The Reproduction of Style in Prose Translation- A Case Study of Selected Modern Chinese Prose Wr
法国大革命对穿着的影响英文
The influence of the French revolution on clothes.The French revolution as fully reflect the capitalism and the sharp contradictions of the ruling class, the French revolution can be used as a cut-off point of 18th century western clothing, since rococo style clothing history, replaced by neoclassical style, clothing also became the most real reaction of different social classes, and even to late clothing bearing, as a kind of political choice in the revolution.During the feudal period in France, the bourgeoisie, while earning a lot of money to set up factories, was politically unwieldy and thus economically hindered. The lower working people, too, are burdened with heavy taxes and no political power. So the French bourgeoisie using this, the working people to the same faction, take part in the rebellion, the French revolution was a bourgeois centered, the masses of workers, the peasants are organized to violence against Louis xvi decadent f eudal dynasty rule of the bourgeoisie revolution of violence. It overthrew the feudal rule, the establishment of a bourgeois republic, will be freedom, equality, the idea of natural rights is rooted in the Chinese idea, changed the social structure, cultural trend at that time, all aspects of life. Since the 17th century, the French aristocracy has been the leader of the fashion trend of the western society, and the clothing plays an important role in French society. As the "mirror" of the society, the cost ume was inevitably influenced by the great revolution of France, and the aesthetic Angle, shape and popularity of the clothing changed greatly.Artist Unknow n (French art)DescriptionPortrait of Maximilien de Robespierre(1758-1794)Dimensions 60 × 49 cm (23.6 × 19.3in)Current locationCarnavalet MuseumRobespierre was one of the most controversial figures in Robespierre 's assessment, who was both the saviour of the French revolution and the terror of France. Robespierre solved the internal and external problems in France, and at the same time, the horrors he took during the French Revolution killed 57,000 people and created the bloody revolution in France. To be fair, Robespierre was a great bourgeois revolutionaries, his situation, when the station come out to stand out, seize the right time to save the French, French avoids the restoration of feudal dynasty. Though his methods were bloody, many innocent people died under him. But in general, Robespierre is more successful.Artist: Louise Elisabeth Vigee Le BrunCountry: French painter 1755-1842Title: Marie Antoinette in a Muslin dress,Portrait of Marie AntoinetteMarie Antoinette reveals the extent to which the appalling social and political chaos can be alarmingly persistent and violent. As Galliano's dress implies, there is a provocative, ultimately fatal interaction between the Queen and her people. From the new perspective of the relationship betwee n clothing and politics, she re-examined the tragic life of Marie Antoinette sympathetically. Even with her death, the Queen insisted on the strong connection between fashion and politics. As France's most eye-catching, the most controversial fashion symbol, the queen made the connection in her life. But people worship both her as the pioneer of the trend and also accuse her of being a sinner of French society's moral decline and economic collapse. Marie Antoinette's life-long events linked to her dress, revealing how her choice of costumes influenced her time, and to a degree determined the fate of her and the old system as a whole.The revolution was the turning point in European men's wear, which eventually disintegrated the most solid positions of the gorgeous aristocratic men's clothing, and men's men's wear from the fashion scene. During the revolution of men's clothing though because of partisan fight and differ somewhat, but the overall trend is unified towards less luxuriant embroidery and excess decoration development, luxuriant delicate colour also deposed replace is the color of deep solemn, and magnificent luxury fabrics such as brocade, velvet, wool fabric by more and more applications. This simple, functional clothing became the trend of the development of men's clothing. Revolution impact on women's clothing although there is no impact on men's clothing, but the revolution of the rococo style of dress in France from the historical stage, revolution accelerated the development of clothing, bodice, bustle, sprayed with the scent of the towering wigs, high heels and beauty spot were women outweighed the bottom of the wardrobe, these things don't concern "by host. The women unwrap the bodice and the heavy skirt and buttocks, replacing it with a wide band of waist, or a combination of the clothes, to make the corset work. With the rise of the waist line, and the sleeves of the garment are long and thin, the overall appearance of the garment highlights the beauty, nature and elegance of women. The dress became more concise and simple.Before the revolution, French fashion was the exclusive preserve of the upper class, and all their lives revolted around clothing, which was both a necessity for their lives and a symbol of their status. The tide of fashion in their hands, shake their right to grasp of the fashion, like shake their status, so clothing only among a small number of people do become evil, and civilians have little access to the fashion popular let alone lead fashion trends. After the revolution as a third of the country's main level including peasants, city populace and the bourgeoisie, their costumes are strict rules, can what to wear, can't wear what is prescribed by the aristocracy. And the revolution has contributed to the popularity of fashion. Partly because revolution abolished the identity attire, as the third level of the main social forces to obtain the freedom to choose the power of the garment, and original of the "black" as a representative of the vile eventually became the official etiquette and public clad, this is without a doubt to the clothing eventually eliminate hierarchies of a great encouragement.Revolution after many women in rich revolutionary meaning of clothing to show their political stance, such as the fabric with red three color of white and blue, red, blue and white three color on the French flag is revolution, this is the symbol of revolutionary; Or a skirt wearing striped pattern, stripe pattern from the UK, then the French society favouring the British constitutional monarchy, both men's and women's clothing, the stripe pattern is implied support for constitutional monarchy, the late and radical revolution in women at that time the national guard uniform, or after their transformation of similar national guard's uniform, to show human rights.The revolution provided an opportunity and an environment for the transformation of French clothing. The transformation was radical and new. It opened a new chapter in the history of French clothing and even European clothing. But clothing was not naturally changed in the revolution, because of its own characteristics, played an irreplaceable role in the process of the revolution.。
试论散文翻译中文体风格的对等——以李明《荷塘月色》英译本为例
The Science Education Article Collects总第275期2014年4月(中)Total.275April 2014(B)作者简介：樊瑶（1989—），女，山东莱芜人，烟台大学外国语学院硕士研究生，专业为英语语言文学。
摘要散文《荷塘月色》是我国近代白话散文中的经典之作,其语言优美隽永,文体风格独特。
李明所译的《荷塘月色》是目前公开发表的最新的一个英译本,且相关研究比较少见。
文章试图从文体学的视角,从语音、词汇和句法三个层面对李明的《荷塘月色》译本进行赏析,探讨奈达的动态对等理论对散文翻译中文体风格再现的指导。
关键词《荷塘月色》英译本文体动态对等On the Equivalence of Style in Prose Translation:A Case Study on Li Ming 's English Translation of "He Tang Yue Se"//Fan YaoAbstract "He Tang Yue Se",which is famous for its beautiful language,is a piece of classic prose in recent times,and the style of which is rather distinct.Its English version by Li Ming is the latest one that has been published,and related study i this ver-sion is comparatively seldom.The thesis tries to appreciate and analyze Li Ming's English version of "He Tang Yue Se"from the phonological,lexical and syntactical aspcts from the perspective of stylistics,and discuss the application of Dynamic Equivalence Theory in the translation of the style of prose.Key words English version of "He Tang Yue Se";style;Dynamic Equivalence1引言《荷塘月色》是我国著名散文家朱自清先生的代表作品之一，同时也是我国近代白话散文中当之无愧的经典之作。
复方玄驹胶囊治疗子宫内膜薄型不孕症的疗效观察解析
膜薄型不孕症的临床优势，为患者选择ｌ临床治疗用药提供参
考借鉴价值，现报告如下。 １资料与方法
１．１
一般资料参与本次临床研究的研究对象为新乡医学
ＩＵ绒毛膜促性腺激素激发排卵，注射后第
院第五附属医院２０１３年８月至２０１４年７月期间收治的 ６４例子宫内膜薄型不孕症患者，既往均有２—３个促排卵周 期子宫内膜较薄，厚度小于８ ｍｌｎ，均无子宫内膜受损病史， 且中医诊断结果均与《中医妇科学》中提出的子宫内膜薄型
支持㈣。
本研究结果显示，用药治疗后６４例患者的月经评分明 显降低，排卵率明显升高，子宫内膜厚度明显增加，窦卵泡个 数明显减少，药物不良反应发生率为４．７％。随访１年时的 妊娠率明显高于随访６个月时的妊娠率。本研究所得结果 ２．３药物不良反应情况本研究６４例患者用药治疗过程 中，共３例患者发生药物不良反应，１例患者为胃脘灼痛， ｌ例患者为胃胀，１例患者为恶心、呕吐，药物不良反应发生 率为４．７％。 ２．４治疗后随访６个月、１年时妊娠情况比较６４例患者 随访６个月时的妊娠率为１４．１％，随访１年时的妊娠率为 ３４．４％，两个随访时间段的妊娠率比较差异有统计学意义 （ｘ２＝７．１９４，Ｐ＜０．０５）。 ３讨论 伴随着人类生存环境的不断恶化以及社会压力的不断 增大，不孕症患者的发病率呈现出不断增长的趋势，相关临 床数据统计结果显示，我国不孕症患者的发病率约为 １５％［６－７］。现阶段不孕症已成为全世界共同关注的医学问题 和社会问题，国内外临床均认为该疾病不是一种独立性的疾 病，而是由多种妇产科疾病综合作用所导致的结果旧Ｊ。不孕 症的发生不仅会给患者带来沉重的心理负担，也会对患者家 庭的生活质量造成严重影响。子宫内膜薄型不孕症是不孕 症的常见类型，发生率较高归１。祖国传统医学治疗子宫内膜 薄型不孕症已具有悠久的历史，且获得了良好的疗效。近现 代以来，随着西方医学思想及世界科学技术的传人，中医在 子宫内膜薄型不孕症治疗方面呈现出了新的趋势，也使得临 床对该疾病中医病机的认识不断加深¨…。 近现代的大多数医学家认为子宫内膜薄型不孕症的中 医病机为肾虚、肝郁、痰湿、血瘀、血虚等因素引发的脏腑功 能失调所导致的子宫内膜发育不良。其中血瘀和血虚即气 血失调，气血失调后可导致胞宫生理机能受损，影响子宫内 膜发育，造成受孕困难¨“。也有一部分临床研究学者认为 子宫内膜薄型不孕症的发生主要由肾气不足、精亏血少、胞 宫虚寒、阴虚血热、肝郁气滞及充任气血失调所致。由此可
美国文学史名词解释
It is the predominance of imagination over reason and formal rules and over the sense of fact or the actual, a psychological desire to escape from unpleasant realities.
3、Realism：（现实主义）appeared in the United States in the literature of local color, an amalgam of romantic plots and realistic descriptions of things was immediately observable. the dialects, customs, sights.现实主义有浓厚的美国本土特色，是浪漫主义故事情节和现实主义描写相结合的产物：美国风味的方言、风俗、各种观点
2、Transcendentalism 超验主义
1）as a moral philosophy, transcendentalism was neither logical nor systematized. It exalted feeling over reason, individual expression over the restraints of law and custom.不讲逻辑，不讲系统，只强调超越理性的感受，超越法律和世俗束缚的个人表达。
Romanticism was a movement in literature, philosophy, music and art which developed in Europe in the late 18th and early 19th centuries.
Style is an essential part of literary works
Style is an essential part of literary works. It is the most important embodiment of the original text’s artistic life. Literary translation cannot go without the research of style. Is style translatable? This question, being in a long time argumentation in the translation field, has already found out its answer in a great deal of translation practice. A great many of scholars hold that style is not only translatable, but also has to be translated. The translation of literary works should be laid equal stress on the original style and contents. Those that don't reflect the original style are not real or faithful translations. In the domain of literary translation, there are many translated versions that are not only faithful to the original text in terms of content but also skillfully reproduce the original artistic style. These translations are the best exemplifications.风格是文学作品中不可或缺的一部分，是原著艺术生命最重要的体现。
TSEliot The Waste Land 艾略特《荒原》赏析
二十世纪最有影响力的一部诗作。
当代著名诗人兼评论家阿伦·塔特说第一次读 《荒原》时，一个字也看不懂，不过他已意识 到这是一首伟大的诗篇。
后来艾略特给诗加了５０多条注释。《荒原》 是宣示著一战后西方文明的危机和传统价值观 念的失落，反映了整整一代人理想的幻灭和绝 望。
Structure
《荒原》全文分五个部 分： “死者葬仪”； “对弈”； “火诫”； “水里的死亡”； “雷霆的话”。
I read, much of the night, and go south in the winter.
去喝咖啡，又闲谈了一点钟。
我不是俄国人，原籍立陶宛， 是纯德国种。
我们小时侯，在大公家做客，
那是我表兄，他带我出去滑雪 撬，
我害怕死了。他说，玛丽，玛 丽，
抓紧了呵。于是我们冲下去。
在山中，你会感到舒畅。
---Allusions and quotations
The style of the poem overall is marked by the hundreds
of allusions and quotations from other texts (classic
and obscure; "high-brow" and "low-brow") that Eliot peppered throughout the poem. In addition to the many "high-brow" references and/or quotes from poets like Baudelaire, Shakespeare, Ovid, and Homer, Eliot also included a couple of references to "low-brow" genres. A good example of this is Eliot's quote from the 1912 popular song "The Shakespearian Rag" by lyricists Herman Ruby and Gene Buck. There were also a number of low-brow references in the opening section of Eliot's original manuscript (when the poem was entitled "He Do The Police in Different Voices"), but they were removed from the final draft after Eliot cut this original opening section.
Research proposal
Research proposal1.Research TitleOn the Translator's Subjectivity from the Reproduction of Artistic Conception in Strange Stories from A Chinese Studio by Giles2.Brief Background Introduction to the ResearchAs we all know that our national literature has gone through a long,glorious history and our previous studies made by scholars both at home and abroad achieved quite a good reputation in the world.As a leading field,Chinese ancient poetry is undoubtedly an extremely bright pearl in the whole world's literary palace hall,which has reached its top point during the Tang Dynasty.But the novel came to its summit hundreds of years later.The worldwide-known Four Classics:A Dream of Red Mansions,Pilgrimage to the West,Heroes of the Marshes and Romance of Three Kingdoms are famous for their unapproachable literary value and long lasting influence.Besides the four classics,there exists another masterpiece which has gained almost equal attention to the previous four ones-Strange Stories from A Chinese Studio(Giles),which is known to every household as Liao Zhai.It is the absolute peak of the development of Chinese classical short story.The author PuSongling,who is known to the Chinese people as "Sir.Liao Zhai",applies to various kinds of writing skills and combines others' merits to creates an extraordinary,fantastic masterpiece.It is so splendid that since its coming out it has caught great attention,both at home and abroad.According to Lin Huangtian(1997),Liao Zhai Zhi Yi,since its coming to the world,it has been translated more than 20 kinds of different languages after it was translated into Japanese in1784."It owns the most translations of different languages among Chinese classical novels."(Ma Ruifang) Of course, the most influential ones are the English versions and more than 50 versions has been published so far.But there is still no complete translated version.As to English translation,there are three most influential versions up to now:Thos. De la Rue in London published two volumes of Strange Stories from A Chinese Studiotranslated by the famous sinologist Herbert Allen Giles.It is the earliest English translation containing 164 stories taken fron Liao Zhai Zhi Yi,and it is the most well-known one in the English-speaking world.Another one,which consists of 17 stories,is translated by our native famous translators Y ang Xianyi and Gladys Y ang.They named it as Selected Tales from Liao Zhai. The third one is worked by two famous American sinologists Denis C. Mair and Victor H. Mair,which includes 51 stories and carries the title of Strange Tales from Make-do Studio.My study will focus on the first one-Giles' edition.Gilles is a famous sinologist coming from Britain,who had ever lived in China for 25 years and is proficient in Chinese and Chinese culture.So in my own opinion this version is the most excellent one among all those English translations,both in phraseology and the presentation of culture background. For a long time, translation studies have put too much emphasis on the nature, criteria and techniques of translation both at home and abroad. However, systemic studies of the practitioner of translation----the translator----have not been adequately performed. The previous research conducted are mainly focused on the introduction of translators’ translation activities and translation viewpoints, but translators’ cultural orientation, aesthetic preference and personalities as well as the influence of their translations on the target culture (TC) have not drawn enough attention.The "cultural turn" in Translation Studies in the west since the 1970s has brought about new dimensions and approaches. With the growth of the descriptive translation in the 1970s and 1980s, and later as the culture-oriented translation studies prevailed, the translator’s subject role in the act of translation gradually became visible. The influence of ideology and literary concepts on the translation at a particular time is mainly manifested through particular translators. On the contrary, translators’ choices of translation materials and strategies may reflect the social and cultural contexts in a particular era.Many scholars,both at home and abroad,make contributions to the study of translator's subjectivity, Xu Jun，Mu Lei，Yuan Li，Xie Tianzhen，Liu Miqing and western theorists Basil Hatim,Lawrence V enuti,Bassnet,Lefevere and so on.Although，they look at translation subjectivity in different terms and have different ideas the importance of translation subject and subjectivity has been highlighted andis no longer neglected.Image theory in Chinese aesthetics history is long standing and well established, it can be traced back to the pre-Qin period.Artistic conception is the most popular one in Chinese classical culture,especially in classical poetry and prose.So a great deal of researches have been done on the reproduction of artistic conception in translations of Chinese poetry.The reproduction of artistic conception has close contact with translator's empathy in literary translation,so during the process of translation,the subject status of translator plays an vital important role in reproducing the original artistic conception due to the differences between two languages and cultures.According to Wang Guowei,meaning and presentation of artistic conception are two most touching elements in literary works,and neither can be ignored.The process of artistic conception reconstruction in general is as follows: the writer places his implicative but rich aesthetic feelings in literary works, to create an aesthetic realm circle.The translator reads the source text, understanding and ponder aesthetic images the author creates,then result in aesthetic experience so artistic conception scene comes into being.The translator selects images same to the original connotation from target language, then through some integration work by the translator to build a considerable artistic conception, to reproduce the original feeling and scenery.During this process, the translators' feelings based on their own life experience will be the main emotion source.Through the transformation from the source language to the target language to construct a mood to prepresent the original aesthetic purport.So from the perspective of the original writers,artistic conception is to great degree their own sensations coming from experiences in real life;so accordingly,the representation of artistic conception in translation versions is also a result of combination of the translators' own understand of the original works together with their feelings and sense perception.So translator's subjectivity is obviously expressed and rooted in the reproduction of the artistic conception which prevails in literary works.3.RationaleThe motivation of this research comes from two aspects.One is my personal interest in Chinese classics especially Liao Zhai Zhi Yi,so due to my own preference I choose the extraordinary collection of short novels to study.Another one is the development of the study on the transmission of Chinese culture in western world.The spread of Chinese traditional culture has been especially expressed by literary flow,that is to say,the translation of Chinese classics into western languages.Artistic conception is of great significance in literary translation and the reproduction of artistic conception is one of the major tasks in literary translation.About artistic conception previous studies focus on the translation of Chinese ancient poetry,so little attention has been paid to the reproduction of artistic conception in the translation of Chinese classical novels.But the presentation of artistic conception is excellent in Liao Zhai as PuSongling is a master in word selection and writing,and so is Giles.So both Liao Zhai Zhi Yi and Strange Stories from a Chinese Studio have a preference to poetic inclination.PuSongling's words are unbelievable beautiful and create fantastic image and artistic conception,and Giles does a splendid job in reproducing this.Besides,the most outstanding advantage of Giles' work is the graceful style of writing,so I think it is important to study Liao Zhai from a new perspective combined with translator's subjectivity.4.Literature ReviewPrevious studies on the English translations of Liao Zhai Zhi YiBefore talking about Giles' translation,we need to take a general look at the studies on English of Liao Zhai. Liao Zhai,as a previous fortune we have in Chinese classical literature,is not only well-known in China,but also favored abroad.But few researches have been carried out on English translation of Liao Zhai,and native scholars didn't pay enough attention to this area before the 21st century.After entering the 21st century,especially during the period of 2003-2008,as the need of dissemination of Chinese classical culture is growing,relative studies increase accordingly,both academic journal and thesis.Up to now nearly forty papers about the English translation have beenpublished,and the research perspectives of these papers can be divided into six categories:general introduction including literature review and overview of English translations;translator;translating strategies;appreciation and comparison of different versions;culture study and linguistic study.As few studies have been made abroad,our Chinese scholars do some researches and make great contribution to the study of Liao Zhai Zhi Yiand its English translations,such as Li Haijun(2009,2010),Zhu Ruijun(2007,2009),Y angGuoqiang(2006,2008),ShangY anyan(2008),etc.These researches are mainly focused on the six issues,little attention has been paid to the artistic conception.Previous studies on Giles' versionAmong all those studies on English translations of Lizo Zhai,Giles' version is studied the most,far more than any other versions,This is not an accident but for definite reasons.Firstly,Giles' version is the most influential English version,even many other versions such as German version is translated from Giles' work.Then,as Giles is a famous sinologist and he had lived in China for so many years,he is quite good at Chinese,so the phraseology in Strange Stories from A Chinese Studio is excellent and exceeding to any other one.Thirdly,he is so familiar with Chinese traditional culture and literature that he does such a good job in preserving and transmitting Chinese culture to the English-speaking world.Although,we have to admit,there is another element that he gives great play to his subjectivity as translator,which is also a factor why he draws so much attention in the field and it is also this factor that brings about many criticisms to the translation.ZhuRuijun carried a systematic investigation into the subject status of the translator in Giles' version of Liao Zhai from George Steiner's Fourfold Translation Motion.Since 1990s,with the "cultural turn" in translation studies,increasing attention has been paid to the subject status of translator (Bassnet &Lefevere,1990),and translator has become one of the focal points.Based on the fourfold hermeneutic translation motion theory proposed by George Steiner,Zhu endeavors to research the translator's subjectivity embodied in Herbert Allen Giles' version of Liao Zhai Zhi Yi from four concrete steps of "trust","aggression","appropriation" and"compensation".She agrees that Giles' version has been controversial for a long time as a result of his innovation and change in translation,but the theory of translators subjectivity just provides a reasonable explanation for his "disloyalty" during the translating process.Researches show that Giles' version does a better job in effective dissemination of Chinese culture,custom,ideology and preservation of the original exotic charm than any other version.She holds the view that when the translator sees himself as the creator of target text rather than the imitator of the raw text , the translation will often be successful.And this is exactly reason why Giles' version is so successful and popular for so many years.In recent years, along with the studies from the perspective of translator's subjectivity rise,this angle is of a certain uniqueness and great referential value for the study of English translations of Liao Zhai Zhi Yi.Ren Qiuhong,through a thorough research by comparing three different versions of Liao Zhai from aspects of translating content,word and style,points out that a translator's cultural identity plays an important role in his translating process.People who favor foreignization or domestication have different views on how to translate cultural specifics．Foreignization is source language culture oriented，while the former is targetlanguage culture oriented.Nida is the most typical representative of domesticating method，he held that "translating consists in reproducing in the receptor language the closest natural equivalent of the nguage message".(Nida，1964)thus put the target readers in the first place. "So if a translator is to try his best to introduce source language culture to target language,the translator's main strategy aims at transplanting source language cultural information into target language as possible as he can."Xian Hui analysed Giles' version from three perspectives including translator's choices in selecting materials and giving the book title.Xian rooted her study in characteristics of the original text and analysed the expressions in target text,and focused on the analysis of the factors that why the translator makes such decisions which are considered in the translating process.Previous studies on artistic conceptionWhen it comes to aesthetics,both western and eastern literature have their longdeveloped history on this point.The Italian aesthetician Vico said that in most languages expressions coming to lifeless things are completed through human body and every parts as well as human feelings and emotions by metaphor.A famous poet in Tang Dynasty Wang Changling firstly came up with the definition of artistic conception.Wang Guowei developed this conception in Jen-Chien Tz'u-hua..Most researches relative to artictic conception were carried out on translation of poetry,especially classical poetry.After talking about the relative studies and achievements have already made,there are still some deficiencies remain to be improved.First,many researches choose Giles' version to study,this is to some extent limited.Other versions are also have vast value for us to dig deeplier.Second,contrasted to other versions,Giles' version has got relatively sufficient attention,but still several translating theories have not been applied to our study such as deconstruction,relevance theory,cognitive theory and so on.Third,the range of research needs to be extended.5.Aims and Research QuestionsThe study aims at finding out what role the translator plays in the translating process and to what degree the subject status of the translator affects the target text.Besides,the study also attempts to analyse the reproduction of artistic conception and how the translator's subjectivity influences this,together with the translating strategies.Based on previous findings,the present study aims to undertake a systematic study on the relationship between representation of artistic conception and translator's subjectivity.What presented to the reader is the result of translator's understandings of the source text and his personal experience.The translator,reader and text are three major elements in translation,among which translator is the focal element as the central role in the process.Starting from the relationship between the three factors,there are several questions need to be addressed.Firstly,how the translator handles the issue of aesthetic factors transforming from Chinese to English ?Secondly,what is the circumstance that translator's subjectivity is applied during the translating process?Thirdly,how the translator's subjectivity affects the reproduction of artistic conception and to what degree?Finally,what strategies does the translator apply to achieve his goals and keep balance between source and target text?6.Research MethodologyThis study will be carried out with a systematical and historical line of thoughts of translator's subjectivity,which is based on previous studies and parative analysis is also going to be applied during investigation because there exist other versions which do splendid job on the issue of conception and translator's subjectivity prehensive search is the main methodology in this study,with detailed testing methods of reduction and comparison.7.Significance of the ResearchAfter talking so much above,a considerable number of researches have been done to study translator's subjectivity combined with Giles' versio n of Liao Zhai,and also many scholars focus their studies on the reproduction of artistic conception in poetry,still few systematic researches that combine these two issues together are conducted.Starting from concerning thee questions of the translator's subjectivity and artistic conception as the foundation of my basic point,this study will dig deeper on this point.As Liao Zhai Zhi Yi is not simply a collection of short stories but the author uses graceful phraseology and takes a poetic inclination,so artistic conception is well presented in this fabulous work.Then representation of artistic conception is obviously an important criterion to measure the translated version and translator technique.As is shown above,this study attempts to so some researches on concrete issue based on the translator's subjectivity,and it carries some theoretical and practical significance.As to the former it can provide new topic to study for later research;as for the latter,it will give some suggestions to or draw attention of the following translators to notice this issue as there is still not a complete translated version of Liao Zhai ZhiYi.8.Research OutlineChapter 1 Introduction1.1 Background information1.2 Relative studiesChapter 2 Translator's subjectivity and Giles' version2.1 Translator's subjectivity and faith2.2 The fourfold translation motion2.3 The presentation of translator's subjectivity in Giles' versionChapter 3 The reproduction of artistic conception in Giles' version3.1 Studies of artistic conception in poetry3.2 Artistic conception in source text3.3 Reproduction in target text3.4 Translator's subjectivity and reproduction3.5 ConclusionChapter 4 Relative translating strategies4.1 General translating strategies in Strange Stories from Chinese Studio4.2 Translating strategies in representing artistic conception4.3 Interference betweenChapter 5 Conclusion5.1 New findings5.2 Significance of the present research5.3 Limitations of the present researchReferences【1】何劲. 从功能理论看翟理斯的《聊斋志异》译本[D] . 广州: 广东外语外贸大学英语语言文化学院, 2004.【2】查明建，田雨. 论译者主体性—从译者文化地位的边缘化谈起[ J ] . 中国翻译, 2003, ( 24) : 19- 24.【3】马瑞芳．《聊斋志异》是拥有外文翻译语种最多的一部中国古典小说[J]．http：／／news.sohu.corn／06／01／newsl44910106shtml．【4】尚廷廷．从《聊斋志异>>的翻译解读彼得·纽马克的文本类型理论[J]岱宗学刊，2008，(3)：4-6．【5】杨国强．典籍翻译与文化传播：评英译本《聊斋志异选》[D]．天津理工大学，2006．【6】杨国强．从跨文化翻译视角解读英译本《聊斋志异选》[J]．内蒙古农业大学学报(社会科学版)，2008，(3)：366—368．【7】王绍祥．翟理斯与英译《聊斋志异》[A]．福建省外国语文学会2003年年会论文集[C]．2003．【8】李海军.劲松.翟理斯与《聊斋志异》在英语世界的经典化[J].广西师范大学学报:哲学社会科学版，2010，（6）.【9】朱瑞君.从斯坦纳翻译四步骤理论看译者主体性———以翟理斯《聊斋志异》译本为例[J].合肥工业大学学报（社会科学版），2009，（6）【10】朱瑞君.Herbert Allen Giles' Rendition of LiaoZhai Tales-Viewed from the Perspective of the Translator's Subjectivity[D].合肥工业大学，2007.【11】任秋红.译者文化身份对其翻译的影响———《聊斋志异》三个英译本对比研究[D].郑州大学，2005.【12】蒲松龄.聊斋志异（二十四卷抄本）[M].济南：齐鲁书社.2006.【13】Giles.Herbert.Strange Stories from A Chinese Studio[M].London:Thos. De la Rue.3rd edition.1916.【14】George Steiner. Aft er Babel : Aspects of Language and Translation[M] .Oxford: Oxford Universit y Press, 1998.。
Essential Concerns of Stylistics Style as Foregrounding精品文档8页
Essential Concerns of Stylistics Style asForegroundingAbstract：Objective: to have a better understanding of foregrounding applied in literary style. Methods: make an analysis of foregrounding applied in literary style from these aspects: concept, relation between prominence (psychological saliency) and literary relevance (foregrounding). Results: foregrounding has four functions in the analysis of literary texts. Conclusion: foregrounding is an important phenomenon, which cannot be excluded from the essential concerns of stylistics in general because stylistics is that part of linguistics which pays special attention to the most conscious and complex use of language in literature.As far as stylistics is concerned, foregrounding tends to be more closely involved in literary style with that of poetry in particular. Still, foregrounding is an important phenomenon, which cannot be excluded from the essential concerns of stylistics in general because stylistics is that part of linguistics which pays special attention to the most conscious and complex use of language in literature (Turner, 1973: 7).1 The Concept of Style as ForegroundingThe concept of style as foregrounding was applied to literature first by the pre-war Prague School linguists and literary critics,such as Mukarǒvsky，to refer to the unexpected departures from the accepted norms. The norms of the language are in this dimension of analysis regarded as a ‘background’, against features which are prominent because of their abnormality are placed in focus (Leech, 1988). The proponents of the view of style as foregrounding extended the concept to include both the deviant features and those linguistic phenomena which are not deviant, but nevertheless striking. This is explained in Short’s article“Who is stylistics”: “He can make choices both inside and outside the language system. Choices outside the language system are deviant and thus produce foregrounding. Overregularity of a particular choice within the system (e.g. parallelism) also produces foregrounding. ”(王守元，2000：18-19) To look at this point from another perspective, we may say that foregrounding could be qualitative, i.e. deviation from the language code itself, or it may simply be quantitative, i.e. deviance from some expected frequency(Leech and Short, 2001: 48). Based on these explanations some would say that deviation is the means while foregrounding is the end (王佐良、丁往道，1987：418). To link the means to the end, we may say that the term foregrounding actually describes the process or the means by which language forms are drawn to the attention of the reader or the hearer as an effect or an end in otherwords. 2 Role of Foregrounding2.1 Concepts of Prominence and Literary RelevanceIn order to have a better understanding of the role of foregrounding, another two terms may be introduced here, i.e. prominence and literary relevance. Related to foregrounding, prominence is a psychological notion: Halliday defines it simply as ‘the general name for the phenomenon of linguistic hig hlighting, whereby some linguistic feature stands out in some way’. We assume that prominence of various degrees provides the basis for a reader’s subjective recognition of a style.Halliday distinguished prominence from literary ‘relevance’, which he calls‘value in the game’. Like Halliday, we shall associate literary relevance with the Prague School notion of foregrounding, or artistically motivated deviation (Leech and Short, 2001: 48). According to Halliday, a feature that is brought into prominence will be “foregrounded” only if it relates to the meaning of the text as a whole. Of course, this is a functional viewpoint. Where linguistic functions are relevant to the interpretation of a work, the prominence will appear as motivated (董莉，2005：14).2.2 Relation between Prominence (Psychological Saliency) and Literary Relevance (foregrounding)The relation between prominence (psychological saliency) andliterary relevance (foregrounding) is not a one-to-one match. Prominence, which is the basis for our sense of the particularity of a style, also provides the condition for recognition that a style is being used for a particular literary end: that it has a ‘value in the game’. But there is an additional condition: we should be able to see a prominent feature of style as forming a significant relationship with other features of style, in an artistically coherent pattern of choice (Leech and Short, 2001: 50).Generally speaking, there are two types of prominence, one of which is negative, a departure from a norm; the other is positive, and is the attainment or the establishment of a norm. Halliday calls the former as “incongruity” and the latter as “deflection”, a statistical departure from some expected pattern of frequency. The former stresses qualitative deviations; the latter stresses quantitative deviations, i.e. “in the circumstance a writer temporarily renounces his permitted freedom of choice, introducing uniformity where there would normally be diversity.”(董莉，2005：13)In one case ‘attainment of a norm’ will mean style borrowing: the approximation to some external norm as a ‘disguise’ or at least as a point of reference. In another case it will mean that the writer creates his own special kind of language (Leech and Short, 2001: 54). The norm which i s ‘attained’ by stylistic consistencyin a text might be called a secondary norm, since it is established by deviance from the primary(relative) norms which determine our more general expectations of language. The recognition that a text may set up its own secondary norms leads to a further conclusion, that features of language within that text may depart from the norms of the text itself: that is, they may ‘stand out’ against the background of what the text has led us to expect. This is the phenomenon of internal deviation, which, although it is most striking in poetry, may equally well be observed in prose style. Internal deviation explains the prominence, not uncommon in prose fiction, of an ordinary, even banal piece of language which seems to gain its impact from the context in which it is found (Leech and Short, 2001: 55).As for internal deviation mentioned above, it has something to do with the two complementary means of ‘foregrounding’ in literature―deviation and parallelism (or syntagmatic foregrounding). Deviation falls into two categories, i.e. internal deviation (or tertiary deviation) and external deviation, which could be further divided into determinate deviation (including secondary and paradigmatic deviation) and statistical deviation. These four types of foregrounding, i.e. internal deviation, determinate deviation, statistical deviation and parallelism, canbe reflected in different levels of language structures, such as phonological, graphological, lexical, grammatical, and semantic levels. Besides, different effects may be produced by means of cohesion and density of different types of foregrounding (邓仁华，2004) .3 Functions of Foregrounding in the Analysis of Literary TextsThe last part of the essay would be devoted to the functions of foregrounding in the analysis of literary texts. The term foregrounding may be interpreted as a concept in pragmatics. It refers to the dynamic interaction among the author, the (literary) discourse, and the reader. Foregrounding plays an important part in the analysis of literary text, especially poetry. The functions of foregrounding may be summarized as follows.First, foregrounding can reinforce the language effect. Since the poems are relatively short, the poets would transcend the normal communicative recourses of his tongue in order to reinforce the language effect and enrich the meaning of the poems. The reinforced effect can be realized at different levels. Often a stylistic effect can be produced by just a slight shift in syntactic structure. (Thorne, 1981) Second, foregrounding is one of the basic elements of poetry. According to Mukarǒvsky, “The function of poetic language consists in the maximum foregrounding of theutterance.” More than this, “In poetic language foregrounding achieves maximum intensity to the extent of pushing communication into the background as the objective of expression and of being used for its own sake; it is not used in the services of communication but in order to place in the foreground the act of expression, the act of speech itself.”Third, foregrounding is required for the appreciation of poetry. Mukarǒvsky once pointed out that the key function of art is to provide people with a fresh view of the world though defamiliarization or estrangement (foregrounding). Poetry is definitely a form of art, and thus foregrounding is highly called for in poetry.Fourth, foregrounding facilitates the understanding of the poems. On the one hand, foregrounded materials will guide the reader to understand and evaluate the discourses. On the other hand, the readers will look for those features to meet their own aesthetic needs (邓仁华，2004) . Presented above is a summary of what is considered as foregrounding in stylistic analysis.Bibliography：[1]Leech, Geoffrey N. “This Bread I Break” ― Language and Interpretation[M]. 上海外语教育出版社，1988.[2]Leech, Geoffrey N. and Michael H. Short. Style in Fiction:A Linguistic Introduction to English Fictional Prose[M]. Foreign Language Teaching and Research Press, 2001.[3]Thorne, J. P. “Generative grammar and stylistic analysis”, in Essays in Modern Stylistics edited by Donald C. Freeman. London and New York: Methuen & Co. Ltd. 1981.[4]Turner, G. W. Stylistics. Penguin Books, 1973.[5]邓仁华. “前景化”概念的演变及其对文学文本解析的功用[J].上海外语教育出版社，2004.[6]董莉编著.英语文体学理论与实践[J].电子工业大学出版社,2005.[7]王守元.英语文体学要略[M]. 山东大学出版社，2000.[8]王佐良,丁往道主编.英语文体学引论[M].外语教学与研究出版社，1987.希望以上资料对你有所帮助，附励志名3条：1、积金遗于子孙，子孙未必能守；积书于子孙，子孙未必能读。
Unit-2-Principles-ofCorr精选全文
A translation of dynamic equivalence aims at complete naturalness of expression, and tries to relate the receptor to modes of behavior relevant within the context of his own culture.
Three basic factors in translating
(1) the nature of the message, (2) the purpose or purposes of the author
and, by proxy, of the translator, and (3) the type of audience.
• In 1937, Nida undertook studies at the Uni. of Southern California.
• In 1943, Nida received his Ph.D in linguistics from the Uni. of Michigan.
• In the early 1980s, Nida retired but kept on giving lectures in universities.
equivalence
6. Principles governing translations oriented toward dynamic
《落花生》英译文对比赏析-精品文档(精品文档)
《落花生》英译文对比赏析 【】The paper will compare and appreciate the two English versions―Peanuts written by Xu Dishan from the perspective of aesthetic process. The article will specifically appreciate these two English versions from these following three processes： cognition， process and reproduction. The translation of prose needs consideration of aesthetics and only in this way can the translators achieve an excellent likeness with the original text. 一、关于落花生《落花生》是现代散文家许地山先生的杰作，发表于20世纪20年代，正是由于其“质朴淳厚、意境深远”，而被誉为现代散文的经典。
《落花生》一文主要追忆作者年幼时，父亲以花生为榜样，来告诫子女做人真理。
父亲的话对作者一生影响深远。
这篇散文以叙事的方式，进行了独具匠心的表达，语言平实、简明精当，但意趣深远，寓理于物。
本文从翻译美学理论之翻译审美过程来对《落花生》两个英译本进行对比赏析，分别为张培基先生译本（以下简称“张译”），刘士聪先生译本（以下简称“刘译”），来领略散文英译的妙处。
二、关于翻译美学之翻译审美过程1.认识。
要想成功地传译原文所具备的美学信息，须对源语有深刻、彻底地认识。
而这种认识既包括原文语言结构美，也包括风格、意境和文化内涵之美。
总之，译文一定要与原文达到“神似”的境界。
而这一过程具体就要求读者从语意、文字、词汇等一系列细小的层面去赏析译文是否达到神似。
高中英语选择性必修第三册 Unit5 同步英文释义
高中英语选择性必修第三册 Unit5 同步英文释义1. drama: 戏剧，剧本 / a genre of literature or performance that involves conflict and emotion, often performed on stage2. sorrow: 悲伤，忧愁 / a feeling of deep distress or sadness3. imagery: 意象，形象 / visually descriptive or figurative language used in literature to create mental images4. literary: 文学的，书面的 / relating to literature or books, especially those considered to have value or merit5. rhyme: 押韵 / the correspondence of sounds between words or the endings of words, especially when used in poetry6. rhythm: 节奏，韵律 / a strong, regular pattern of movement or sound, often found in poetry or music7. nursery: 托儿所，保育院 / a room or area where young children are cared for, often in a school or home setting8. nursery rhyme: 儿歌，童谣 / a traditional poem or song for young children, often with a simple and repetitive structure9. folk: 民间的，民俗的 / relating to the traditional customs, beliefs, and stories of a community or culture10. mockingbird: 擬仿鸟 / a type of bird known for its ability to imitate the sounds of other birds and noises in its environment11. diamond: 钻石 / a precious stone consisting of a clear and colorless crystalline form of pure carbon12. brass: 黄铜，铜器 / a yellow alloy of copper and zinc, or a group of wind and percussion instruments made from this alloy13. billy goat: 公山羊 / a male goat, typically characterized by its horns and beard14. bull: 公牛 / a large male bovine animal, often used in agriculture for breeding or as livestock15. recite: 背诵，朗读 / repeat aloud or declaim (a poem or passage) from memory before an audience16. bee: 蜜蜂 / an insect that is known for its role in pollination and the production of honey17. dewdrop: 露珠/ a small drop of water that forms on surfaces overnight when atmospheric moisture condenses18. dawn: 黎明，破晓 / the first appearance of light in the sky before sunrise, the beginning of a new day19. clover: 三叶草 / a small, low-growing plant with three-lobed leaves, often considered a symbol of good luck20. butterfly: 蝴蝶 / a winged insect with colorful wings that undergoes metamorphosis, often seen as a symbol of transformation and beauty21. lawn: 草坪 / an area of mown grass in a yard or garden, typically used for recreational purposes22. amateur: 业余的，外行的/ a person who engages in a pursuit, especially a sport or artistic activity, for pleasure rather than for financial gain23. cinquain: 五行诗 / a five-line poem that follows a specific syllable pattern (2, 4, 6, 8, 2) and often has a specific theme or structure24. be made up of: 由...组成 / consist of, be composed of25. mood: 心情，情绪 / a temporary state of mind or feeling26. tease: 取笑，戏弄 / make fun of or provoke someone in a playful or unkind way27. haiku: 俳句 / a traditional form of Japanese poetry consisting of three lines with a syllable pattern of 5, 7, and 528. syllable: 音节 / a unit of pronunciation that typically consists of a vowel sound and one or more consonant sounds29. format: 格式，版式 / the arrangement, layout, or structure of something, such as a document, book, or file30. respectively: 分别地，各自地 / in the order given, separately or individually31. respective: 各自的，分别的/ belonging or relating separately to each of two or more people or things mentioned32. blossom: 开花，绽放 / produce flowers, especially in a beautiful or attractive way33. delicate: 精巧的，细致的 / easily broken or damaged, requiring careful handling or sensitive treatment34. await: 等待，期盼 / wait for or expect something to happen35. revolve: 旋转，围绕 / move in a circular orbit around a central point or axis36. utter: 说，发出 / speak or express (a sound or words) audibly37. comprehension: 理解，领悟 / the ability to understand something, grasp the meaning or significance of information38. shelf: 架子，搁板 / a flat, horizontal board attached to a wall, frame, or other structure for the purpose of holding objects39. core: 核心，中心 / the central or most important part of something40. cherry: 樱桃 / a small, round fruit with a bright red or black skin and a hard stone inside41. cherry blossom: 樱花 / the flower of any of several trees of the genus Prunus, especially the Japanese cherry tree42. blank: 空白的，空着的 / empty or not filled in, without any marks or writing43. verse: 诗歌，韵文 / a single line of poetry or a composition in metrical form44. civilian: 平民，民用的 / a person not in the armed services or the police force, relating to non-military or non-official matters45. prose: 散文 / written or spoken language in its ordinary form, without metrical structure46. sympathetic: 同情的，支持的 / showing or feeling understanding or compassion for someone's suffering or difficulties47. sympathy: 同情，同感 / feelings of pity and sorrow for someone else's misfortune48. version: 版本，译本 / a particular form or variant of something, a translation of a work from one language to another49. innocence: 无辜，清白 / the state of being free from sin, guilt, or moral wrongdoing, lack of experience or knowledge50. innocent: 无辜的，天真的 / not guilty of a crime, wrongdoing, or offense, lacking knowledge or awareness51. era: 时代，纪元 / a period of time marked by distinctive character, events, or developments52. correspondence: 通信，信件 / communication by exchanging letters with someone, agreement or similarity between things53. correspond: 符合，一致 / have a close similarity or match, communicate by exchanging letters54. sow: 播种，散布 / plant (seed) by scattering it on or in the earth, cause (a seed or idea) to develop or grow55. seed: 种子 / the unit of reproduction of a flowering plant, capable of developing into another such plant56. dominant: 占优势的，主导的 / exercising control or influence over others, most important or prominent57. sonnet: 十四行诗/ a poem of fourteen lines using formal rhyme schemes, especially one in iambic pentameter58. deadline: 截止日期，最后期限 / the latest time or date by which something should be completed59. contest: 竞赛，比赛 / a competition between individuals or groups, often for a prize or recognition60. polish: 擦亮，抛光 / make smooth and shiny by rubbing, improve or refine in quality or style61. string: 绳，线 / a thin piece of cord or thread, typically used to tie, fasten, or hang things62. wherever: 无论在哪里，无论何处 / in or to whatever place or situation63. barren: 贫瘠的，不毛的 / unable to produce offspring or fruit, unproductive or lacking in qualities that make it desirable or interesting64. grief: 悲伤，悲痛 / deep sorrow, especially that caused by someone's death65. complicated: 复杂的，难懂的 / consisting of many interconnecting parts or elements, intricate or difficult to understand66. variation: 变化，变种 / a change or difference in condition, amount, or level, a different or distinct form ofsomething67. racial: 种族的，人种的 / relating to or associated with a particular race or ethnic group68. prejudice: 偏见，歧视/ preconceived opinion that is not based on reason or actual experience, unfair treatment based on such opinions。
英语毕业论文中国古典诗歌英译的音美、形美和意美
英语毕业论文Beauty in sound, form and sense in Poetry Translation—— Translation of Classical Chinese Poetry From Chinese to English中国古典诗歌英译的音美、形美和意美AcknowledgementsI would like to express my gratitude to all those who helped me during the writhing of this dissertation. A special acknowledgement should be shown to Mr. Zhang, my supervisor, who benefited me a lot, not only in selecting the subject but also in the writing process such as in the essay conception and essay structure. Moreover, I wish to extend my thanks to all the classical Chinese poets and famous poetry translators since I have quoted a lot of their works and words in supporting my argumentation, without these quotations, my dissertation would absolutely lack in proof. Finally, I would like to give my cordial thanks to our university’s library, from which I borrowed a lot of useful reference materials.Contents1．Introduction ... ... ... ... ... ... ... ... ... ... ... ... ... ... (1)2 . Beauty in sound ... ... ... ... ... ... ... ... ... ... ... ... ... (1)3. Beauty in form ... ... ... ... ... ... ... ... ... ... ... ... ... (5)4. Beauty in sense ... ... ... ... ... ... ... ... ... ... ... ... ... (8)4.1 False translation of a famous line ... ... ... ... ... ... ... (8)4.2 Translation of “puns”... ... ... ... ... ... ... ... ... ... (9)4.3 Translation of narrative poetry... ... ... ... ... ... ... ... (11)4.4 Contemporary on poetry translation that incurred controversialcomments ... ... ... ... ... ... ... ... ... ... ... ... ... ... (13)5. Conclusion ... ... ... ... ... ... ... ... ... ... ... ... ... ... (14)References ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... (16)AbstractAbstract: Classical Chinese poetry, the gem of the Chinese culture and civilization with a long history of three thousand years, is a unity of sound, form and sense. Yet the translated versions usually cannot carry the equal effect and beauty of the original due to the translators’ lack of skill, the dif ferences between the Chinese language and the English language and the inherent differences of cultures and civilizations between the two nations. A poetry translator should not be satisfied with the mere conveying of the original meaning to the target language, but must strive for the preservation and reproduction of the original beauty in sound, form and sense to the utmost degree so as to best bring out the artistic and musical beauty of the original. In this essay, account is given to each of the three aspects, namely, beauty in sound, beauty in form and beauty in sense separately. Beauty in sound mainly consists of beauty in rhythm and beauty in rhyme; beauty in form refers to the regularity of length of poem lines and the syllables each line contains; beauty in sense, the most important element of a poem, lies in the faithfully and artistically conveying of the meaning of the original, which requires the translators’ grasp of the classical Chinese literary history and thorough understanding of the context of the original. On this point, the author further divides her argument into four parts. The first part is about several ridiculous English versions of the famous immortal line “烟花三月下扬州“ of Tang poet Libai ; The second part is on the translation of “puns”. To illustrate this point, the author takes two Tang poems as examples, they are respectively Li Shangyin’s “…春蚕至死丝方尽…” and Liu Bingxi’s “…道是无晴却有晴…”; the third part focuses on th e translation of narrative poetry and the author selects the mistaken translations of three lines of Bai Juyi’s 《长恨歌》as examples and gives analyses on the mistakes made; The fourth part is about poetry translations that irritate controversial comments. Last but not least is the conclusion of this dissertation, the author unites the three aspects given before into a unity and claims that a good poetry translation should be the preservation and reproduction of the three aspects of the original. Yet due to the formidable barriers in achieving this perfection, sometimes it’s inevitable to sacrifice one aspect for another less important.Key words: classical Chinese poetry beauty in sound beauty in form beauty in sense摘要中国古诗有着三千年历史，是中华民族与文化的精华，它是声、形、意三者的和谐统一。
中国画的介绍英语作文
Chinese painting,also known as Guohua,is a form of traditional East Asian art that has a long and rich history,dating back thousands of years.It is characterized by its unique style,techniques,and philosophical underpinnings that set it apart from Western art forms.Historical ContextChinese painting has its roots in the ancient dynasties,with evidence of early forms of painting found on pottery and silk dating back to the Neolithic period.Over the centuries, Chinese painting has evolved through various dynasties,each leaving its mark on the style and subject matter.Notable periods include the Tang,Song,Yuan,Ming,and Qing dynasties,each of which saw significant developments in painting techniques and themes.Styles and TechniquesChinese painting is known for its emphasis on capturing the essence or spirit of the subject rather than a literal representation.This is often achieved through the use of expressive brushwork,ink washes,and a limited color palette.The most common techniques include:Gongbi:A meticulous and detailed style that involves fine brushwork and the use of colors.Xieyi:A more expressive and spontaneous style that focuses on capturing the essence of the subject through bold brushstrokes and ink.Baimiao:A style that uses only ink and emphasizes the use of line and contour.Common SubjectsChinese paintings often depict landscapes,flowers and birds,figures,and animals.These subjects are not just aesthetically pleasing but also carry symbolic meanings and are deeply rooted in Chinese culture and philosophy.For example:Landscapes:Often symbolize the harmony between humans and nature,reflecting the Daoist concept of following the natural way.Flowers and Birds:Represent the beauty of nature and are often associated with the changing seasons and the cycle of life.Figures:Can include historical figures,scholars,or mythical beings,often embodying virtues such as wisdom,integrity,or heroism.MaterialsTraditional Chinese painting is typically done on paper or silk using brushes,ink,and colors made from natural pigments.The brushes are made from various animal hairs, with the softness and flexibility of the brush affecting the style of the painting.Ink is a crucial element,with different consistencies and densities being used to create a wide range of effects.Philosophical UnderpinningsChinese painting is deeply intertwined with Chinese philosophy,particularly Confucianism,Daoism,and Buddhism.These philosophies influence not only the themes and subjects of the paintings but also the approach to the art itself.The artists goal is often to achieve a state of harmony with the universe,expressing a connection with nature and the cosmos.Modern DevelopmentsIn the modern era,Chinese painting has continued to evolve,with contemporary artists experimenting with new techniques and incorporating elements from Western art. However,the traditional values and techniques remain an integral part of the art form, ensuring that the rich heritage of Chinese painting is preserved for future generations.In conclusion,Chinese painting is a complex and multifaceted art form that offers a unique window into Chinese culture,history,and philosophy.It is a testament to the enduring appeal and relevance of traditional art in a rapidly changing world.。
戏剧翻译_精品文档
② Simple sentence structure
Example: 常四爷:是呀，您的眼力不错!戊戌年我就在这说了句“大清国
要完”，叫您二位给抓了走，坐了一年多的牢! 宋恩子:您的记性可也不错!混得还好吧?
—老舍《茶馆》
Chang: Yes, you have a good memory. In 1898 I made the remark here, “the Great Qing Empire is about done for!” For that I was arrested by you two, and imprisoned for more than a year!
All literature is made up of words, but dramas are made up of spoken words. (所有的文学都由文字组成，但戏剧是由口语 化的文字组成)
--- Boulton （戏剧研究学家）
To Achieve Colloquialism
① incomplete sentences Incomplete and simple sentences help to establish the playwright’s colloquial style. If the translator wants to keep this style, he must make the characters speak simple language in his translation.
◆ one language to another (difficulties of idiom, slang, tone, style, irony, word-play or puns)
风格标记理论视阈下人物传记翻译中原文风格的现现——-以sunyatsenand..
ＳｔｙｌｅＲｅｐｒｏｄｕｃｔｉｏｎｉｎＢｉｏｇｒａｐｈｙＴｒａｎｓｌａｔｉｏｎｆｉ＇ｏｍｔｈｅＰｅｒｓｐｅｃｔｉｖｅｏｆＳｔｙｌｉｓｔｉｃＭａｒｋｅｒＴｈｅｏｒｙ—ＡＣａｓｅＳｔｕｄｙｏｆＳｕｎＹａｔＳｕｎａｎｄＣｈｉｎａＲｅｐｕｂＢｃ３３ｉｇｎｏｒａｎｃｅｏｆＴａｏｉｓｍ．Ｔｏｈｉｍａｓａｂｏｙｔｈｅｗｏｒｓｈｉｐ和道教都没有什么特别深入的认识，但是ｉｎｔｈｅｎａｔｉｖｅｖｉｌｌａｇｅｔｅｍｐｌｅｓｅｅｍｅｄｔｏｂｅａ他隐隐约约觉得村里人信仰的是这两者ｄｅｂａｓｅｄｍｉｘｔｕｒｅｏｆｔｈｅｌａｓｔｔｗｏｃｕｌｔｓ，ｏｆｎｅｉｔｈｅｒｏｆ合流的变体，不伦不类，村里人只是狂热ｗｈｉｃｈｈａｄｈｅａｎｙｓｐｅｃｉａｌｉｎｆｏｒｍａｔｉｏｎ，ｓｉｎｃｅｔｏｔｈｅ地将祠堂里供奉的神像视为“无所不能的ｔｏｗｎｉｔｗａｓｍｅｒｅｌｙｔｈｅ“ｇｏｏｄｊＯＳＳ”．Ｔｈｅｐａｉｎｔｅｄ神”。
村子祠堂里的那些神像自他出生时ｇｏｄｓｉｎｔｈｉｓｖｉｌｌａｇｅｔｅｍｐｌｅｔｈａｔｈｅｈａｄｋｎｏｗｎｆｒｏｍ便早己存在，但是那里并没有专门的人员ｈｉｓｂａｂｙｈｏｏｄｈａｄｎｏｐｒｉｅｓｔｓｔｏａｔｔｅｎｄｔｈｅｍｏｒｔｏ接待香客，给香客讲解神像的含义。
孙ｅｘｐｌａｉｎｔｈｅｉｒｍｅａｎｉｎｇ．Ｗｈｅｎａｖｉｌｌａｇｅｒｗａｓｉｎ文知道，村里有谁时运不济时，这倒霉的ｈａｒｄｌｕｃｋ，Ｗｅｎｋｎｅｗｔｈａｔｔｈｅｕｎｌｕｃｋｙｏｎｅｗｅｎｔｔｏ人都会到村子祠堂里“跪跪神像”。
在他ｔｈｅｖｉｌｌａｇｅｔｅｍｐｌｅｔｏ“ｃｈｉｎ—ｃｈｉｎｔｈｅｊＯＳＳ”．Ｂｅｙｏｎｄ模糊的记忆里，除了村里破旧的祠堂就是ｔｈｉｓｖａｇｕｅｒｅｆｌｅｃｔｉｏｎｔｈｅｔｅｍｐｌｅｏｆｈｉｓｖｉｌｌａｇｅｗａｓ那三尊愚民的神像了，某些重要的场合ａｍｅｒｅｒｕｂｂｉｓｈ—ｒｅｃｅｐｔａｃｌｅｆｏｒｔｈｅｔｈｒｅｅｐａｉｎｔｅｄ下，村民还会抬着这三尊神像在村里游ｇｏｄｓｔｈａｔｗｅｒｅｏｎｃｅｒｔａｉｎｒａｒｅｏｃｃａｓｉｏｎｐａｒａｄｅｄ行。
英语作文最喜欢的模板书
As a high school student, I have always been fascinated by the power of words and the way they can be arranged to create beautiful narratives or persuasive arguments. Among the myriad of books Ive encountered, there is one that stands out as my favorite template book for writing: The Elements of Style by William Strunk Jr. and E.B. White.This book, first published in 1918 and revised by White in 1959, has been my goto guide for crafting clear and concise sentences. Its not just a book its a mentor that has guided me through the intricacies of the English language. The principles laid out in The Elements of Style are timeless, and they have helped me to refine my writing skills to a level that I am proud of.One of the key lessons Ive learned from this book is the importance of brevity. The book emphasizes that the best writing is usually the most straightforward. It encourages writers to eliminate unnecessary words and to express their thoughts in the fewest possible words. This has been a gamechanger for me, as I used to struggle with verbosity and overexplaining my points.Another valuable lesson is the use of active voice over passive voice. Active voice makes the writing more engaging and direct, which is something Ive tried to incorporate into my essays and reports. By following this principle, Ive noticed that my writing has become more dynamic and easier to follow.The Elements of Style also provides guidance on the proper use of punctuation, which is something that often trips up many writers. Thebooks clear explanations on commas, semicolons, and colons have helped me to punctuate my sentences correctly, enhancing the readability of my work.Moreover, the book offers advice on forming and using proper sentences, which has been instrumental in improving my sentence structure. It teaches the importance of variety in sentence length and structure, which adds rhythm and interest to the writing.One of the most impactful sections of the book for me is the list of commonly confused words, such as affect and effect, fewer and less, and its and its. This has been a lifesaver, as it has helped me to avoid common mistakes that can detract from the quality of my writing.I also appreciate the books emphasis on style. It suggests that good writing should not just be correct but also engaging and pleasing to the reader. This has encouraged me to think about the readers experience and to write in a way that is both informative and enjoyable.In addition to the practical advice, The Elements of Style is filled with examples that illustrate the principles it teaches. These examples are drawn from classic literature and are analyzed to show how the principles work in practice. This has been incredibly helpful for me, as it allows me to see the theory in action.Furthermore, the books concise and accessible writing style makes it easy to understand and apply its lessons. Its a book that I can pick up and referto whenever I need a refresher on a particular aspect of writing.In conclusion, The Elements of Style is more than just a template book its a comprehensive guide to writing well in English. It has taught me the fundamentals of good writing and has helped me to develop my own unique writing style. As I continue to grow as a writer, I know that the lessons from this book will remain with me, guiding me to produce clear, concise, and engaging writing.。
复活节的兔子由来英语
复活节的兔子由来英语复活节的兔子由来英语复活节兔是复活节的象征之一，复活节为什么有兔子呢？以下这篇文章为大家介绍了复活节兔子的由来，感兴趣的朋友们一起来看看吧～There is a saying that "madness is like the march hare". It is said that in early spring, the hare became crazy. At that time, the male hare was fighting with each other in order to mate with the female. At the same time, the female to male rabbit rabbit yield usually before and will continue to refuse to male rabbit, makes matching behavior lookslike a crazy dance, such scenes make early observers believe is the arrival of the spring rabbits were sent. Both rabbits and rabbits are rabbits. They breed quickly. The female can be pregnant with the second litter of rabbits when she is pregnant with the first litter (two foils will be born separately). This phenomenon is referred to as an ectopic pregnancy. The rabbit's sexual maturity is very early, and within a year there will be several small rabbits (hence, there is an old saying that "like a rabbit can live"); So the white rabbit and the hare became rich and productive representatives, and their behavior during the mating period was also introduced into folk myths and legends. Even so, the rabbit can lay eggs out where this concept is still no way to determine, may be only from the symbol of the conceptual confusion, but it is also possible as Easter itself, is a kind of old traditional lineage. In the language of the germans and the slavs, the word "Easter" comes from an ancient pagan goddess, the goddess of spring, "the goddess of the world". According to the legend, he saved a bird that had been frostbitten inthe winter and turned it into a rabbit. Since it was once a bird, it retains the ability to lay eggs. It was the Easter bunny.The bible does not have a creature with long ears and a softtail of the Easter bunny. Nor is there a story about children painting eggs or looking for Easter baskets full of candy. And real rabbits don't lay eggs. So why are these traditions so ingrained in Easter Sunday? Why are they bound to be associated with the resurrection of Jesus? Actually, there's no connection. Bunnies, Easter eggs, Easter gifts, and fluffy yellow chicks in straw hats all come from Puritan. They are associated with the celebration of Easter, which is not associated with theCatholic celebration of the resurrection of Jesus.According to the university of Florida's research shows that children's literature and culture center, celebrate Easter and theEaster bunny can be traced back to the 13th century in Germany, at that time, there is no Christian, people worshiped several gods and goddesses. Teuemann's Eostra was the goddess of spring and reproduction, and she was given a feast for her during the vernal equinox. Because of therabbit's high reproduction rate, it became the symbol of the Eostra. Spring is also a symbol of life and rebirth; The egg is an ancient symbol of fertility. According to , Easter eggs represent the resurrection of Jesus. In the 15th century, the Catholic church became the dominant religion in Germany, and the Puritan ideology was deeply rooted in it. Since then, Easter eggs have been associated with the resurrection of Jesus.The first Easter bunny legends were recorded in the 16th century, according to a study by the university of Florida's children's center.By 1608, the first story about a rabbit laying eggs and hiding in a garden was published. These legends were brought to the United States in the 18th century when German immigrants settled in the Dutch cities of Pennsylvania. The habit of laying eggs for rabbits has followed. Eventually, the nests became decorated baskets and colored eggs were swapped for candy, snacks and other small gifts.Although the custom of Easter egg is also originated fromancient times, its provenance is still unverified. The greeks usually painted their eggs red on this day, using the color of blood to signify the resurrection of everything in the spring (later, it also showed the blood of Christ). Some people also use green daub to commemorate the new green that comes out after a winter withered. Other colors, includingthe muted pastel (or perhaps the rainbow) that is popular in the United States and elsewhere, also appear.German protestants wanted to preserve the Catholic tradition of eating Easter eggs, but did not want their children to accept the Catholic taboo. Catholics are not allowed to eat eggs in lent in April, so there will be plenty of eggs at Easter.The concept of the egg bunny was introduced to the United States in the 18th century. In the Dutch region of Pennsylvania, Germansettlers tell their children stories about "Osterhase". The Hase is the hare, not the rabbit. So in the western Nordic folklore, it's the hare, not the rabbit.Usually only good children can receive the Easter egg as a gift in their own nest.。
英语作文可以仿写阅
英语作文可以仿写阅英文回答：In the realm of writing, imitation serves as a stepping stone towards mastery. By studying and replicating the works of renowned authors, aspiring writers can glean invaluable insights into the craft of storytelling, refine their language proficiency, and cultivate a unique voice that resonates with their audience.Imitating literary masterpieces offers a structured approach to learning. By carefully dissecting the techniques employed by masters of the written word,aspiring authors can decipher the intricate workings of plot, character development, and narrative structure. This process enables them to internalize the principles of effective writing and apply them to their own works.Furthermore, imitating the language of esteemed authors enriches one's vocabulary and enhances fluency. Bygrappling with the nuances of their prose, budding writers expand their linguistic repertoire and develop a sophisticated command of language. This linguistic refinement not only elevates the quality of their writing but also fosters a deep appreciation for the beauty and power of language.However, it is essential to emphasize that imitation should not be a mere act of mindless reproduction. Rather, it should serve as a catalyst for inspiration and innovation. By emulating the styles and techniques of others, aspiring writers can discover their own unique voice and forge a path that sets them apart.中文回答：模仿在写作中的作用。
诗词和散文翻译中的意境传达
Reproduction of Artistic Conception in Poetry and
Prose Translation
作者： 王涛
作者机构： 三峡大学外国语学院,湖北宜昌443002
出版物刊名： 长春金融高等专科学校学报
页码： 92-94页
年卷期： 2011年 第2期
主题词： 诗词散文 翻译 意境 传达
摘要：诗词和散文翻译在整个文学翻译中占有十分重要的地位。
意境的完善传达是衡量诗词、散文翻译成功与否的关键因素。
在英汉诗词、散文的互译过程中,译者受到中西方文化差异的制约。
因此,充分了解原作的时代背景,理解并剖析其结构、语法、修辞等信息,能够有效帮助译者身临其境地感受原作者的思维方式和内心情感,从而产生等效的译文。