) 38. Realism (现实主义)39. Meditative Poetry (冥想派诗歌)01. Allegory (寓言) 2. Alliteration (头韵)03. Ballad (民谣) 04. epic (史诗)06. Romance (传奇) 05. Lay (短叙事诗)07. Alexandrine (亚历山大诗行) 08. Blank Verse (无韵诗或素体广义地说09. Comedy (喜剧) 10. Essay (随笔)12. History Plays (历史剧) 13. Masquesc or Masks (假面剧)14. Morality plays (道德剧) 15.Sonnet (十四行诗)16. Spenserian Stanza (斯宾塞诗节) 17. Stanza (诗节)18. Three Unities (三一原则) 19. Tragedy (悲剧)21.Metar (格律24. Soliloquy (独白)25.Narrative Poem (叙述诗) 27. Beowulf (贝奥武甫)29. Cavalier poets (骑士派诗人) 30. Elegy (挽歌)31. Restoration Comedy (复辟时期喜剧) 32. Action (情节33. Adventure novel (探险小说) 34. Archaism (古语)35. Atmosphere (基调)37. Epigram (警句)39. The Heroic Couplet (英雄对偶句) 40. Satire (讽刺)41. Sentimentalism (感伤主义文学) 43.Denouement (戏剧结局)42. Aside (旁白) 44. parable (寓言)45. Genre (流派) 46. Irony (反讽)47. Lyric (抒情诗) 48. Mock Epic (诙谐史诗)49. Ode (颂歌) 51. Pastoral (田园诗)52.Terza Rima (三行诗) 53. Ottava Rima (八行诗)54. Canto (诗章) ke Poets (湖畔诗人)57. Imagery (比喻) 58. Dramatic monologue （戏剧独白）59. Pre-Raphaelites (先拉菲尔派) 60. Psychological novel (心理小说)61.Point of View (叙述角度) 62. plot (情节)63. Allusion (典故)64. Protagonist and Antagonist (正面人物与反面人物)65. Flashback (倒叙) P133 66. Narration67. Ambiguity 69. Symbolism (象征主义)72. Existentialism (存在主义) 73. Anti-hero (反面人物)74 . Round Character (丰满的人物) 75. Flat character (平淡的人物)76. Oedipus complex (俄狄浦斯情结/ 蛮母厌父情结)77.omniscience (无所不知的)78. Poetry (诗歌) 79. Rhyme (押韵)80. Iambic pentameter (五音步诗) 81. Rhyme royal82. Shakespearean sonnet (莎士比亚十四行诗) 83. Italian or petranrchan sonnet(意大利十四行诗)85. Poetic license (诗的破格) 86. Epiphany (主显节)87. Psychological penetration (心理透视) 88. Legend (传说)89. Myth (神话) 90. Pessimism (悲观主义)91. Jacobean age (英王詹姆斯一世时期) 92. Tragicomedy (悲喜剧)93. Comedy of manners (风俗喜剧) 94. Gothic novel (哥特式小说)95. Historical novel (历史小说) 96.Unitarianism (上帝一位论)99. Consonance (和音) 100. Free Verse (自由体诗歌)02. Theme (主题) 06. Theatre of the Absurd (荒谬剧)13. Magic realism (魔幻现实主义)14. Analogy (类比)15. Anapest (抑抑扬格) 16. Antagonist (次要人物)17. Antithesis (对立) 18. Aphorism (格言) 20. Argument (论据) 21. Autobiography (自传) 23. Biography (传记) 26. Character (人物)27. Characterization (性格描绘) 28. Climax (高潮)29. Conflict (冲突) 30. Connotation (隐含意义)31. Couplet (对偶) 32. Dactyl (扬抑抑格)33. Denotation (意义) T 34. Denouement (结局)35. Description (叙述) 36. Diction (措词)37. Dissonance (不协和音) 38. Emblematic image (象征比喻)A verbal picture or figure with a long tradition of moral or religious meaning attached to it.44. Exposition (解释说明) 45. Fable (寓言)46. Figurative language (比喻语言) 47. Figure of speech (修辞特征)48. Foil (衬托) 49. Foot (脚注) 50. Hyperbole (夸张). 51. Iamb (抑扬格) 59. Metaphor (暗喻) 63. Motivation (动机)64. Multiple Point of View (多视角) 65. Narrator (叙述者)67. Nonfiction (写实文学) 68. Novel (小说)69. Octave (八行体诗) 70. Onomatopoeia (拟声法构词)71. Oxymoron (矛盾修辞法) 72. Paradox (自相矛盾)73. Parallelism (平行) 74. Pathos (哀婉) 75. Persuasion (说服) 76. Pictorialism (图像) 77. Pre-Romanticism (先浪漫主义)78. Protagonist (正面人物)79. Psalm (圣歌) 80. Psychological Realism (心理现实主义) 81. Pun (双关语) 82. Quatrain (四行诗)83.Quintain (五行诗) the five-line stanza. 84. Refrain (叠句)85. Rhythm (韵律) 86. Scansion (诗的韵律分析)87. Septet (七重唱)88. Sestet (六重唱) 89. Setting (背景)90. Short Story (短篇小说) 91. Simile (明喻)he Waste Land (荒原)Lord Jim (杰姆老爷)To the Lighthouse (到灯塔去) The Mark on the Wall (墙上瑕疵) Lady Chatterley‘s Lover (查泰来夫人的情人)Sons and Lovers (儿子与情人) The Rainbow (虹)Women in Love (恋爱中的女人) The Lost Girl (迷途的女孩)Dubliners (都柏林人) Ulysses (尤里西斯)Finnegans Wake (非尼金人的觉醒)西方的红楼梦 In a Station of the Metro (地铁站)The Sound and The Fury (喧嚣与愤怒)As I Lay Dying (在我弥留之际)The Quiet Don (静静的顿河)Special Theory of Relativity (专业相对论)General Principles of Relativity (普通相对论)The Interpretation of Dreams (梦的解析)Pentateuch.摩西五经。
中国诗歌含混的例子
中国诗歌含混的例子【篇一：中国诗歌含混的例子】“新批评”核心术语之含混（ambiguity）含混综述中国与含混说威廉威廉布莱克布莱克《《老虎老虎》》中的含混中的含混卞之琳卞之琳《《断章断章》》中的含混中的含混 11、燕卜逊之前的含混、燕卜逊之前的含混含混在英语中的表达是含混在英语中的表达是ambiguity, ambiguity,因为它最早来自于拉丁语因为它最早来自于拉丁语““ambiguitas”,“ ambiguitas”,“含混”一词本来的意思为“ 含混”一词本来的意思为“acting actingboth oth ways ways””或或““shifting” shifting”。
在日常生活中通常具有贬义的含义。
在日常生活中通常具有贬义的含义,,它主要是指模糊、它主要是指模糊、不明确、含糊不清、“偏重的是阐释上的‘一’生‘多’”。
不明确、含糊不清、“偏重的是阐释上的‘一’生‘多’”。
在新批评出现以前在新批评出现以前,,含混一般被视为先天的缺陷、后天的缺点。
含混一般被视为先天的缺陷、后天的缺点。
读者和文艺批评家都习惯于诗意的纯粹单一性读者和文艺批评家都习惯于诗意的纯粹单一性,,认为每首诗应该认为每首诗应该只有一种正确的读解的意义。
只有一种正确的读解的意义。
思考：中国古代文论中也是这样的吗？思考：中国古代文论中也是这样的吗？ 22、燕卜逊对含混的发展、燕卜逊对含混的发展ambiguityambiguity，在我国一般译作“含混” ，在我国一般译作“含混” 又译成“朦胧”、“歧义”、“晦涩”、又译成“朦胧”、“歧义”、“晦涩”、“复义”等。
但是作为一般的文学评语“复义”等。
但是作为一般的文学评语,, 经过英国文艺批评家威廉经过英国文艺批评家威廉燕卜逊的建构和正名构和正名,“ ,“含混”从此富有了褒义色彩。
含混”从此富有了褒义色彩。
燕卜逊继承并发扬了他的老师瑞恰兹的燕卜逊继承并发扬了他的老师瑞恰兹的学术观点：诗中大部分词是含混的，要学术观点：诗中大部分词是含混的，要靠读者自己选择一个最能满足被诗歌形靠读者自己选择一个最能满足被诗歌形式所激起的冲动的意义。
文学术语汇编
文学术语汇编(考研用)1Literature of the absurd: (荒诞派文学) The term is applied to a number of works in drama and prose fiction which have in common the sense that the human condition is essentially absurd, and that this condition can be adequately represented only in works of literature that are themselves absurd. The current movement emerged in France after the Second World War, as a rebellion against essential beliefs and values of traditional culture and traditional literature. They hold the belief that a human being is an isolated existent who is cast into an alien universe and the human life in its fruitless search for purpose and meaning is both anguish and absurd.Theater of the absurd: (荒诞派戏剧) belongs to literature of the absurd. Two representatives of this school are Eugene Ionesco, French author of The Bald Soprano (1949) (此作品中文译名<秃头歌女>), and Samuel Beckett, Irish author of Waiting for Godot (1954) (此作品是荒诞派戏剧代表作<等待戈多>). They project the irrationalism, helplessness and absurdity of life in dramatic forms that reject realistic settings, logical reasoning, or a coherently evolving plot.Black comedy or black humor: (黑色幽默) it mostly employed to describe baleful, naïve, or inept characters in a fantastic or nightmarish modern world playing out their roles in what Ionesco called a “tragic farce”, in which the events are often simultaneously comic, horrifying,and absurd. Joseph Heller’s Catch-22 (美国著名作家约瑟夫海勒<二十二条军规>) can be taken as an example of the employment of this technique.文学术语汇编24. Aestheticism or the Aesthetic Movement（唯美主义）: it began to prevail in Europe at the middle of the 19th century. The theory of “art for art’s sake”was first put forward by some French artists. They declared that art should serve no religious, moral or social purpose. The two most important representatives of aestheticists in English literature are Walt Pater and Oscar Wilde.5. Allegory（寓言）: a tale in verse or prose in which characters, actions, or settings represent abstract ideas or moral qualities, such as John Bunyan’s The Pilgrim’s Progress. An allegory is a story with two meanings, a literal meaning and a symbolic meaning.6. Fable（寓言）: is a short narrative, in prose or verse, that exemplifies an abstract moral thesis or principle of human behavior. Most common is the beast fable, in which animals talk and act like the human types they represent. The fables in Western cultures derive mainly from the stories attributed to Aesop, a Greek slave of the sixth century B. C.7. Parable（寓言）: is a very short narrative about human beings presented so as to stress analogy with a general lesson that the narrator is trying tobring home to his audience. For example, the Bible contains lots of parables employed by Jesus Christ to make his flock understand his preach.(注意以上三个词在汉语中都翻译成语言，但是内涵并不相同，不要搞混)8. Alliteration（头韵）: the repetition of the initial consonant sounds. In Old English alliterative meter, alliteration is the principal organizing device of the verse line, such as in Beowulf.9. Consonance is the repetition of a sequence of two or more consonants but with a change in the intervening vowel, such as “live and love”.10. Assonance is the repetition of identical or similar vowel, especially in stressed syllables, in a sequence of nea rby words, such as “child of silence”.11. Allusion （典故）is a reference without explicit identification, to a literary or historical person, place, or event, or to another literary work or passage. Most literary allusions are intended to be recognized by the generally educated readers of the aut hor’s time, b ut some are aimed at a special group.12. Ambiguity（复义性）: Since William Empson（燕卜荪）published Seven Types of Ambiguity（《复义七型》）, the term has been widely used in criticism to identify a deliberate poetic device: the use of a single word or expression to signify two or more distinct references, or to express twoor more diverse attitudes or feeling.文学术语汇编313. Antihero（反英雄）：the chief character in a modern novel or play whose character is totally different from the traditional heroes. Instead of manifesting largeness, dignity, power, or heroism, the antihero is petty, passive, ineffectual or dishonest. For ex ample, the heroine of Defoe’s Moll Flanders is a thief and a prostitute.14. Antithesis（对照）：(a figure of speech) An antithesis is often expressed in a balanced sentence, that is, a sentence in which identical or similar syntactic structure is used to express contrasting ideas. For example, “Marriage has many pains, but celibacy（独身生活）has no pleasures.”by Samuel Johnson obviously employs antithesis.15. Archaism（拟古）：the literary use of words and expressions that have become obsolete in the common speech of an era. For example, the translators of the King James V ersion of Bible gave weight and dignity to their prose by employing archaism.16. Atmosphere（氛围）: the prevailing mood or feeling of a literary work. Atmosphere is often developed, at least in part, through descriptions of setting. Such descriptions help to create an emotional climate to establish the reader’s expectations and attitudes.文学术语汇编417. Ballad（民谣）：it is a song, transmitted orally, which tells a story. It originated and was communicated orally among illiterate or only partly literate people. It exists in many variant forms. The most common stanza form, called ballad stanza is a quatrain in alternate four- and three-stress lines; usually only the second and fourth lines rhyme. Although many traditional ballads probably originated in the late Middle Age, they were not collected and printed until the eighteenth century.18. Climax：as a rhetorical device it means an ascending sequence of importance. As a literary term, it can also refer to the point of greatest intensity, interest, or suspense in a story’s turning point. The action leading to the climax and the simultaneous increase of tension in the plot are known as the rising action. All action after the climax is referred to as the falling action, or resolution. The term crisis is sometimes used interchangeably with climax.19. Anticlimax（突降）：it denotes a writer’s deliberate drop from the serious and elevated to the trivial and lowly, in order to achieve a comic or satiric effect. It is a rhetorical device in English.20. Beat Generation（垮掉一代）：it refers to a loose-knit group of poets and novelists, writing in the second half of the 1950s and early 1960s, who shared a set of social attitudes –antiestablishment, antipolitical, anti-intellectual, opposed to the prevailing cultural, literary, and moral values, and in favor of unfettered self-realization and self-expression.Representatives of the group include Allen Ginsberg, Jack Kerouac and William Burroughs. And most famous literary creations produced by this group should be Allen Ginsberg’s long poem Howl and Jack Kerouac’s On the Road.文学术语汇编521. Biography（传记）：a detailed account of a person’s life written by another person, such as Samuel Johnson’s Lives of the English Poets and James Boswell’s Life of Samuel Johnson.22. Autobiography（自传）：a person’s account of his or her own life, such as Benjamin Franklin’s autobiography.24. A parody（模仿）imitates the serious manner and characteristic features of a particular literary work, or the distinctive style of a particular author, or the typical stylistic and other features of a serious literary genre, and deflates the original by applying the imitation to a lowly or comically inappropriate subject.第23个应该是blank verse但系统总说含有不允许的关键字，所以一直发不上来，很郁闷，我把目前编好的一起发到公开邮箱去，大家到那里下载。
文学重要术语
文学重要术语actant 行为体allegory 寓言allusion 典故，引语ambiguity 歧义，多义，暧昧，含混analogy 类推片断anima 女性潜倾animus 男性潜倾archetypal image 原型意象archetypal mode 原型模式archetypal motif 原型母题archetypal nouns 原型名词archetype 原型baroque 巴罗克catharsis 净化chinoiserie 中华风（一译中国风）close reading 细读法clusters of formulas 套语团commenia dell'arte 艺术喜剧common poetics 共同诗学comparative thematics 比较主题学comparatum 比较体complementary bipolarity 二元补衬（此语系浦安迪所创）composite images 并合意象compound image 复合意象conceit 奇喻corpus thematics 文萃主题学creation myth 开创神话cultural thematics 文化主题学deconstruction 解构defamiliarization 陌生化a derivational poetics 衍生诗学diachronic studies 历时研究dichotomy 二歧式discourse 话语discourse analysis theory 话语分析理论discursive articulation 议论式联结ecriture 写作Ego 自我episodic plot 插曲式情节，缀段式情节explicative thematics 阐释主题学extrinsic studies 外部研究fable （有关动物的）寓言fiction 虚构，小说formal realism 形式写实主义formula 套语formulaic expression 套语语句Formulaic Theory 套语理论function 功能genology 文类学genre, or literary genre 文类（即文学类型），体裁heterogeneity 非均一性the High Baroque 鼎盛巴罗克high mimetic 高模仿型Id 本我an illusion of reality 现实的幻象image 意象imagism 意象主义impersonal personality 无个性的个性interdisciplinary study 跨学科研究intersubjectivity 主体间性intertexts 交互文本intertextuality 文本间性irony 反讽itineraria 巡游juxtaposition of imagery 意象并置langue 语言larger-than-life 大于生活lexie 语汇单位leitmotif 主导母题linguistics 语言学linked plot 缀合情节literariness 文学性local texture 局部肌质locus amoenus 安乐之所logical structure 逻辑结构low mimetic 低模仿型the Mannerist style 矫饰主义风格meaning 意旨melodrama 情节剧metacriticism 元批评metafiction 元小说metalanguage 元语言metaphor 暗喻，比喻the Metaphysical style 玄学派风格metonymy 换喻，转喻mirage 幻象model 范型monomyth 单一神话motivation 动因化multiple periodicity 多项周旋（此语系浦安迪所创）mythemes 神话素Mythology 神话体系narrative code 叙事语码narrative syntagms 叙事性横组合段narratology 叙事学objective correlative 客观对应物Oedipus complex 俄狄浦斯情结oral inconsistency 口述出岔overtone 弦外之音（本意为陪音、泛音）oxymoron 矛盾修辞parable 说教寓言paradigmatic 纵聚合的paradox 悖论parody 谐摹parole 言语paronomasia 双关personality 个性，个人性philology 语文学the poetics of discontinuity 非连续诗学point of view 视点pragmatics 语用学the primordial image 原始意象the principle of equivalence 对等原则problematic individuals 疑难人物proseroman 散文传奇pseudo-statement 伪陈述Psychoanalysis 精神分析学raports de fait 实际联系retroactive reading 回味阅读rhapsody 赋saga 英雄传奇semantic formulas 语义套语semantics 语义学semiotics, semiology 符号学shadow 阴影（心理学术语）showing 显示signified 所指signifier 能指simile 明喻Stoffgeschichte 题材史stylistics 风格学Superego 超我symbol 象征symple image 单纯意象synaesthesia 联觉，通感synchronic studies 共时研究syntactic formulas 句法套语syntactics 句法学syntagmatic 横组合的syntax 句法telling 讲述tenor 喻旨tension 张力textuality 本文性thematics, thematology 主题学theme 套式（套语理论所用；暂译名）topoi 惯用话题，老套话tristia 忧郁type scenes 典型场景unitary plot 单一情节vehicle 喻体a vision of reality 现实幻象vorticism 旋涡主义Weniad 文王史诗（此词系王靖献所创）。
汉英翻译文本中的歧义和语境解歧———以《私人生活》英译本为例
英美文学之文学术语
英美文学之文学术语文学术语汇编11.Literature of the absurd: (荒诞派文学) The term is applied to a number of works in drama and prose fiction which have in common the sense that the human condition is essentially absurd, and that this condition can be adequately represented only in works of literature that are themselves absurd. The current movement emerged in France after the Second World War, as a rebellion against essential beliefs and values of traditional culture and traditional literature. They hold the belief that a human being is an isolated existent who is cast into an alien universe and the human life in its fruitless search for purpose and meaning is both anguish and absurd.2.Theater of the absurd: (荒诞派戏剧) belongs to literature of the absurd. Two representatives of this school are Eugene Ionesco, French author of The Bald Soprano (1949) (此作品中文译名<秃头歌女>), and Samuel Beckett, Irish author of Waiting for Godot (1954) (此作品是荒诞派戏剧代表作<等待戈多>). They project the irrationalism, helplessness and absurdity of life in dramatic forms that reject realistic settings, logical reasoning, or a coherently evolving plot.3.Black comedy or black humor: (黑色幽默) it mostly employed to describe baleful, naïve, or inept characters in a fantastic or nightmarish modern world playing out their roles in what Ionesco called a “tragic farce”, in which the events are often simultaneously comic, horrifying, and absurd. Joseph Heller’s Catch-22 (美国著名作家约瑟夫海勒<二十二条军规>) can be taken as an example of the employment of this technique.文学术语汇编24. Aestheticism or the Aesthetic Movement（唯美主义）: it began to prevail in Europe at the middle of the 19th century. The theory of “art for art’s sake” was first put forward by some French artists. They declared that art should serve no religious, moral or social purpose. The two most important representatives of aestheticists in English literature are Walt Pater and Oscar Wilde.5. Allegory（寓言）: a tale in verse or prose in which characters, actions, or settings represent abstract ideas or moral qualities, such as John Bunyan’s The Pilgrim’s Progress. An allegory is a story with two meanings, a literal meaning and a symbolic meaning.6. Fable（寓言）: is a short narrative, in prose or verse, that exemplifies an abstract moral thesis or principle of human behavior. Most common is the beast fable, in which animals talk and act like the human types they represent. The fables in Western cultures derive mainly from the stories attributed to Aesop, a Greek slave of the sixth century B. C.7. Parable（寓言）: is a very short narrative about human beings presented so as to stress analogy with a general lesson that the narrator is trying to bring home to his audience. For example, the Bible contains lots of parables employed by Jesus Christ to make his flock understand his preach.(注意以上三个词在汉语中都翻译成语言，但是内涵并不相同，不要搞混)8. Alliteration（头韵）: the repetition of the initial consonant sounds. In Old English alliterative meter, alliteration is the principal organizing device of the verse line, such as in Beowulf.9. Consonance is the repetition of a sequence of two or more consonants but with a change in the intervening vowel, such as “live and love”.10. Assonance is the repetition of identical or similar vowel, especially in stressed syllables, in a sequence of nearby words, such as “child of silence”.11. Allusion （典故）is a reference without explicit identification, to a literary or historical person, place, or event, or to another literary work or passage. Most literary allusions are intended to be recognized by the generally educated readers of the author’s time, but some are aimed at a special group.12. Ambiguity（复义性）: Since William Empson（燕卜荪）published Seven Types of Ambiguity（《复义七型》）, the term has been widely used in criticism to identify a deliberate poetic device: the use of a single word or expression to signify two or more distinct references, or to express two or more diverse attitudes or feeling.文学术语汇编313. Antihero（反英雄）：the chief character in a modern novel or play whose character is totally different from the traditional heroes. Instead of manifesting largeness, dignity, power, or heroism, the antihero is petty, passive, ineffectual or dishonest. For example, the heroine of Defoe’s Moll Flanders is a thief and a prostitute.14. Antithesis（对照）：(a figure of speech)An antithesis is often expressed in a balanced sentence, that is, a sentence in which identical or similar syntactic structure is used to express contrasting ideas. For example, “Marriage has many pains, but celibacy（独身生活）has no pleasures.” by Samuel Johnson obviously employs antithesis.15. Archaism（拟古）：the literary use of words and expressions that have become obsolete in the common speech of an era. For example, the translators of the King James Version of Bible gave weight and dignity to their prose by employing archaism.16. Atmosphere（氛围）: the prevailing mood or feeling of a literary work. Atmosphere is often developed, at least in part, through descriptions of setting. Such descriptions help to create an emotional climate to establish the reader’s expectations and attitudes.文学术语汇编417. Ballad（民谣）：it is a song, transmitted orally, which tells a story. It originated and was communicated orally among illiterate or only partly literate people. It exists in many variant forms. The most common stanza form, called ballad stanza is a quatrain in alternate four- and three-stress lines; usually only the second and fourth lines rhyme. Although many traditional ballads probably originated in the late Middle Age, they were not collected and printed until the eighteenth century.18. Climax：as a rhetorical device it means an ascending sequence of importance. As a literary term, it can also refer to the point of greatest intensity, interest, or suspense in a story’s turning point. The action leading to the climax and the simultaneous increaseof tension in the plot are known as the rising action. All action after the climax is referred to as the falling action, or resolution. The term crisis is sometimes used interchangeably with climax.19. Anticlimax（突降）：it denotes a writer’s deliberate drop from the serious and elevated to the trivial and lowly, in order to achieve a comic or satiric effect. It is a rhetorical device in English.20. Beat Generation（垮掉一代）：it refers to a loose-knit group of poets and novelists, writing in the second half of the 1950s and early 1960s, who shared a set of social attitudes – antiestablishment, antipolitical, anti-intellectual, opposed to the prevailing cultural, literary, and moral values, and in favor of unfettered self-realization andself-expression. Representatives of the group include Allen Ginsberg, Jack Kerouac and William Burroughs. And most famous literary creations produced by this group should be Allen Ginsberg’s long poem Howl and Jack Kerouac’s On the Road.文学术语汇编521. Biography（传记）：a detailed account of a person’s life written by another person, such as Samuel Johnson’s Lives of the English Poets and James Boswell’s Life of Samuel Johnson.22. Autobiography（自传）：a person’s account of his or her own life, such as Benjamin Franklin’s autobiography.23. Blank verse（无韵体）: Verse written in unrhymed iambic pentameter. It is the verse form used in some of the greatest English poetry, including that of William Shakespeare and John Milton.24. A parody（模仿）imitates the serious manner and characteristic features of a particular literary work, or the distinctive style of a particular author, or the typical stylistic and other features of a serious literary genre, and deflates the original by applying the imitation to a lowly or comically inappropriate subject.文学术语汇编625. Celtic Revival also known as the Irish Literary Renaissance （爱尔兰文艺复兴）identifies the remarkably creative period in Irish literature from about 1880 to the death of William Butler Yeats in 1939. The aim of Yeats and other early leaders of the movement was to create a distinctively national literature by going back to Irish history, legend, and folklore, as well as to native literary models. The major writers of this movement include William Butler Yeats, Lady Gregory, John Millington Synge and Sean O’Casey and so on.26. Characters（人物）are the persons represented in a dramatic or narrative work, who are interpreted by the reader as being endowed with particular moral, intellectual, and emotional qualities by inferences from the dialogues, actions and motivations. E. M. Forster divides characters into two types: flat character, which is presented without much individualizing detail; and round character, which is complex in temperament and motivation and is represented with subtle particularity.27. Chivalric Romance (or medieval romance) （骑士传奇或中世纪传奇）is a type of narrative that developed in twelfth-century France, spread to the literatures of other countries. Its standard plot is that of a quest undertaken by a single knight in order to gain a lady’s favor; frequently its central interest is courtly love, together with tournaments fought and dragons and monsters slain. It stresses the chivalric ideals of courage, loyalty, honor, mercifulness to an opponent, and elaborate manners.28. Comedy:（喜剧）in general, a literary work that ends happily with a healthy, amicable armistice between the protagonist and society.29. Farce （闹剧）is a type of comedy designed to provoke the audience to simple and hearty laughter. To do so it commonly employs highly exaggerated types of characters and puts them into improbable and ludicrous situations.30. Confessional poetry（自白派诗歌）designates a type of narrative and lyric verse, given impetus by Robert Lowell’s Life Studies, which deals with the facts and intimate mental and physical experiences of the poet’s own life. Confessional poetry was written in rebellion against the demand for impersonality by T. S. Elliot and the New Criticism. The representative writers of confessional school include Robert Lowell, Anne Sexton and Sylvia Plath and so on.31. Critical Realism:（批判现实主义）The critical realism of the 19th century flourished in the fouties and in the beginning of fifties. The realists first and foremost set themselves the task of criticizing capitalist society from a democratic viewpoint and delineated the crying contradictions of bourgeois reality. But they did not find a way to eradicate social evils. Representative writers of this trend include Charles Dickens and William Makepeace Thackeray and so on.32. Drama:（戏剧）The form of composition designed for performance in the theater, in which actors take the roles of the characters, perform the indicated action, and utter the written dialogue. (The common alternative name for a dramatic composition is a play.)文学术语汇编733. Dramatic Monologue:（戏剧独白）a monologue is a lengthy speech by a single person. Dramatic monologue does not designate a component in a play, but a type of lyric poem that was perfected by Robert Browning. By using dramatic monologue, a single person, who is patently not the poet, utters the speech that makes up the whole of the poem, in a specific situation at a critical moment. For example, Robert Browning’s famous poem “My Last Duchess” was written in dramatic monologue. 34. Elegy（哀歌或挽歌）：a poem of mourning, usually over the death of an individual. An elegy is a type of lyric poem, usually formal in language and structure, and solemn or even melancholy in tone.35. Enlightenment（启蒙运动）：The name applied to an intellectual movement which developed in Western Europe during the seventeenth century and reached its height in the eighteenth. The common element was a trust in human reason as adequate to solve the crucial problems and to establish the essential norms in life, together with the belief that the application of reason was rapidly dissipating the remaining feudal traditions. It influenced lots of famous English writers especially those neoclassic writers, such as Alexander Pope.36. Epic（史诗）：it is a long verse narrative on a serious subject, told in a formal and elevated style, and centered on a heroic or quasi-divine figure on whose actions depends the fate of a tribe, a nation, or the human race.37. Epiphany:（顿悟）In the early draft of A Portrait of the Artist as a Young Man, James Joyce employed this term to signify a sudden sense of radiance and revelation that one may feel while perceiving a commonplace object. “Epiphany” now has become the standard term for the description, frequent in modern poetry and prose fiction, of the sudden flare into revelation of an ordinary object or scene.38. Epithet（移就）: as a term in criticism, epithet denotes an adjective or adjectival phrase used to define a distinctive quality of a person or thing. This method was widely employed in ancient epics. For example, in Homer’s epic, the epithet like “the wine-dark sea” can be found everywhere.39. Essay:（散文）any short composition in prose that undertakes to discuss a matter, express a point of view, persuade us to accept a thesis on any subject, or simply entertain. The essay can be divided as the formal essay and the informal essay (familiar essay).40. Euphemism（委婉语）: An inoffensive expression used in place of a blunt one that is felt to be disagreeable or embarrassing, such as “pass away” instead of “die”41. Expressionism（表现主义）：a German movement in literature and the other arts which was at its height between 1910 and 1925 – that is, in the period just before, during, and after WWⅠ. The expressionist artist or writer undertakes to express a personal vision – usually a troubled or tensely emotional vision – of human life and human society. This is done by exaggerating and distorting. We recognize its effects, direct or indirect, on the writing and staging of such plays as Arthur Miller’s Death ofa Salesman as well as on the theater of the absurd.42. Free verse（自由体诗）：Like traditional verse, it is printed in short lines instead of with the continuity of prose, but it differs from such verse by the fact that its rhythmic pattern is not organized into a regular metrical form – that is, into feet, or recurrent units of weak and strong stressed syllables. Most free verse also hasirregular line lengths, and either lacks rhyme or else uses it only occasionally. Walt Whitman is a representative who employed this poem form successfully.文学术语汇编843. Gothic novel:（哥特式小说）It is a type of prose fiction. The writers of this type of fictions mostly set their stories in the medieval period and in a Catholic country, especially Italy or Spain. The locale was often a gloomy castle. The typical story focused on the sufferings imposed on an innocent heroine by a cruel villain. This type of fictions made bountiful use of ghosts, mysterious disappearances, and other supernatural occurrences. The principle aim of such novels was to evoke chilling terror and the best of this type opened up to the fiction the realm of the irrational and of the perverse impulses and nightmarish terrors that lie beneath the orderly surface of the civilized mind. Some famous novelists liked to employ some Gothic elements in their novels, such as Emily Bronte’s Wuthering Heights.44. Graveyard poets（墓园派诗歌）: A term applied to eighteenth-century poets who wrote meditative poems, usually set in a graveyard, on the theme of human mortality, in moods which range from pensiveness to profound gloom. The vogue resulted in one of the most widely known English poems, Thomas Gray’s“Elegy Written in a Country Churchyard”.45. Harlem Renaissance（哈莱姆文艺复兴）：a period of remarkable creativity in literature, music, dance, painting, and sculpture by African-Americans, from the end of the First World War in 1917 through the 1920s. As a result of the mass migrations to the urban North in order to escape the legal segregation of the American South, and also in order to take advantage of the jobs opened to African Americans at the beginning of the War, the population of the region of Manhattan known as Harlem became almost exclusively Black, and the vital center of African American culture in America. Distinguished writers who were part of the movement included Langston Hughes and Jean Toomer. The Great Depression of 1929 and the early 1930s broughtthe period of buoyant Harlem culture – which had been fostered by prosperity in the publishing industry and the art world – effectively to an end.46. Heroic Couplet（英雄双韵体）refers to lines of iambic pentameter which rhyme in pairs: aa, bb, cc, and so on. The adjective “heroic” was applied in the later seventeenth century because of the frequent use of such couplets in heroic poems and dramas. This verse form was introduced into English poetry by Geoffrey Chaucer. From the age of John Dryden through that of Samuel Johnson, the heroic couplet was the predominant English measure for all the poetic kinds; some poets, including Alexander Pope, used it almost to the exclusion of other meters.47. Hyperbole（夸张）:this figure of speech called hyperbole is bold overstatement, or the extravagant exaggeration of fact or of possibility. It may be used either for serious or ironic or comic effect.48. Understatement（轻描淡写）：this figure of speech deliberately represents something as very much less in magnitude or importance than it really is, or is ordinarily considered to be. The effect is usually ironic.49. Imagism（意象派）：it was a poetic vogue that flourished in England, and even more vigorously in America, between the years 1912 and 1917. It was planned and exemplified by a group of English and American writers in London, partly under the influence of the poetic theory of T. E. Hulme, as a revolt against the sentimental and mannerish poetry at the turn of the century. The typical Imagist poetry is written in free verse and undertakes to be as precisely and tersely as possible. Meanwhile, the Imagist poetry likes to express the writers’ momentary impression of a visual object or scene and often the impression is rendered by means of metaphor without indicating a relation. Most famous Imagist poem, “In a Station of the Metro”, was written by Ezra Pound. Imagism was too restrictive to endure long as a concerted movement, but it influenced almost all modern poets of Britain and America.50. Irony（反讽）：This term derives from a character in a Greek comedy. In most of the modern critical uses of the term “irony”, there remains the root sense of dissembling or hiding what is actually the case; not, however, in order to deceive, but to achieve rhetorical or artistic effects.51. Local Colorism（地方色彩）was a literary trend belonging to Realism. It refers to the detailed representation in prose fiction of the setting, dialect, customs, dress and ways of thinking and feeling which are distinctive of a particular region. After the Civil War a number of American writers exploited the literary possibilities of local color in various parts of America. The most famous representative of local colorism should be Mark Twain who took his hometown near the Mississippi as the typical setting of nearly all his novels.52. Lyric（抒情诗）：in the most common use of the term, a lyric is any fairly short poems consisting of the utterance by a single speaker, who expresses a state of mind or a process of perception, thought and feeling.。
燕卜逊的_ambiguity_与德里达的不确定性概念比较辨析_杨美林
燕卜逊的/a mb i gu ity0与德里达的不确定性概念比较辨析杨美林*(重庆师范大学文学与新闻学院,重庆400047)摘要:新批评学者燕卜逊提出/a m bi gu ity0概念以解释文本语言具有多重性,不确定性,模糊性,解构主义大师德里达接受了这种观点,但前者着眼于文本语言自身,而后者借文本论以表现其哲学理念拆解逻格斯中心主义,两者有很大的区别。
本文以比较对照的方法从理论基点、适用范围、最终目的对两者进行辨析。
关键词:含混;不确定性;语言学;修辞学;解构中图分类号:I0文献标识码:A文章编号:1672-0768(2007)06-0047-0320世纪以来,西方文学理论的发展异常活跃繁荣,流派林立,异彩纷呈,出现了许多富有生命力的科学主义和人文主义文论。
各个流派,总的理论体系各有特色,迥异他者,但处在相同的时代背景中,承续着共同的文化传统,不可避免的,会出现许多交叉类同的理解或范畴。
例如:文学是语言艺术,言与意的关系是中西学者探讨不尽的话题。
在当代,许多文论家或哲学家都推翻了传统一词对应一义的观点,发现了语言符号意义的多重性,如克尔凯郭尔、海德格尔、哈桑、伊瑟尔、费希、德曼等,其中,新批评者燕卜逊的"含混"概念和解构主义大师德里达关于意义的不确定性的判断最具代表性。
燕卜逊作为新批评的大将,他的重要贡献体现在1930年出版的名著5含混七型6(Seven Types ofAm bigu ity)中。
书中,他认为/含混0是优秀文本语言的重要特征,语言符号是多义的、模糊的,因此文本的理解是复杂的、丰富的。
德里达这位后现代主义大家则从他的"差异"理论出发,提出符号活动的领域/实际上是自由嬉戏的领域0的观点。
语言符号处于横向和纵向交叉作用的复杂网络中,造成了意义的多重性,不确定,流动不居。
意义是无法确知的,意义和中心永远流注于语言的/此在0之中,意义的实现是无数能指相互影响和相互渗透的永无止境的过程。
文学专业术语
文学专业术语Literary Terms1. Literature of the absurd: (荒诞派文学) The term is applied to a number of works in drama and prose fiction which have in common the sense that the human condition is essentially absurd, and that this condition can be adequately represented only in works of literature that are themselves absurd. The current movement emerged in France after the Second World War, as a rebellion against essential beliefs and values of traditional culture and traditional literature. They hold the belief that a human being is an isolated existent who is cast into an alien universe and the human life in its fruitless search for purpose and meaning is both anguish and absurd.2. Theater of the absurd: (荒诞派戏剧) belongs to literature of the absurd. Two representatives of this school are Eugene Ionesco, French author of The Bald Soprano (1949) (此作品中文译名<秃头歌女>), and Samuel Beckett, Irish author of Waiting for Godot (1954) (此作品是荒诞派戏剧代表作<等待戈多>). They project the irrationalism, helplessness and absurdity of life in dramatic forms that reject realistic settings, logical reasoning, or a coherently evolving plot.3. Black comedy or black humor: (黑色幽默) it mostly employed to describe baleful, naïve, or inept characters in a fantastic or nightmarish modern world playing out their roles in what Ionesco called a “tragic farce”, in which the events are often simultaneously comic, horrifying, and absurd. Joseph Heller’s Catch-22 (美国著名作家约瑟夫海勒<二十二条军规>) can be taken as an example of the employment of this technique.4. Aestheticism or the Aesthetic Movement（唯美主义）: it began to prevail in Europe at the middle of the 19th century. The theory of “art for art’s sake” was first put forward by some French artists. They declared that art should serve no religious, moral or social purpose. The two most important representatives of aestheticists in English literature are Walt Pater and Oscar Wilde.5. Allegory（寓言）: a tale in verse or prose in which characters, actions, or settings represent abstract ideas or moral qualities, such as John Buny an’s The Pilgrim’s Progress. An allegory is a story with two meanings, a literal meaning and a symbolic meaning.6. Fable（寓言）: is a short narrative, in prose or verse, that exemplifies an abstract moral thesis or principle of human behavior. Most common is the beast fable, in which animals talk and act like the human types they represent. The fables in Western cultures derive mainly from the stories attributed to Aesop, a Greek slave of the sixth century B. C.7. Parable（寓言）: is a very short narrative about human beings presented so as to stress analogy witha general lesson that the narrator is trying to bring home to his audience. For example, the Bible contains lots of parables employed by Jesus Christ to make his flock understand his preach.(注意以上三个词在汉语中都翻译成语言，但是内涵并不相同，不要搞混)8. Alliteration（头韵）: the repetition of the initial consonant sounds. In Old English alliterative meter, alliteration is the principal organizing device of the verse line, such as in Beowulf.9. Consonance is the repetition of a sequence of two or more consonants but with a change in the intervening vowel, such as “live and love”.10. Assonance is the repetition of identical or similar vowel, especially in stressed syllables, in a sequence of nearby words, such as “child of silence”.11. Allusion （典故）is a reference without explicit identification, to a literary or historical person, place, or event, or to another literary work or passage. Most literary allusions are intended to be recognized by the generally educated readers of the author’s time, but some are aimed at a special group.12. Ambiguity（复义性）: Since William Empson（燕卜荪）published Seven Types of Ambiguity （《复义七型》）, the term has been widely used in criticism to identify a deliberate poetic device: the use of a single word or expression to signify two or more distinct references, or to express two or more diverse attitudes or feeling.13. Antihero（反英雄）：the chief character in a modern novel or play whose character is totally different from the traditional heroes. Instead of manifesting largeness, dignity, power, or heroism, the antihero is petty, passive, ineffectual or dishonest. For example, the heroine of Defoe’s Moll Flanders is a thief and a prostitute.14. Antithesis（对照）：(a figure of speech) An antithesis is often expressed in a balanced sentence, that is, a sentence in which identical or similar syntactic structure is used to express contrasting ideas. For example, “Marriage has many pains, but celibacy（独身生活）has no pleasures.” by Samuel Johnson obviously employs antithesis.15. Archaism（拟古）：the literary use of words and expressions that have become obsolete in the common speech of an era. For example, the translators of the King James Version of Bible gave weight and dignity to their prose by employing archaism.16. Atmosphere（氛围）: the prevailing mood or feeling of a literary work. Atmosphere is often developed, at least in part, through descriptions of setting. Such descriptions help to create an emotional climate to establish the reader’s expectations and attitudes.17. Ballad（民谣）：it is a song, transmitted orally, which tells a story. It originated and was communicated orally among illiterate or only partly literate people. It exists in many variant forms. The most common stanza form, called ballad stanza is a quatrain in alternate four- and three-stress lines; usually only the second and fourth lines rhyme. Although many traditional ballads probably originated in the late Middle Age, they were not collected and printed until the eighteenth century. 18. Climax：as a rhetorical device it means an ascending sequence of importance. As a literary term, it can also refer to the point of greatest intensity, interest, or suspense in a story’s turning point. The action leading to the climax and the simultaneous increase of tension in the plot are known as the rising action. All action after the climax is referred to as the falling action, or resolution. The term crisis is sometimes used interchangeably with climax.19. Anticlimax（突降）：it denotes a writer’s deliberate drop from the ser ious and elevated to the trivial and lowly, in order to achieve a comic or satiric effect. It is a rhetorical device in English.20. Beat Generation（垮掉一代）：it refers to a loose-knit group of poets and novelists, writing in the second half of the 1950s and early 1960s, who shared a set of social attitudes –antiestablishment, antipolitical, anti-intellectual, opposed to the prevailing cultural, literary, and moral values, and in favor of unfettered self-realization and self-expression. Representatives of the group include Allen Ginsberg, Jack Kerouac and William Burroughs. And most famous literary creations produced by this group should be Allen Ginsberg’s long poem Howl and Jack Kerouac’s On the Road.21. Biography（传记）：a detailed account of a person’s life w ritten by another person, such as Samuel Johnson’s Lives of the English Poets and James Boswell’s Life of Samuel Johnson.22. Autobiography（自传）：a person’s account of his or her own life, such as Benjamin Franklin’s autobiography.23. Blank verse（无韵诗）：it consists of lines of iambic pentameter which are unrhymed. Of all English metrical forms it is closest to the natural rhythms of English speech, and at the same time flexible and adaptive to diverse levels of discourse; as a result it has been more frequently and variously used than any other type of versification. Soon after blank verse was introduced by the Earl of Surrey in his translation of Virgil’s works, it became the standard meter for Elizabethan and later poetic dramas and some poets also employed this form to write their long poems such as John Milton’s Paradise Lost.24. A parody（模仿）imitates the serious manner and characteristic features of a particular literary work, or the distinctive style of a particular author, or the typical stylistic and other features of aserious literary genre, and deflates the original by applying the imitation to a lowly or comically inappropriate subject.25. Celtic Revival also known as the Irish Literary Renaissance （爱尔兰文艺复兴）identifies the remarkably creative period in Irish literature from about 1880 to the death of William Butler Yeats in 1939. The aim of Yeats and other early leaders of the movement was to create a distinctively national literature by going back to Irish history, legend, and folklore, as well as to native literary models. The major writers of this movement include William Butler Yeats, Lady Gregory, John Millington Synge and Sean O’Casey and so on.26. Characters（人物）are the persons represented in a dramatic or narrative work, who are interpreted by the reader as being endowed with particular moral, intellectual, and emotional qualities by inferences from the dialogues, actions and motivations. E. M. Forster divides characters into two types: flat character, which is presented without much individualizing detail; and round character, which is complex in temperament and motivation and is represented with subtle particularity.27. Chivalric Romance (or medieval romance) （骑士传奇或中世纪传奇）is a type of narrative that developed in twelfth-century France, spread to the literatures of other countries. Its standard plot is that of a quest undertaken by a single knight in order to gain a lady’s favor; frequently its central interest is courtly love, together with tournaments fought and dragons and monsters slain. It stresses the chivalric ideals of courage, loyalty, honor, mercifulness to an opponent, and elaborate manners. 28. Comedy:（喜剧）in general, a literary work that ends happily with a healthy, amicable armistice between the protagonist and society.29. Farce （闹剧）is a type of comedy designed to provoke the audience to simple and hearty laughter. To do so it commonly employs highly exaggerated types of characters and puts them into improbable and ludicrous situations.30. Confessional poetry（自白派诗歌）designates a type of narrative and lyric verse, given impetus by Robert Lowell’s Life Studies, which deals with the facts and intimate mental and physical experiences of the poet’s own life. Confessional poetry was written in rebellion against the demand for impersonality by T. S. Elliot and the New Criticism. The representative writers of confessional school include Robert Lowell, Anne Sexton and Sylvia Plath and so on.31. Critical Realism:（批判现实主义）The critical realism of the 19th century flourished in the fouties and in the beginning of fifties. The realists first and foremost set themselves the task of criticizing capitalist society from a democratic viewpoint and delineated the crying contradictions of bourgeoisreality. But they did not find a way to eradicate social evils. Representative writers of this trend include Charles Dickens and William Makepeace Thackeray and so on.32. Drama: （戏剧）The form of composition designed for performance in the theater, in which actors take the roles of the characters, perform the indicated action, and utter the written dialogue. (The common alternative name for a dramatic composition is a play.)33. Dramatic Monologue:（戏剧独白）a monologue is a lengthy speech by a single person. Dramatic monologue does not designate a component in a play, but a type of lyric poem that was perfected by Robert Browning. By using dramatic monologue, a single person, who is patently not the poet, utters the speech that makes up the whole of the poem, in a specific situation at a critical moment. For example, Robert Browning’s famous poem “My Last Duchess” was written in dramatic monologue. 34. Elegy（哀歌或挽歌）：a poem of mourning, usually over the death of an individual. An elegy is a type of lyric poem, usually formal in language and structure, and solemn or even melancholy in tone.35. Enlightenment（启蒙运动）：The name applied to an intellectual movement which developed in Western Europe during the seventeenth century and reached its height in the eighteenth. The common element was a trust in human reason as adequate to solve the crucial problems and to establish the essential norms in life, together with the belief that the application of reason was rapidly dissipating the remaining feudal traditions. It influenced lots of famous English writers especially those neoclassic writers, such as Alexander Pope.36. Epic（史诗）：it is a long verse narrative on a serious subject, told in a formal and elevated style, and centered on a heroic or quasi-divine figure on whose actions depends the fate of a tribe, a nation, or the human race.37. Epiphany:（顿悟）In the early draft of A Portrait of the Artist as a Young Man, James Joyce employed this term to signify a sudden sense of radiance and revelation that one may feel while perceiving a commonplace object. “Epiphany” now has become th e standard term for the description, frequent in modern poetry and prose fiction, of the sudden flare into revelation of an ordinary object or scene.38. Epithet: as a term in criticism, epithet denotes an adjective or adjectival phrase used to define a distinctive quality of a person or thing. This method was widely employed in ancient epics. For example, in Homer’s epic, the epithet like “the wine-dark sea” can be found everywhere.39. Essay:（散文）any short composition in prose that undertakes to discuss a matter, express a point of view, persuade us to accept a thesis on any subject, or simply entertain. The essay can be divided asthe formal essay and the informal essay (familiar essay).40. Euphemism（委婉语）: An inoffensive expression used in place of a blunt one that is felt to be disagreeable or embarrassing, such as “pass away” instead of “die”41. Expressionism（表现主义）：a German movement in literature and the other arts which was at its height between 1910 and 1925 –that is, in the period just before, during, and after WWⅠ. The expressionist artist or writer undertakes to express a personal vision – usually a troubled or tensely emotional vision – of human life and human society. This is done by exaggerating and distorting. We recognize its effects, direct or indirect, on the writing and staging of such plays as Arthur Miller’s Death of a Salesman as well as on the theater of the absurd.42. Free verse（自由体诗）：Like traditional verse, it is printed in short lines instead of with the continuity of prose, but it differs from such verse by the fact that its rhythmic pattern is not organized into a regular metrical form – that is, into feet, or recurrent units of weak and strong stressed syllables. Most free verse also has irregular line lengths, and either lacks rhyme or else uses it only occasionally. Walt Whitman is a representative who employed this poem form successfully.43. Gothic novel:（哥特式小说）It is a type of prose fiction. The writers of this type of fictions mostly set their stories in the medieval period and in a Catholic country, especially Italy or Spain. The locale was often a gloomy castle. The typical story focused on the sufferings imposed on an innocent heroine by a cruel villain. This type of fictions made bountiful use of ghosts, mysterious disappearances, and other supernatural occurrences. The principle aim of such novels was to evoke chilling terror and the best of this type opened up to the fiction the realm of the irrational and of the perverse impulses and nightmarish terrors that lie beneath the orderly surface of the civilized mind. Some famous novelists liked to employ some Gothic elements in their novels, such as Emily Bronte’s Wuthering Heights. 44. Graveyard poets（墓园派诗歌）: A term applied to eighteenth-century poets who wrote meditative poems, usually set in a graveyard, on the theme of human mortality, in moods which range from pensiveness to profound gloom. The vogue resulted in one of the most widely known English poems, Thomas Gray’s “Elegy Written in a Country Churchyard”.45. Harlem Renaissance（哈莱姆文艺复兴）：a period of remarkable creativity in literature, music, dance, painting, and sculpture by African-Americans, from the end of the First World War in 1917 through the 1920s. As a result of the mass migrations to the urban North in order to escape the legal segregation of the American South, and also in order to take advantage of the jobs opened to African Americans at the beginning of the War, the population of the region of Manhattan known as Harlembecame almost exclusively Black, and the vital center of African American culture in America. Distinguished writers who were part of the movement included Langston Hughes and Jean Toomer. The Great Depression of 1929 and the early 1930s brought the period of buoyant Harlem culture –which had been fostered by prosperity in the publishing industry and the art world – effectively to an end.46. Heroic Couplet（英雄双韵体）refers to lines of iambic pentameter which rhyme in pairs: aa, bb, cc, and so on. The adjective “heroic” was applied in the later seven teenth century because of the frequent use of such couplets in heroic poems and dramas. This verse form was introduced into English poetry by Geoffrey Chaucer. From the age of John Dryden through that of Samuel Johnson, the heroic couplet was the predominant English measure for all the poetic kinds; some poets, including Alexander Pope, used it almost to the exclusion of other meters.47. Hyperbole（夸张）:this figure of speech called hyperbole is bold overstatement, or the extravagant exaggeration of fact or of possibility. It may be used either for serious or ironic or comic effect.48. Understatement（轻描淡写）：this figure of speech deliberately represents something as very much less in magnitude or importance than it really is, or is ordinarily considered to be. The effect is usually ironic.49. Imagism（意象派）：it was a poetic vogue that flourished in England, and even more vigorously in America, between the years 1912 and 1917. It was planned and exemplified by a group of English and American writers in London, partly under the influence of the poetic theory of T. E. Hulme, as a revolt against the sentimental and mannerish poetry at the turn of the century. The typical Imagist poetry is written in free verse and undertakes to be as precisely and tersely as possible. Meanwhile, the Imagist poetry likes to express the writers’ momentary impression of a visual object or scene and often the impression is rendered by means of metaphor without indicating a relation. Most famous Imagist poem, “In a Station of the Metro”, wa s written by Ezra Pound. Imagism was too restrictive to endure long as a concerted movement, but it influenced almost all modern poets of Britain and America. 50. Irony（反讽）：This term derives from a character in a Greek comedy. In most of the modern critical uses of the term “irony”, there remains the root sense of dissembling or hiding what is actually the case; not, however, in order to deceive, but to achieve rhetorical or artistic effects.51. Local Colorism（地方色彩）was a literary trend belonging to Realism. It refers to the detailed representation in prose fiction of the setting, dialect, customs, dress and ways of thinking and feeling which are distinctive of a particular region. After the Civil War a number of American writersexploited the literary possibilities of local color in various parts of America. The most famous representative of local colorism should be Mark Twain who took his hometown near the Mississippi as the typical setting of nearly all his novels.52. Lyric（抒情诗）：in the most common use of the term, a lyric is any fairly short poems consisting of the utterance by a single speaker, who expresses a state of mind or a process of perception, thought and feeling.53. Metaphysical Poets（玄学派诗人）：The name is now applied to a group of seventeenth-century poets who, whether or not directly influenced by John Donne, employ similar poetic procedures and imagery, both in secular poetry and in religious poetry. Metaphysical poetry is characterized by irregular meter, colloquial language and original images.54. Modernism（现代主义）：The term modernism is widely used to identify new and distinctive features in the subjects, forms, concepts, and styles of literature and the other arts in the early decades of the 20th century, but especially after WWI. The specific features signified by “modernism” vary with the user, but many critics agree that it involves a deliberate and radical break with some of the traditional bases not only of Western art, but of Western culture in general.55.Postmodernism（后现代主义）：The term postmodernism is often applied to the literature and art after WWII. Postmodernism involves not only a continuation, sometimes carried to an extreme, of the countertraditional experiments of modernism, but also diverse attempts to break away from modernist forms which had, inevitably, become in their turn conventional, as well as to overthrow the elitism of modernist “high art” by recourse to the models of “mass art”.56. Theme（主题）：The term is usually applied to a general concept or doctrine, whether implicit or asserted, which an imaginative work is designed to incorporate and make persuasive to the reader. 57. Multiple Point of View （多重视角）：It is one of the literary techniques William Faulkner used, which shows within the same story how the characters reacted differently to the same person or the same situation. The use of this technique gave the story a circular form wherein one event was the center, with various points of view radiating from it. The multiple points of view technique makes the reader recognize the difficulty of arriving at a true judgment.58. Ode（颂诗）：An ode is a complex and often lengthy lyric poem, written in a dignified formal style on some lofty or serious subject.59. Magic realism（魔幻现实主义）is a new literary genre appeared in the 20th century. The writers, who employed magic realistic techniques, interweave, in an ever-lasting pattern, a sharply etchedrealism in representing ordinary events and descriptive details together with fantastic and dreamlike elements, as well as with materials derived from myth and fairy tales. In American literature, some of Toni Morrison’s novels employed magic realistic elements.60. Transcendentalism（超验主义）：appeared in 1830s in US；emphasis on spirit or oversoul and stressing importance of the individual；regarding nature as symbols of the spirit or God and emphasis on brotherhood of man；representatives: Ralph Waldo Emerson and Henry David Thoreau61. Lost Generation（迷惘的一代）：Many prominent American writers of the decade following the end of WWI, disillusioned by their war experience and alienated by what they perceived as the crassness of American culture are often tagged as Lost Generation. Their representatives are F. Scott Fitzgerald and Ernest Hemingway.62. Naturalism（自然主义）：Naturalism was a new and harsher realism. Naturalists dismissed the validity of comforting moral truths. They attempted to achieve extreme objectivity and frankness, presenting characters of low social and economic classes who were determined by their environment and heredity. In presenting the extremes of life, the naturalists sometimes displayed an affinity to the sensationalism of early romanticism, but unlike their romantic predecessors, the naturalists emphasized that the world was amoral, that men and women had no free will, that lives were controlled by heredity and environment, that the destiny of humanity was misery in life and oblivion in death. In American literature, Theodore Dreiser is a representative of naturalism.63. American Puritanism（清教主义）：Puritanism is the practices and beliefs of the Puritans. The Puritans were originally members of a division of the Protestant Church. They were a group of serious, religious people, advocating highly religious and moral principles. As the word itself hints, Puritans wanted to purity their religious beliefs and practices. They accepted the doctrine of predestination, original sin and total depravity, and limited atonement through a special infusion of grace form God. As a culture heritage, Puritanism did have a profound influence on the early American mind. American Puritanism also had an enduring influence on American literature.64. Flashback（闪回）：interpolating narratives or scenes which represent events that happened before the time at which the work opened; for example, it is used in Arthu r Miller’s Death of a Salesman. 65. Plot（情节）：The plot in a dramatic or narrative work is constituted by its events and actions, as these are rendered and ordered toward achieving particular artistic and emotional effects.。
ambiguity in english
例如: Seven days without water make one week.
(week 与weak同音) 有时语音相同而意义不同的单词在使用时也会产生歧义, 即语音双关语。
Lexical ambiguity
(1) 句子里有多义词,句子就可能出现歧义。多义 词可以是名词、动词、形容词、介词、连词等。 例如： 1、Mr.Smith gave me a ring yesterday. 句子中的ring可理解为“戒指”,也可理解为“打 电话” 2 、He painted a tree. 此句中的painted可作“涂上油漆”解,也可作 “用颜 料画”解。
• Phonological ambiguity
• Lexical ambiguity
• Grammatical ambiguity
Phonological ambiguity
例如：My younger brother had a | greidei| . 此句中的“| greidei| ”既可理解为“grade A” 又可理解为“grey day”。 语音歧义往往是由于句中词语的连读而引起的 歧义。
某饭店男厕所在第一层，女厕所在第二层：
American woman: Where is the toilet? Chinese clerk: On the second floor. Englishman: Where is the toilet? Chinese clerk: On the first floor. Finally, the man and the woman went to the same floor.
2） 词类不同，词义往往变异。 We saw the Indian dance
文学术语ambiguity的翻译探究
文学术语ambiguity的翻译探究作者：魏亮来源：《中国科技术语》2017年第04期摘要：燕卜荪的ambiguity这一文学术语在中国曾有过十余种译法，至今仍是“复义”“含混”“朦胧”“歧义”等多种译法并存。
根据ambiguity在英语中本来的含义和在燕卜荪理论中的意涵，“朦胧”“含混”等译法涵盖是不全面的，也偏离了概念的本质，“歧义”“多义”等译法也各有不妥之处。
“复义”改自“复意”，两个词的差异在于“义”和“意”的区别。
据此，ambiguity应当译作“复意”。
关键词：ambiguity，燕卜荪，复义，复意中图分类号：C04；H059：I0文献标识码：ADOI：10.3969/j.issn.1673-8578.2017.04.006Abstract： There have been more than ten Chinese translations of the literary term ambiguity put forward by William Empson， and there are still various translations simultaneously used at the present time. According to the meanings of ambiguity in English and in Empsons theory，translations of the kind of words such as “menglong” “hanhun” are incomplete in senses relative to ambiguity， and deviate from its essence. Translations of the other kind of words such as“qiyi”“duoyi” are not appropriate either. “fuyi（复义）”is adapt from “fuyi（复意）”， and the difference between the two words lies in the distinction between “yi（义）”and“yi（意）”.In view of the above， ambig uity should be translated into “fuyi（复意）”.Keywords： ambiguity， Empson， fuyi（复义）， fuyi（复意）一 ambiguity的多种译法新批评是20世纪曾经影响巨大的一个文学批评流派，而英国的威廉·燕卜荪（William Empson，1906—1984）就是新批评的代表人物之一。
英语修辞格中的歧义现象及其修辞功能分析
[摘要] 消极的歧义相关论文需要加以避免。
然而有意地利用歧义,却可以产生多种多样的修辞效果。
修辞格中的双关、比喻、反语、通感、典故、委婉等就是歧义在语言中的积极利用。
英语歧义具有幽默风趣、辛辣讽刺、委婉含蓄、调和冲突、启发想像等多种修辞功能。
[关键词] 英语;歧义;修辞功能1 引言歧义是一种常见的语言现象。
歧义(ambiguity)是指某个词语或话语可以有两个或两个以上释义的现象。
在语言运用过程中,各个层面如语音、词汇、句法结构、语用都会产生歧义的现象。
如果不加避免,歧义就会给我们的交际带来困难。
然而,歧义并不完全是一种消极的语言现象。
有意地利用歧义,却可以产生积极的修辞效果。
英语中的多种修辞格就是歧义的积极利用。
在交际过程中,人们常常有意利用语言结构内部的矛盾所产生的歧义,或一语双关,或委婉陈词,或讽刺挖苦,表达多种情感,取得特殊的修辞效应。
2 英语修辞格中的歧义现象2.1 歧义与比喻比喻也属于一种语用歧义。
这是因为:任何一种比喻都有喻体所表示的字面意义和它的喻义所体现的含义,因而是可分的,符合歧义的定义。
这样的歧义表现为说话人有意造成字义与含义的对立统一:对立是因为它违反质的准则,统一是因为话面意义只是手段,含义才是说话人的用意。
2.1.1明喻(simile )(1) He bellowedlike a bull seeking combat.(2) And then Della leaped uplikea little singed cat andcried:“Oh, oh.”(O. Henry:“The Gift of Magi”)上面两例都以动物喻人。
第一句中的动物是牛,第二句中的动物是猫。
前句与牛的“声音相似”,后句则为动作相似。
2.1.2暗喻(metaphor )(3) Girl:You remind me of theocean.Boy: Wild, romantic and restless.Girl: No, you just make me sick.“海洋”一词作为比喻,不同的使用者在不同的语境中使用权可有不同的含义:姑娘以此暗示对男孩的厌恶,有如航海使人恶心。
浅谈英语歧义现象及其修辞作用
浅谈英语歧义现象及其修辞作用摘要：歧义是英语中普遍存在的现象。
文章分析英语歧义现象的四种类型，探讨歧义作为一种修辞手法，如果使用得当，就会在比喻、双关、反语、委婉语中起到生动、讽刺、幽默等多种修辞作用。
关键词：英语歧义；双关；反语；幽默歧义（ambiguity）是一种复杂的语言现象，是指一个表达方式模棱两可，可作两种或多种解释。
在英语语言的使用中经常出现歧义问题，歧义也的确给语言交际带来了麻烦。
从英语歧义的形成及功能来看，歧义可分为无意歧义和有意歧义。
无意歧义，又称消极歧义，主要是由于语言的不完善或使用者的疏忽造成的，在人们的交流中起着消极的作用。
有意歧义，是指人们为了收到某种特定的修辞效果或语用目的而故意安排的。
这种歧义如果运用恰当，不但不会引起误解、妨碍人们的交流，反而使语言生动活泼、充满魅力，所以又称为积极歧义。
（李红英，2003）因此，在特定的情景中恰当地利用歧义，把歧义作为达到某种修辞效果的有力手段，就给语言的使用增添出乎预料的色彩，使语言表达更丰富深刻。
文章就英语歧义在比喻，双关，反语，委婉等方面的修辞作用作一些粗浅探讨。
一、英语歧义分类在语言运用过程中，各个层面如语音、词汇、句法结构、语用都会出现歧义的现象。
因此，总的来说，英语歧义现象大致分为四类：语音歧义、词汇歧义、结构歧义和语用歧义。
（一）语音歧义同形同音异义词，如：bank（河岸；银行）；bark（树皮；吠）；base（基础；卑鄙的）；bear（忍受；熊）；ear（耳朵；穗）等在交谈中会造成岐义。
例如:They went to the bank last saturday.此句可以理解为：他们上周六去了银行，或他们上周六去了河岸。
有时，不同的词或词组的连读、重读、语调、意群及停顿都是造成岐义不可忽视的因素。
例如：A name/ an aim;a nice man/an ice man;grade A /grey day1 beg your pardon.(同降调)对不起，请原谅。
英美文学名词解释总结中文版(东北师大重点)
名词解释1. Abby Theatre 阿贝剧院阿贝剧院是爱尔兰的国家剧院，由爱尔兰著名诗人William Butler Yeats和Lady Augusta Gregory创建。
该剧院上演爱尔兰剧作家的作品。
Lady Gregory是阿贝剧院的导演，同时也是个剧作家（dramatist）。
2.Aestheticism 唯美主义基本原则：Art for art’s sake.基本人物：英国运用该美学理论的第一人士Walter Pater。
Oscar Wilder（Picture of Dorian Gray）是该理论的杰出代表。
基本思想：唯美主义崇尚艺术高于生活，生活应该模仿艺术，而不是艺术模仿生活。
这是对Victorian工业发展时期宣扬的物质崇拜（materialism）和商业主义（commercialism）的一种反抗，也是艺术为道德或金钱而服务（art for money’s sake）的维多利亚传统的挑战。
3. Age of Enlightenment 启蒙时代1. 英国的18世纪又被称为启蒙时代，总的来说是资本主义反对封建主义的时代。
2. 启蒙运动是一场进步的思想运动，盛行于法国后传播到西欧。
3. 启蒙运动是15和16世界文艺复兴运动的延续和深入，它的目的是用现代哲学和艺术观点启蒙整个世界。
4. 崇尚理性，平等，和科学，倡导大众教育。
文学在当时变成了非常受欢迎的公众教育的手段，带有强烈的说教和道德教育性质。
5. 代表人物：Alexander Pope，Jonathan Swift。
4. Age of Realism现实主义时期1. 现实主义是对浪漫主义时期一种反抗，并铺就了通往现代主义文学的道路。
2. 在这一时期，新一代的作家对于老一辈的浪漫主义和感伤主义的思想非常不满，提出一个新的灵感，其特点就是在生活现实方面有着极大的兴趣。
它的目标是描写生活每一方面的现实，抛弃主观偏见，理想主义或者任何浪漫的色彩。
英语歧义分类
英语歧义分类语言中的歧义表现形式是多种多样的，我们能够根据不同的标准对歧义实行种种不同的分类。
如能够根据歧义是否是发话人有意造成的将歧义分为有意歧义（在文学语言和广告中经常采用）和无意歧义；根据语言信息载体的不同将歧义分为书面歧义和口头歧义；还可根据歧义所表现的不同层次将歧义分为短语歧义、句子歧义、句群歧义等。
在语言学对歧义现象的研究中，通常是根据语言内在体系（语音、词义、语法、语用等）来将歧义分为语音歧义、语义歧义、语法歧义和语用歧义；本文也主要是从这个点对歧义分类实行探讨，以其为英语相关教育工作者提供参考。
一、语音歧义英语语音的连读、重读，语调的升降以及读句中的停顿等都可能引起歧义，从而导致听者误解。
1、语音连读引起的歧义现象英语的语音规则往往要求一个词词尾辅音与其相邻的词首元音连读，这样就使得词与词之间组成一些音节不分明的音素组合形式，以致于听者（特别是初学英语者）在理解上容易造成误解。
如以下句子所示：Wesawthemeat.此句连读后容易误解为：Wesawthemeat.2、语音重读引起的歧义现象同样一个句子，强调重音不同，其语义也会有所不同。
如：HekickedTom.（他踢了汤姆），此句由“he”,“kicked”,“Tom”三个词组成，如分别将重音加在这三个词上，就会出现三种不同的意思：是他（而不是别人）踢了汤姆；他踢（而不是手打等）了汤姆；他踢的是汤姆（而不是别人）。
3、由语调的升降引起的歧义现象。
如：Ibegyourpardon.（升调）请再说一遍；（降调）对不起，请原谅。
4、读句中的停顿引起的歧义现象。
如：Peterisashortstorywriter.在此句中不同位置停顿时就有不同含义Peterisa/shortstory/writer.彼得是位短篇小说家。
除了以上因为英语特殊的发音规则导致歧义的产生外，英语中的同音异形异义词的使用在口语中也可能产生歧义。
如当听到“Igottheflower/flour.”听者就会有两种理解：①我得到了花；②我得到了面粉。
文学理论资料之五
西方现代文学理论批评: 含混(ambiguity)又译“晦涩”、“歧义”、“复义”。
与“明晰”相反，通常指作品中的一种弊病，“也就是，当需要精确、明白无误的意思时，却用了含糊的或模棱两可的表达方式。
然而，自威廉.燕卜荪发表了《含混七型》以来，这一术语在文学批评中广泛地用于表示一种诗歌技巧：使用一个单词或表现方法，表示两种或更多的不同意思、两种或更多大不相同的态度或者感情”。
（M.H.艾布拉姆斯《文学术语汇编》）燕卜荪自己在该书中下的定义为：“任何语义上的差别，不论如何细致，只要它使用一句话有可能引起不同的反应”，就同含混有关；“基本的情况是：一个词或一个语法结构同时有多方面的作用。
”他按照“逻辑和语法混乱的程度”罗列了含混的七种类型，“使含混程度一层层提高”。
第一型：“说一物与另一物相似，但它们却有几种不同的性质都相似。
”例如莎士比亚十四行诗中有一诗句：“荒废的唱诗坛不再有百鸟歌唱。
”鸟歌唱的树林被比作教堂中的唱诗坛是因为有诸多相似的性质，“由于不知道究竟应该突出哪一种因素，因此就有一种含混之感”。
第二型：上下文引起数义并存，包括词义本身的多义和语法结构不严密引起的多义。
如艾略特的诗句：“魏伯特老是想着死，看到皮肤下面的骷髅；地下没有呼吸的生物，带着无唇的笑，仰身向后。
”第二句使用的分号作用不明，若相当于句号，第三句中的“生物”就是主语；若相当于逗号，“生物”就与前一句中的“骷髅”并列为宾语。
“这微小的怀疑使这首诗的主旨——超越知觉的知觉——变得更加怪异。
”第三型：“两个意思，于上下文都说得通，存在于一词之中。
”双关是最明显的例子。
第四型：“一个陈述语的两个或更多的意义相互不一致，但能结合起来反映作者一个思想综合状态。
”第五型：“作者一边写一边才发现他自己的真意所在。
”第六型：“陈述语字面意义累赘而且矛盾，迫使读者找出多种解释，而这多种解释也相互冲突。
”第七型：“一个词的两种意义、一个含混语的两种价值，正是上下文所规定的恰好相反的意义。
Semantic Ambiguity
Laurahe
Contents
★
Definition of Ambiguity of Ambiguity
★ Types
★ Advantages
★
of Ambiguity
How to Avoid Ambiguity
Definition of Ambiguity
▶ The general sense of this term refers to a word, phrase or sentence that expresses more than one accepted meaning in the field of language use. ▶ An ambiguous sentence or a word is understood and rephrased in more than one way.
分词引起的ambiguity
♥ 1. They are eating apples.
♥ 2. The refugees had discarded clothes.
♥ 3. The poor man was relieved.
♥ 4. The shooting of the hunter was terrible.
▶ (b). Speakers who visited are awful.
状语引起的ambiguity
♥ 1. Hans eats fish only on Sunday. ♥ 2. He was not in the hospital because he was sick. ▶ (a). He was not in the hospital for the reason of being ill but for something else. ▶ (b). He was not coming to his job in the hospital because of illness.
ambiguity 翻译
一、什么是模糊语(Ambiguity)歧义或歧义谬误是包含多个含义的单词、短语或陈述。
模棱两可的词或陈述会导致含糊不清和混乱，有时会有无意的幽默出现。
二、模糊语类型模糊语可被分为以下3种类型：1、词法歧义(lexical ambiguity)：由同义词或同声词引起的语意模糊例：John took off his trousers by the bank.谷歌翻译：约翰在银行旁边脱下裤子。
翻译解析：Bank 可以指河流或银行。
例："You know, somebody actually complimented me on my driving today. They left a little note on the windscreen; it said, 'Parking Fine.' So that was nice."(English comedian Tim Vine)谷歌翻译：“你知道，实际上有人称赞我今天开车。
他们在挡风玻璃上留下了一张小纸条；上面写着，‘停车很好。
’所以那很好。
”（英国喜剧演员蒂姆·维恩）翻译解析：fine 有"罚单"的意思，也有"好"意思2、结构歧义(structural ambiguity)：结构歧义是指一个句子因词的关联方式不同，可能有不同的含义.例：She observed the man with the binoculars.谷歌翻译：她用双筒望远镜观察那个男人。
翻译解析：Was the woman looking at the man through binoculars 还是was the man she was observing carrying the binoculars?“那个女人是通过双筒望远镜看那个男人”还是“她正在观察的那个拿着双筒望远镜的男人”。
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戈学术语ambiguity的翻译探究魏亮(《中国科技术语》杂志社，北京100717 )摘要:燕卜荪的ambiguity这一文学术语在中国曾有过十余种译法，至今仍是“复义”“含混”“朦胧”“歧义”等多种译法并 存。
根据ambiguity在英语中本来的含义和在燕卜荪理论中的意涵，“朦胧”“含混”等译法涵盖是不全面的，也偏离了概念的 本质，“歧义”“多义”等译法也各有不妥之处。
“复义”改自“复意”，两个词的差异在于“义”和“意”的区别。
据此，ambiguity 应当译作“复意”。
关键词:ambiguity,燕卜荪，复义，复意中图分类号：C04;H059 :I0 文献标识码:A DOI ： 10. 3969/j. issn. 1673-8578. 2017.04.006Exploration on Translation of the Literary Term Ambiguity//WEI LiangAbstract: There have been more than ten Chinese translations of the literar^^ ter^n ambiguity put for^-ard by William Empson, and there are still various translations simultaneously used at the present time. According to the meanings of ambiguity in English and in Empson’s theory, translations of the kind of words such as “menglong” “hanhun” are incomplete in senses relative to ambiguity, and deviate from its essence. Translations of the other kind of words such as “ qiyi” “ duoyi” are not appropriate either. “fuyi(复义）”is adapt from “fuyi(复意）”，and the difference bet^ween the t"wo wods lies in the distinction bet^ween “yi(义）”and“yi(意）”.In vie^w of the above, ambiguity should be translated into “fuyi(复意）”.Keywords: ambiguity, Empson, fuyi(复义），fuyi(复意）一•am biguity的多种译法新批评是20世纪曾经影响巨大的一个文学批 评流派,而英国的威廉•燕卜荪（William Empson, 1906—1984)就是新批评的代表人物之一。
1930 年，燕卜荪出版了自己的第一部专著Seven Types ofAmbiguity,ambiguity由此成为一个重要的文学术语。
在中国，最早在著作中提及燕卜荪这一论著的 是朱自清（1898—1948),他在1935年6月号的《中学生》杂志上发表了《诗多义举例》[1],文中写道：“去年暑假，读英国Empson的《多义七式》（Seven Types o/Ambiguity),觉着他的分析法很好,可以试 用于中国旧诗。
”[2]“多义”可以说是作为文学术语的ambiguity—词在中国见之于公众的最早的译名。
而朱自清对Seven Types o/Ambiguity这一•书名最早的翻译见于1934年6月6日的日记中：“拟谈：……七种歧义……”[3]2967月26日，朱自清又记载:“今夏拟读之书：……《七种意义不明确的 话》……”[3]3097月30日则记道：“开始读《七种意 义不明确的话》，相当难懂。
”[3]310而于1935年6月整理的在南开大学的演讲稿《语文杂谈》中，朱自 清又讲道:“文字又有多意（ambiguity),不可只执一 解。
”[4-5]可见,朱自清一人对ambiguity—词就先后 给出了四种译法。
就在朱自清开始介绍其理论不久之后,燕卜荪由其时在中国的导师理查兹（Ivor Armstrong Richards,1893—1979)引荐,接受北京大学的聘请，收稿日期:2017-03-07 修回日期:2017-05-24作者简介:魏亮（1985—），男，全国科学技术名词审定委员会《中国科技术语》杂志社编辑，研究方向为语言文学术语。
通信方式：w，eil@ cnctst. cn。
于1937年8月来到中国，先后执教于长沙临时大学和西南联合大学，两年之后回国休假[6]。
1947年,燕卜荪出版了 Seven Types of Ambiguity的修订 版，并于同年返回中国，直到1952年离开北京大 学。
然而，尽管燕卜荪曾经长期居住在中国，但是据说并不懂中文[7]，我们也没有机会见到他本人将 ambiguity翻译成汉语会做什么样的表达。
至于燕卜荪的学生当时是如何用中文来表述 ambiguity—词的，难以查考,而在他们多年之后的 回忆文章中提及时，各有不同的译法。
如王佐良将燕卜荪的这一专著称作“《晦涩的七种类型》”[8];赵瑞蕻谓之“《七种朦胧论》”或“《晦涩七种类型》”，并提到“朱自清先生译为《多义七式》”[9];张金言则译作“《七种歧义类型》”[10]。
由此看来，当年在中国的学生中间，对ambiguity似乎并未形成 一致的中文译名。
1962年,袁可嘉（1921—2008)在《“新批评派”述评》一文中以批驳的姿态将该书译作“《七种含 混形态》”[11]。
尽管1941年人读西南联合大学时 燕卜荪已经离开[1]，袁可嘉还是在诗歌创作和理论 两方面均深受其影响。
然而由于政治和意识形态 的关系，包括燕卜荪的理论在内的西方现代文艺思 想和作品在中国长期遭受排斥，少数时候被提及, 也是作为批判的对象的。
袁可嘉对新批评派的这 篇述评就出自这样的大环境之下。
不过，尽管时过 境迁，此文的论调已经不再可取，但其中提出的“含 混”这个译名却一直很流行，近年出版的如《新批 评》[12]《文学理论》[13]《文学批评理论:从柏拉图到 现在》[⑷等译自国外的和《西方文论关键词》[|5]《西方二十世纪文论史》[|6]等国内编撰的一些重要 的西方文论著作，均将ambiguity译作“含混”。
改革开放之后，西方的学术和文化被普遍引人中国,燕卜荪也由此开始广受关注。
较早对新批评 做过专门研究的赵毅衡于1981年提出了 ambiguity 的新的译法一“复义”[17]。
而今在中国知网“文 献”范畴选择“主题”，搜索“燕卜荪”+“含混”和 “燕卜荪”+“复义”，分别有18条和15条结果（搜 索时间为2017年3月2日）。
据此而言，“复义”的接受程度已同“含混”相近。
到 1996 年，Seven Types of Ambiguity—•书终于有了中译本，由周邦宪、王作虹、邓鹏三人合译，书名为《朦胧的七种类型》。
“朦胧”作为ambiguity的译名被应用得也比较多，而这与大家在谈论燕卜荪的理论时往往要引用这部译著有比较大的关系。
在中国知网以上述同样的方式搜索“燕卜荪”+“朦 胧”，和“复义”一样有15条结果（搜索时间为2017 年3月2日）。
此外,ambiguity的译名还有“暧昧”[18] “模糊 性”[19]等。
综上所述,ambiguity历来出现过的译法达十余种之多，至今仍是多种译法并存，莫衷一是。
二 ambiguity 的含义ambiguity究竟怎样翻译最为合适？要回答好 这个问题，当然需要准确理解ambiguity是什么含 义:一是在英语中本来的含义，一是在燕卜荪的理 论中的含义。
在《柯林斯COBUILD高阶英语学习词典》中，ambiguity的释义为：“If you say that there is ambiguity in something，you mean that it is unclear or confusing，or it can be understood in more than one way. ”[20]即不明确的或令人疑惑的,或者可以有不 止一种理解的事物。
而韦氏在线词典的释义为“1a :the quality or state of being ambiguous especially in meaning •The ambiguity of the poem allows several interpretations.b ：a word or expression that can be understood in two or more possible ways: 摇an ambiguous word or expression 2 :uncertainty”[21]。
ambiguous是ambiguity的形容词形式，释义为“1a: 摇doubtful or uncertain especially from obscurity or indistinctness•eyes of an ambiguous color摇b: 摇inexplicable摇2: 摇capable of being understood in two or more possible senses or ways•an ambiguous smile•an ambiguous term•a deliberately ambiguous reply”[22](1a:尤指因为难以 理解而疑惑、不确疋,b:费解的;2 :能够用两种及更 多的意思或方式来理解的）。
据此,ambiguity在英语中可以理解为指向两方 面的含义，一是模棱两可、不确定，一是可有多种 理解。
燕卜荪选择ambiguity作为其文学理论的核心 概念，既是基于该词的原有含义，也做了自己的阐 发。
在该书的修订版中，燕卜荪开宗明义地讲道：“An ambiguity,in ordinary speech,means somethingvery pronounced,and as a rule witty or deceitful.I propose to use the word in an extended sense,and shall think relevant to my subject any verbal nuance, however slight,which gives room for alternative reactions to the same piece of language.冶[23]1 (ambiguity在平常的口语中是相当明显的,通常是 风趣的或骗人的。