康拉德翻译文学 论文
英语专业毕业论文选题题目
英语专业毕业论文选题题目On Man’s Tragic End--Viewed from The Old Man and the Sea从老人与海看人的悲剧Some Fresh Thoughts on English Teaching in Classroom英语课堂教学的新思考On Conrad’s Narrative Technique—-From “Nostromo”从“Nostromo”看康拉德的叙事技巧A contrastive study of Directional verbs in Chinese and English中英趋向动词的比较研究Semantics' Influence on Structure语义对结构的影响The Impact on Structures Change by Cognition认知对结构变化的影响Social Psychological Factors and Their Influence on Ell社会心理因素和他们对语言学习的影响Learner-Centered College English Teaching“以学习者为中心”的大学英语教学Contextual Restriction in Translation语境对翻译的限制Contrastive Analysis of English-Chinese Tourism Texts英汉旅游篇章对比分析Amplification and Omission in Translation翻译中的信息增减Three Techniques in English—Chinese Alternating Translation中英互译中的三个技巧Analysis of Tess’Tragedy苔丝悲剧的分析Translation and Business-oriented Terms经贸术语及其翻译Application of Games in Middle School English Teaching游戏在中学英语教学中的运用Transformational Technique of Parts of Speech in Translation翻译中词性转换的技巧Non-verbal Behaviors for Activating Students in English Classes英语课堂中激活学生的非语言行为Application of Absolute Construction in Interpretation独立主格在口译中的运用Effect on Translation from Different English-Chinese Modes of Thinking中英思维方式的差异对翻译的影响On Ways of Breaking Cultural Barriers in Translation of Human Names如何克服人名翻译中的文化障碍On Translation of Chinese Dishes论中国菜名的英译On Translation Skills of Traditional Chinese Medical Terms论中医用语的翻译技巧On Influence of Cultural Differences on Understanding English and Chinese Advertisements论文化差异对解读英汉广告的影响On Aesthetic Association and Translation of Names of Commodities 论审美联想与商品名的翻译On Changes of Business Etiquettes in Cross-Cultural Communication 论跨文化交际中商务礼仪的变迁On Tragic Fate of the Heroin in Life论<一生〉中女主人公的悲剧命运On Language Communication Skills in Business Negotiation论商务谈判中语言沟通技巧On Comprehending and Usage of Euphemism in Business Negotiation论商务谈判中委婉语的理解和运用On Influence of American Culture on Import and Export Commodities论美国文化对进出口商品翻译的影响On Application of Nonverbal Means in Communication论非语言形式在交际中的运用Cultural Gap and Mistranslation英汉文化差异与误译On The Nature and functions of Metaphor论隐喻的本质与功能On the Status and Role of the Translator in Literary Translation论文学翻译中译者的地位与作用On the Origin, Word—Formation and Translation of English Neologisms浅谈英语新词的产生、构成及翻译On Discourse as the Unit of Translation浅谈以语篇为翻译单位A Study on Punctuation and Omission in Simultaneous Interpretation论同声传译中的断句与省略The Comparison and Translation of “Nine" in Chinese and WesternCulture英汉数字“九”的文化对比与翻译The length and width of the English study in the translation part of the TEM8从英语专业八级卷翻译部分看英语学习的广度和深度A Brief Study on the Translation of English News Titles英语新闻标题翻译初探Knowledge Base in Professional Interpreting论专业口译的基础知识On Translation Techniques of Loanwords浅谈外来语的翻译A Study of Application and Translation of Idiomatic Usages of English Preposition浅谈英语介词惯用法的运用与翻译Strategies and Impact on Education from China's Entry into WTO WTO 对中国教育的影响及对策The Cultural Influence on English Expressions and Word Choices文化对英语表达和词汇的影响Application of Inverted Sentences in English浅谈英语中的倒装Decomposition and Translation of Ambiguous Structures歧义结构的化解与翻译The Orientation of Nonfiction in Contemporary English Literature英语记实文学在当代文学中的定位On Presenting New Teaching Materials of Junior English论中学英语教学材料的呈现Function of Discourse in Translation语篇功能在翻译中的表现Function of Translation in English Teaching翻译在英语教学中的地位The Regional Differences between Chinese and Western Culture中西文化差异之地域文化差异Non-equivalence between Chinese and English Idioms and Intercultural differences英汉习语的不等值现象于跨文化差异Usage and Translation of Numerals in English Expressions英语中数量词组中的用法和翻译技巧A Contrastive Study of the Formation of English and Chinese Antonyms论英汉反义词的形成Various Factors Reducing the Efficiency of English Learning论影响英语学习成效的各种因素Chicago as a Mirror of American Social Problems电影《芝加哥》所透析出的美国社会问题A Contrastive Study of Animal Cultural Implication between Chinese and English英汉语动物文化含义比较On the Development of English New Words英语新词的发展On the Usage of English Abbreviations on the Internet谈网络英语中的缩略语My View on Rhett in Gone with Wind白瑞德――理想化的男人，斯嘉丽真正的灵魂---——我读《飘》中的白瑞德The Cultural Difference between Chinese and Western Food试论中西餐饮文化差异On American Dream —————-Viewed from 《Sister Carrie》从《嘉莉妹妹》看美国梦My view on the Classic Standpoint of love of Jane Austin从《爱玛》看简.奥斯丁的古典主义爱情观A Contrastive Study of Punctuation in Chinese and English英汉标点符号比较On the Relationship between Lexical Cohesion and Textual Coherence词汇的衔接与语篇的连贯On The Efficient ways to improve Listening Comprehension in English论提高英语听力的几种有效方法Thought Discrepancies Embodied in English and Chinese Languages 思维差异在英汉语言中的体现The Effect of Positive Emotional Factors in English Teaching英语教学中学生情感态度的培养Influences of Chinese Dialectical Accent over English Pronunciation 汉语方言对英语发音的影响A Contrastive Analysis of English-Chinese Conversational Implication 英汉会话含义的解析Cultural Divergence and Schema of Reading in Mother Tongue and the Second Language母语和第二语言阅读的文化差异与认知体系Language Development of Pre—school Children and English Teaching幼儿言语发展及幼儿英语教学A Comparative Study of English and Chinese Prosodic Features从英汉对比角度浅析英汉节律特征The Influences of Chinese-British Cultural Differences on International Business Protocol中英文化差异对国际商务礼仪的影响A Probe into the Characteristics of English Affix System浅谈英语词缀系统的特点Color words and Chinese and Western Cultural Differences颜色词与中西文化的差异A Comparative Study between American Sign Language and American English美国手势语和美国英语比较The Relationship between the Psychological Characteristic of Middle School Student and English Study中学生心理特征与英语学习的关系A Tentative Study on English Hyperbole浅论英语夸张修辞Influence of Pragmatism on American Ideas of Values实用主义对美国人价值观的影响Sino-western Cultural Shock and the English Study中西文化冲突与英语学习Comparisons of Sino-U。
英语阅读能力提升-研究发现：翻译难以表达出情绪词汇的真正含义
True meanings of words of emotion get lost intranslation, study findsThe true meaning of words may be lost in translation, according to research suggesting the way people understand terms such as “anger” or “love” differs between languages. For example, while the concept of “love” is closely linked to “like” and “want” in Indo-European languages, it is strongly linked to “pity” in Austronesian languages.Writing in the journal Science, Joshua Conrad Jackson and his colleagues from University of North Carolina Chapel Hill report how they carried out an analysis of 24 emotional concepts, such as anger, love and pride, across 2, 474 languages.The team found emotion concepts across all language families tend to be grouped together based on whether they were positive or negative. Moreover, certain emotions such as grief and regret were commonly found to be linked in several different language families, with language families geographically closer showing greater similarities in meanings.Nonetheless, there were variations. For example, the link between “fear” and “surprise” in Austronesian languages like Hawaiian is not evident in Tai-Kadai languages, spoken in South-East Asia and beyon d, where “surprise” sits more closely with “want” and “hope”.Jackson said the research suggested there may be no universal concepts of emotions. “People may universally have the experience of having their heart beat faster when threatened. However, there is variability in the way that we make meaning of that experience, ” he said, adding that such responses appear to be shaped by culture.用 2474 种语言说爱你，意思可能都不一样今日导读提到描述情绪的词语，大家可能会毫不费力地想起“愤怒”、“喜爱”等等。
六十年来_聊斋志异_在俄罗斯的传播_岳巍
·文献资料·文章编号：1002-3712（2010）01-0110-11六十年来《聊斋志异》在俄罗斯的传播岳巍（济南大学外国语学院，山东济南250022）摘要：在《聊斋志异》的外译史上，俄苏的译介取得了很大的成绩，从单篇译文到选译本，从不同时期的选本到综合本，俄苏几代汉学家一直致力于聊斋小说的翻译和出版，促进了《聊斋志异》在俄罗斯的传播。
其中，以瓦·米·阿列克谢耶夫院士的成就最大，他翻译的聊斋小说忠于原文，译笔高超，六十年来被一版再版，在国际汉学界享有盛誉，此后还有乌斯京等人翻译过聊斋小说，阿列克谢耶夫的学生和女儿为其译文的修改完善和编选再版进行了不懈的努力，他们和译者一起为《聊斋志异》在俄罗斯的传播作出了重要贡献。
关键词：聊斋志异；俄罗斯；翻译；传播中图分类号：I207．41文献标识码：A在中国古典文学作品中，蒲松龄的《聊斋志异》以其丰富深刻的思想内容、新奇高超的艺术技巧倍受读者欢迎，文学史家指出：“在以志怪为特征的文言小说中，最富有创造性、文学成就最高的是清初蒲松龄写的《聊斋志异》。
”［1］（P312）实际上，《聊斋志异》也是中国古典文言短篇小说的颠峰之作，蒲松龄被公认为“世界短篇小说之王”。
《聊斋志异》是誉满全球的名著，已经被翻译成20多收稿日期：2009-10-13作者简介：岳巍（1978-），女，山东青州人，博士，济南大学外国语学院讲师，研究方向：俄语语言文学、比较文化。
110种语言文字，是外译语种最多的中国古典文学著作。
在《聊斋志异》的外译史上，俄苏的译介取得了很大的成绩，从单篇译文到选译本，从不同时期的选本到综合本，俄苏几代汉学家一直致力于聊斋小说的翻译和出版，促进了《聊斋志异》在俄罗斯的传播，特别是近六十年来，传播尤其迅速。
1922年之前，在俄罗斯能见到的只是聊斋小说的零散译文。
在俄国，最先翻译聊斋故事的是瓦西里耶夫（В.П.Васильев，1818-1900，汉名王西里）院士，他选译了5篇聊斋故事并在自己的著作中简短评价《聊斋志异》时写道：“这些志怪故事不但语言精湛，且以叙事巧妙见长，因此本书非常受尊敬，版本众多。
《黑暗的心》所体现的康拉德对殖民主义的矛盾态度英语论文
XXX大学本科毕业论文（设计）任务书编号：论文（设计）题目：《黑暗的心》所体现的康拉德对殖民主义的矛盾态度学院： XXX学院专业：XX 班级： XX班学生姓名： XXX 学号：XXXX0 指导教师：XX 职称：XXX1、论文（设计）研究目标及主要任务中国曾经作为半殖民地，对中国独立后的文化取向和吸收发展方向有重要意义。
在世界范围内，殖民主义是一个重要的文学风格，康拉德《黑暗的心》又是殖民主义的代表作。
本文研究的目标是《黑暗的心》所体现的康拉德对后殖民主义的矛盾态度。
任务是探究其在小说中对殖民主义的矛盾态度。
2、论文（设计）的主要内容通过对语言运用、人物性格、语言分析分析表明康拉德在《黑暗的心》中对后殖民主义的矛盾态度，说明在帝国主义扩张时期，资本主义及帝国主义的人们不能够完全摆脱时代的烙印和限制，对殖民主义存有一种既反对又拥护的矛盾态度。
3、论文（设计）的基础条件及研究路线在学习过程中对有关问题产生了浓厚的兴趣并总结了相关的知识，对论文写作有一定的帮助。
结合已有的对此问题的研究，从语言、人物、表达方式上入手，深入探讨了康拉德在小说中对殖民主义的矛盾心理和态度。
4、主要参考文献[1] Albert J Guerad. 1950. Introduction in Heart of Darkness[ M] . New York: New American Library Edition,[2] Joseph Conrad, 2010.7.8, Heart of Darkness, Collins Classics, Harperpress,[3] 齐努瓦·阿切比, 2001 ,“非洲的一种形象: 论康拉德《黑暗的心》中的种族主义” , 杨乃乔等译,《后殖民批评》, 北京:北京大学出版社[4] 约瑟夫`康拉德(作者), 薛诗绮(译者), 智量(译者)，2006，世界文学名著典藏·全译本:《黑暗的心》，湖北人民出版社; 第1版指导教师：年月日教研室主任：年月日注：一式三份，学院（系）、指导教师、学生各一份XXXX大学本科生毕业论文（设计）开题报告书XXXX大学本科生毕业论文（设计）文献综述Literature ReviewThis literature review aims to provide a general introduction of the novel Heart of Darkness and some scholar‘s view about Conrad‘s paradoxical attitudes towards colonialism.Colonialism is the establishment, exploitation, maintenance, acquisition and expansion of colonies in one territory by people from another territory. Colonialism is a set of unequal relationships between the metropolis and the colony and between the colonists and the indigenous population. Collins English Dictionary defines colonialism as ―the policy and practice of a power in extendin g control over weaker people or areas.‖ The Merriam-Webster Dictionary offers four definitions, including ―something characteristic of a colony‖ and ―control by one power ove r a dependent area or people.‖Heart of Darkness is a novel, written by Joseph Conrad, that is presented in the form of a frame narrative (a story within a story). Conrad retells the story of Marlow's job as an ivory transporter down the Congo River. Through his journey, Marlow develops an intense interest in investigating Kurtz, an ivory-procurement agent. Heart of Darkness explores the darkness potentially inherent in all human hearts, and deals with the themes of colonialism, racism, and savagery versus civilization.About eight and a half years before writing the book, Conrad had been appointed by a Belgian trading company to serve as the captain of a steamer on the Congo River. Upon arrival at his station in the Congo, he found that the steamer he was to command had been damaged and was in need of repair. Yet the next day he headed up river on a different steamer that was captained by another. When that captain became ill during the journey Conrad assumed command. At the company's inner-most station they picked up its agent, Georges-Antoine Klein, who died on the return trip. Conrad himself became very sick and returned to Europe before serving out the full three-year term of his contract to the trading company.The tale was first published as a three-part serial, February, March, and April 1899, in Blackwood's Magazine(February 1899 was the magazine's 1000th issue: special edition). Then later, in 1902, Heart of Darkness was included in the book "Youth: a Narrative, and Two Other Stories" (published November 13, 1902, by William Blackwood).In a post-colonial reading, the Nigerian writer Chinua Achebe, author of Things Fall Apart, famously criticized Heart of Darkness in his 1975 lecture An Image of Africa: Racism in Conrad's "Heart of Darkness", saying the novella de-humanized Africans, denied them language and culture and reduced them to a metaphorical extension of the dark and dangerous jungle into which the Europeans venture.Since the middle 20th century, many colonies have won their independence from their colonizers through fighting and struggle. These countries have made great contributions to the emancipation of human beings. The culture and current situation of those ex-colonies are of great importance to the development of the world civilization. Heart of Darkness as one of the greatest works reflecting the life in colonies provides people abundant resources to investigate into the being ofcolonialism and anti-colonialism.Huang Yulan, a scholar from Yichun College, holds the opinion that Heart of Darkness reveals the greedy, hypocrisy, cruelty of the colonizers. Besides, Huang Yulan also points out the cultural superiority the colonizers bear. Although she agrees that the novel to some extent defend for the colonizers and for their deeds, generally speaking, she believes that Heart of Darkness has a strong inclination of anti-colonialism.Wang Songhuai, vice professor of Hubei Normal University, believes that Heart of Darkness reveals anti-colonialism from the angle of capitalism humanity. Conrad said in his book ―I became a new man with new attitude to morality.‖ (Joseph Conrad, 1917) Wang, by reciting Conrad‘s description of the miserable life of the native in colonies to show Conrad is on the opposite side of colonialism, which is anti-colonialism. Professor Wang holds that Conrad‘s thought is complicated. Conrad‘s novel partially depicts the reality of the colonies, but his capitalist status has undermined the effect of the novel in anti-colonialism. Even though Conrad has made progress in seeing what colonizers did, but finally he didn‘t give a clear picture of the whole condition.Zou Quan and Zou Yan, think that Heart of Darkness bears a sense of superiority of the colonizers and their countries, particularly, the Untied Kingdom. They cite the descriptions in the novel as evidence, saying those primitive people are nothing and their (the colonizers) task is to spread their advanced technology and culture to them so as to make them more civilized. In the end of their essay, Zou Quan and Zou Yan conclude their opinion. ―From the analysis above, we can draw such a conclusion. Since Conrad lived in the later age of Victoria, he was inevitably influenced by his living environment, a culture of Western colonialism. Influenced by his living environment, Conrad had to observe the colonies from an angle of the colonizers. Conrad himself could not get rid of the thought of colonialism and colonizers. Thus, while Conrad was revealing and criticizing the crimes which the colonizers committed, he couldn‘t completely get rid of the superiority of colonizers in his writing.‖Xu Ping, from Teachers College Qingdao University, and Zhang Xuan, from Nanjing University, generally hold the opinion that Heart of Darkness is a great work with a strong sense of anti-colonialism.The mainstream of the academia commenting on Heart of Darkness is from the anti-colonialism. However, these opinions do not have a comprehensive grasp of the meaning which Conrad wants to express. The features in the novel have both connotative and denotative meanings. A deep and careful reading will do a lot in helping to understand the novel better. Conrad himself has a paradoxical view to colonialism. His work H eart of Darkness (1899), written by Joseph Conrad is in itself an ambivalent novel regards to its motif. On one aspect, the novel, by criticizing the crimes those colonizers committed in colonies as well as its hypocrisy, showed the progress in anti-postcolonialism. On the other, the language of this novel manifested its cultural hegemony. This thesis, by analyzing the ambivalence of the language in the novel, reveals the ambivalent view of Joseph Conrad toward colonialism.To conclude, throughout history, many scholars and critics have commented onConrad‘s work, Heart of Darkness. There are three basic views. The first is that Conrad approves colonialism. The second is Conrad opposes colonialism. The last is Conrad has his paradoxical view towards colonialism. This thesis aims to further discuss Conrad‘s paradoxical attitude by analyzing the novel Heart of Darkness and his life experience.XXXX大学本科生毕业论文（设计）评议书本科生毕业论文设计题目《黑暗的心》所体现的康拉德对后殖民主义的矛盾态度作者姓名 XXX指导教师 XX所在学院 XXX学院专业（系） XX班级（届） XXXX完成日期XXXX年 5 月 8 日Joseph Conrad’s Ambivalence Towards Post-colonialismIn Heart of DarknessBy XXXXProfessor XXXTutorA Thesis Submitted to Department of EnglishLanguage and Literature in PartialFulfillment of theRequirements for the Degree of B.A. in EnglishAt XXXX University摘要约瑟夫·康拉德所著的《黑暗的心》是一个矛盾体。
命运的隐喻——神话原型视阈下的《黑暗之心》解读
Vol. 20 No. 11Nov. 2020第20卷第11期2020年11月黑龙江工业学院学报JOURNAL OF HEILONGJIANG UNIVERSITY OF TECHNOLOGY文章编号：2096-3874(2020)11 -0138 -04命运的隐喻——神话原型视阈下的《黑暗之心》解读李梦茹，陈婷婷(安徽大学外语学院，安徽 合肥230000)摘 要:《黑暗之心》是英国作家约瑟夫•康拉德的代表作晶，在康拉德的笔下，一个充满罪 恶的非洲大陆随着主角马洛的深入腹地而逐渐被拨开云雾。
但是康拉德的叙事晦涩难懂，又辅以大量的隐喻，读者难以立刻参透作者的意图。
那么借由神话原型批评,挖掘作者在叙事过程 中多次隐秘使用的神话隐喻，从原型角度对《黑暗之心》进行解读，探秘其中的命运隐喻,或许能一窥《黑暗之心》的深层意义。
关键词：《黑暗之心》；神话;原型；隐喻中图分类号:1106.4 文献标识码:A在英国作家约瑟夫•康拉德(Joseph Conrad , 1857—1924)的代表作《黑暗之心》中，作者通过老 年马洛的口吻,为读者讲述了马洛青年时在非洲 的一次航行。
在这次旅行中，马洛顺着河流逐渐 驶入被殖民者肆意践踏的非洲腹地，亲眼目睹了殖民的罪恶,心境也随着航行的深入发生了巨大 的变化。
其时殖民主义盛行，对物欲的追求大行其道, 人的精神世界因此而迷乱,这种迷乱随后带来了内心的疏离与癫狂,而康拉德通过典型的现代主 义风格的叙述手法对这一现象进行了描绘。
在文中，作者的叙事手法将他的意图深深地隐藏在其后,不易被发觉，但是同时,他也在文中多次隐秘 地使用了宗教和神话原型,这为读者开拓了一条 新的理解康拉德意图的道路，即神话原型理论批评。
神话原型理论脱胎于文化人类学、分析心理 学以及象征哲学。
神话原型理论是弗莱(Northmp Frye, 1912—1991 )对荣格(Carl Gustav Jung,1875—1961)“集体无意识”理论的发展，在弗莱的 理论中，原型是一种典型或重复出现的意象，读者可以通过深入分析文章重复的原型来探索作者意图，而原型中最典型也是最常见的原型就是宗教 神话原型。
从跨文化角度看中国文学翻译——以老舍《茶馆》两个英译本为例
收稿日期：2020-9-31 研究背景在最普遍的意义上，当某一文化的成员发出一条信息供另一个文化的成员理解消化时，跨文化交际便发生了。
翻译是一种特殊且普遍的语言活动（祝一舒，2020），在某种程度上，文学翻译就是一种跨文化阐释的形式，通过这种“跨文化阐释式”的翻译，一些文化含量较高的文学作品才能在另一种语言和文化语境下获得持续的生命力。
在世界多极化的发展进程中，各民族的文学发展越来越繁荣。
在我国现代文化发展和繁荣的时期，跨文化交际对于社会和文化的发展具有重要的作用，同时能够展现我国日益增强的文化软实力（刘冉冉 等，2020），也在东西方文化交流中具有重要意义（万佳琦 等，2020）。
《茶馆》是老舍先生在语言艺术上成就最高的剧作之一，也是让我国的戏剧作品走出国门、登上世界舞台的重要作品之一，对我国的戏剧产生了广泛而深远的影响（祝一舒，2018）。
目前《茶馆》有两个英译版本，一个是英若诚译本，另一个是霍华译本。
笔者从跨文化的角度分析这两个译本，以期能够激发译文文本的活力（朱昀 等，2020）。
2 从跨文化角度分析《茶馆》两个译本戏剧实质上是一种对话的艺术，老舍不仅是一名作家，更是一位语言艺术大家。
《茶馆》的语言风格突出，人物对话简洁，人物语言富有个性化，使用了大量的北京方言。
本文从文化负载词和句式结构方面进行对比，探究跨文化对于翻译的影响。
2.1. 文化负载词文化负载词又称文化独特词，被打上了某一语言社会的地域和时代烙印，是表示某一种文化所特有的事物和概念的词或者词组。
由于文化负载词承载了丰富的文化内涵，并且“只存在于某一种文化中，在另一种文化中是空白的”，因此它们往往成了跨文化交流和翻译的障碍。
《茶馆》中有丰富多彩的文化负载词（章璐 等，2020），而英若诚和霍华二人在处理这类文化负载词时采用了不同的翻译方法。
英若诚采取意译的翻译方法，目的是在国外的舞台上演出，注重追求语言的表现和感染力。
而霍华注重让外国读者了解更多中国文化，语言忠实地道。
【英语论文】康拉德《黑暗之心》中柯兹的人性分析Kurtz’s Nature In the Darkness
康拉德《黑暗之心》中柯兹的人性分析Kurtz’s Nature In the Darkness摘要在英国现代文学史上，康拉德是个特殊的人物。
他早年热衷于航海事业，直到19世纪90年代，即他投身航海生涯20年之后，才开始从事文学创作。
然而他也是一位多产的作家，这些作品为他赢得了世界性的声誉。
其代表作有《台风》，《吉姆爷》及《黑暗之心》。
《黑暗之心》是约瑟夫·康拉德的重要小说作品之一。
它于1899年以连载的形式在英国的一家杂志首次发表。
自从它问世以来，《黑暗之心》的影响逐年上升。
这部小说本身是一部复杂的小说，是冒险故事，心理分析，政治讽喻，黑色幽默，和怀疑主义沉思的杂合体。
在这篇论文中，通过使用弗洛伊德心理分析法以及多角度分析的方法，我试图分析出库尔兹在黑暗中闪现出的人性。
通过以上方法，我试图使一个完整的库尔兹呈现出来。
我的论文可分为五个部分。
第一部分是对作者和他的作品《黑暗之心》的介绍。
第二部分在对库尔兹人性的分析中，借用了精神分析学派的“我”的三重划分，指出库尔兹的堕落在于本我的肆意扩张，超我(社会性的道德、规范)失去了约束能力，自我沦丧。
在第三部分中，我们可以看到一个迷失，残暴以及贪婪的库尔兹。
第四部分指出库尔兹是一个多才多艺的理想主义者，他徘徊于西方文明与非洲文化之间。
通过分析库尔兹表现出的人性，我们可以看出人性的神秘性，同时，我们可以把库尔兹整个人生的抗争看成是当时整个社会文明与个体道德的斗争。
关键词：康拉德；柯兹；人性AbstractIn English literature, Conrad is a special man. As a young man, he is fond of sailing. He is not engaged in the literature until the 90’s in 19th century. However, he writes many novels and gets the world prestige. His representative works are Lord Jim,Nostromo and Heart of Darkness. Heart of Darkness is one of Joseph Conrad's celebrated novels. It was first serialized in Blackwood's Edinburgh Magazine in 1899. Since its publication, Heart of Darkness has become progressively more influential during the following decades. Heart of Darkness itself is a complicated novel, since it is a mixture of adventure story, psychological case study, political satire, black humor comedy, and skeptical meditation. In the paper, I try to present Kurtz 's nature in the darkness, using Freudian psycho analysis and multi-angles analysis. With those approaches, I try to show an intact Kurtz. My paper can be divided into five parts. The first part is the introduction to Joseph Conrad and his novel Heart of Darkness. In the second part, this thesis borrows the three layers' division of "I'' in psycho analytics. This thesis indicates that the degeneration of Kurtz lies in his wantonly expanded ego while as his superego (social moral and regulation) lost binding force and his ego was mined. In the third part, we find a lost, cruel and greedy Kurtz. The fourth part presents a versatile idealist who stands between Western civilization and African culture. By analyzing Kurtz 's nature, we can find the mystery of human nature and the conflict of social civilization and individual moral. The fifth part is conclusion.Key Words: Conrad; Kurtz; natureIntroductionJoseph Conrad did not begin to learn English until he was 21 years old. He was born Jozef Teodor Konrad Korzeniowski on December 3, 1857, in Polish Ukraine. When Conrad was quite young, his father was exiled to Siberia on suspicion of plotting against the Russian government. After the death of the boy’s mother, Conrad’s father sent him to his mother’s brother in Kraków to be educated, and Conrad never again saw his father. He traveled to Marseilles when he was seventeen and spent the next twenty years as a sailor. He went to an English ship in 1878, and eight years later he became a British subject. In 1889, he began his first novel, Almayer’s Folly,and began actively searching for a way to fulfill his boyhood dream of traveling to the Congo. He took command of a steamship in the Belgian Congo in 1890, and his experiences in the Congo came to provide the outline for Heart of Darkness. Conrad’s time in Africa wreaked havoc on his health, however, and he returned to England to recover. He returned to sea twice before finishing Almayer’s Folly in 1894 and wrote several other books, including one about Marlow called Youth: A Narrative before beginning Heart of Darkness in 1898. He wrote most of his other major works—including Lord Jim, which also features Marlow, Nostromo, and The Secret Agent, as well as several collaborations with Ford Madox Ford—during the following two decades. Conrad died in 1924.Heart of Darkness, one of the most famous jungle novels, is created on the basis of C onrad’s diary in 1890 when he was on the journey to Congo. On a cruising yawl at rest on Thames, the narrator, Marlow is telling his story about his travel along another river and the legend of an agent down in the jungle. He is appointed by a company that gathers ivory in Congo. Even though the journey seems quite arduous and somewhat elusive, Marlow, who has always had a passion for travel and exploration, sets out his adventure. From beginning to end, what he sees and hears are the dark Africa where the trade agents are greedily gathering ivory, seizing and grabbing the natives brutally. Especially when he witnesses the fable about Kurtz. As a well-educated white, Kurtz, who has the talent of eloquence as his trump card, is arbitrarily ruling his empire but blindly worshipped by the natives as a saint. The works provides a bridge between Victorian values and the ideals of modernism. Like much of the best modernist literature produced in the early decades of the twentieth century, Heart of Darkness is as much about alienation, confusion, and profound doubt as it is about imperialism. Imperialism is nevertheless at the center of Heart of Darkness.By the 1890s,and the major European powers were stretched thin, trying to administer and protect massive, far-flung empires. Cracks were beginning to appear in the system: riots, wars, and the wholesale abandonment of commercial enterprises all threatened the white men living in the distant corners of empires. Things were clearly falling apart. Heart of Darkness suggests that this is the natural result when men are allowed to operate outside a social system of checks and balances: power, especially power over other human beings, inevitably corrupts. At the same time, this begs the question of whether it is possible to call an individual insane or wrong when he is part of a system that is so thoroughly corrupted and corrupting. Heart of Darkness, thus, at its most abstract level, is a narrative about the difficulty of understanding the world beyond the self, about the ability of one man to judge another.Darkness is the theme of this story. It is the clue to find out the context of the story. Conrad makes an integral connection between mind, body and nature by this application. Darkness is also the color of the places where explores and colonialists settled, and the color of the black’s skin. In contrast to the darkness, the white seems extremely outstanding. But inside their white skin, the colonists have a heart of profound darkness, evil and dread.1 Id, superego, ego of Kurtz by psycho analysis1.1 Definitions of termsThis thesis intends to make a Freudian psycho analysis of Kurtz’ s nature in the darkness in terms of Sigmund Freud's theory---the structures of mind. Therefore, it is necessary to make clear two definitions: Freudian and psychoanalysis first of all. Freud, is the recognized founder of modern psychoanalysis, who has exerted an influence far beyond his own field. His theory of the workings of human mind and its descriptive terminology find application in almost all branches of humanities and social sciences. Psychoanalysis is a systematic structure of theories concerning the relation of conscious psychological processes. Or it is a technical procedure for investigating unconscious mental processes. Psychoanalytic theory is Freud's theory that the origin of personality lies in the balance between the id, the ego, and the superego. One's personality is the total sum of all of the ways of acting, thinking, and feeling that are typical for that person and make that person different from all other individuals.1.2 Three structures of mind---the id, the ego, and the superegoThe 1926 edition of The Encyclopedia Britannica described Freud's concept of the elements of personality as follows:The mental apparatus is composed of the "id," which is the reservoir of the instructive impulses, of the "ego" which is the most superficial portion of the id and the one which is modified by the influences of the external world, and of the "super-ego," which develops out of the id, dominates the ego and represents the inhibition of instinct characteristic of man.The id, according to Freud, is the inborn part of the unconscious mind that uses the primary process to satisfy its needs and that acts according to the pleasure principle. Someone further explains that the id is a cauldron of seething excitement. In the id, there is nothing corresponding to the idea of time, no recognition of the passage of time. The id knows no values, no good and evil, no morality, and blindly strives to gratify its instincts in complete disregard of the superior strength of outside forces.In his essay "The Ego and the Id", Freud presents the id as follows: an individual is looked upon as a psychical id, unknown and unconscious. The id attracts all kinds of instinctive forces in order to find their mental representation. The instincts in the id press for immediate satisfaction, regardless of all else, and in this way either fail of achievement or actually do damage. From the point of view of instinctive control, of morality, it may be saidas the "self' or "I," which perceives, remembers, evaluates, plans, and in other ways is responsive to and acts in the surrounding physical and social world. The 1974 edition of Encyclopedic World Dictionary defines it as "that part of the psychic apparatus which experiences the outside world and reacts to it, thus mediating between the primitive drives of the id and the demands of the social and physical environment." While someone points out why the ego is formed, that's because the id has to find realistic ways of meeting its needs and avoiding trouble caused by selfish and aggressive behavior. The ego operates according to the reality principle. The ego can be thought of as the executive of the personality because it uses its cognitive abilities to manage and control the id and balance its desires against the restrictions of reality and the superego.According to Freud, the ego is that part of the id which has been modified by the direct influence of the external world. It seeks to bring the influence of the external world to bear upon the id and its tendencies, and endeavors to substitute the reality principle for the pleasure principle which reigns unrestrictedly in the id. It strives to be moral, representing what may be called reason and common sense, in contrast to the id, which contains the passions. The ego is placing itself at the service of the opposing instinctual impulses. It is the representative of the external world to the id. And it tries to mediate between the world and the id. When the ego finds itself in an excessive real danger, where it believes itself unable to overcome by its own strength, it sees itself deserted by all protecting forces and makes itself die.The superego holds up certain norms of behavior, and does not regard to any difficulties coming from the id and the external world. It is the part of the mind that opposes the desires of the id by enforcing moral restrictions and by striving to attain a goal of "ideal" perfection. The Encyclopedic World Dictionary defines it as "that part of the psychic apparatus which mediates between ego drives and social ideals, acting as a conscience, which may be partly conscious and partly unconscious." In other’s angle, the superego represents the internalization of parental standards and authority. In the normal male child, it replaces the Oedipal desire for the mother. The developing superego thus absorbs the traditions of the family and the surrounding society, serving chiefly to control sexual and aggressive impulses that threaten social structures.In his "The Ego and the Id", Freud assumes the existence of a grade in the ego, a differentiation within the ego, which may be called the "ego ideal" or "superego". The superego derives from the first object of the id, from the Oedipus complex. The ego ideal has the task of repressing the Oedipus wishes. Therefore, the superego "retains the character of the father." Freud points out that the ego ideal is the heir of the Oedipus complex, that it is also the expression of the most powerful impulses and most important libidinal vicissitudes of the id, and that it exercises the moral censorship in the form of conscience. It can besuper-moral and then become as cruel as only the id can be. Then how is it that the superego develops such extraordinary harshness and seve rity towards the ego? Freud proposes, “The excessively strong superego which has obtained a hold upon consciousness rages against the ego with merciless violence. The destructive component had entrenched itself in the superego and turned against the ego.”What is the relationship between the id, the ego and the superego? "The ego is a poor creature owning service to three masters and consequently menaced by three dangers: from the external world, from the libido of the id, and from the severity of the superego." It has to reconcile between the id and the external world, to make the id pliable to the world and to make the world fall in with the wishes of the id. Whenever possible, it tries to remain on good terms with the id; it pretends that the id is showing obedience to the admonitions of reality, even when in fact it is remaining obstinate and unyielding; it disguises the id's conflicts with reality and, if possible, its conflicts with the superego too.In my thesis, I will apply the theories of the id, the ego, and the superego to the psycho analysis of Kurtz’ s nature.1.3 The application of the psycho analysisIn civilized society, on the basis of the superego, the ego harmonizes the relationship between the id and society, so people's id can only be satisfied to a certain extent. In Europe, Kurtz lives in the civilized society. Everything is set in a formed way which assumes the implement of civilization. He grows up in the atmosphere and acts according to the accepted yardstick. When he has no money, his id drove him to get money. But he will not rob from others because of the existence of the superego. In such condition, the ego can deal with the relationship between the id and the superego well. In Africa, when people are far away from the civilized s ociety, in order to meet the id’s demand, they will act by any kind of means. Colonists can do anything they want to do. They ignored the superego and did things at will. There also existed the conflict between white colonists apart from the contradiction between the black and the white. Kurtz was a great man in the Congo River. After being far away from the ethic of the civilized society, the function of the id was greater and greater .As we know, the desire of the id is limitless and he was totally controlled by the id in the end. The following state is that Kurtz regarded himself as the dominator and the desire of going in for the ivory was more endless. In order to take the ivory, he put the local’s heads on the guardrail to warn the public after massacring the local in large quantities. Marlow wrote: " I have no opinion on that point, but I want you clearly to understand that there was nothing exactly profitable in these heads being there. They only showed that Mr. Kurtz lackedhim—some small matter which, when the pressing need arose, could not be found under his magnificent eloquence. Whether he knew of this deficiency himself I can't say."1The description displays Kurtz’s miserliness along with the expansion of the id. From his last words “the horror, the horror”2, I think the knowledge came to him at last—only at the very last. But the wilderness had found him out early, and had carried out a terrible vengeance for the fantastic invasion. I think that it had whispered to him things about himself which he did not know and the whisper had proved irresistibly to be fascinating. It echoed loudly within him because he was hollow at the core. A follower of Kurtz said " This man suffered too much. He hated all this, and somehow he couldn't get away. When I had a chance I begged him to try and leave while there was time; I offered to go back with him. And he would say yes, and then he would remain; go off on another ivory hunt; disappear for weeks; forget himself amongst these people—forget himself—you know." 3Kurtz forgot himself, which means he lost himself and the ego didn’t work any more. Though he wanted to return to the civilized society very much, he cannot get rid of the control of the id. In the end, he was unable to flee from Africa. Appearance of Marlow wanted to draw Kurtz back to the civilized society, though within short time. His desperate cry expressed that he had already understood the evil completely, but he was unable to change his own destiny. His final result of destiny was the inevitable consequence, which was caused by the expansion of the id in the human natural instincts. Without doubt, another reason is the depletion of the superego.In the novel, Conrad did not make us know the destructive effect of the id, but show us the existence of the ego. We will explore the ego of Kurtz in Marlow’s view. Marlow was described as another Kurtz. They understood and trusted each other. Marlow’s road to Kurtz can also be thought to be the road to finding himself. Apart from the dark side, Conrad wants to express a positive view of life by portraying Marlow. From beginning to end, Marlow put the ego in the right place, so he kept himself under the control of reason and never lost himself. Marlow realised that the Congo River had ineluctable magic power, which brought the enlargement of the id. From Kurtz, Marlow knows the effect of the id and brings the ego into play. He never lost himself in the remote uncivilized forest. Marlow got regeneration after going through one shake, but Kurtz moved towards extinction under the control of the id.1/toc/modeng/public/ConDark.html2/toc/modeng/public/ConDark.html2 Kurtz in the center of darkness2.1 Helpless man in the indifferent worldIt is said that each person is alone and without assistance in a monstrous silence, and his presence is simply an accident in the universe where everything is superfluous. As a common person, we have to face the inevitability of death, the necessity of working for a living, and everything known and unknown. With the development of the modern sciences, man possesses more and more advanced technologies and knows more and more about the universe. Yet he sees more and more his own limitation as well. He sees now clearly how small and powerless and of no importance he himself is, compared with the vastness of the universe and all kinds of powerful instruments that man himself invents. The idea that man is the primate of the highest order and God has created everything in the world just for the service of man appears false and could not support itself any more. Thus man feels lost and has to study himself once again and tries to find out his own position in the universe and his own identity. Industrialism, science, new philosophy of life based upon science, social problems, and the wars between European countries made people feel the world was out of order and in chaos. Living in a cold, indifferent, and essentially Godless world, man was no longer free in any sense of the word. He was completely thrown upon himself for survival. People cannot hope to fall back on divine help and guide, and feel irretrievably lost. Life just became a struggle for survival. Thus a self-conscious movement with its belief that the world is absurd and life is meaningless came into being. Heart of Darkness reveals to the author of this thesis that Conrad observes the relationship between man and the world just in the same way as the twentieth-century existentialists do. In this novella he has Kurtz describe an existential world, “the earth … is a place … where we must put up with sights, with sounds, with smells … —breathe dead hippo, so to speak, and not be contaminated”1. Nature usually appears as an opposite force which fights against man constantly in the novel. To Kurtz ,the universe is purposeless and indifferent to human wish to which all his experience points to. Kurtz was described as a man that was not rich enough, so his engagement with a girl was disapproved by her parents. The hurt man tried to realize his own value in a remote and hostile environment. During the struggle against the wilderness, he exhausted himself. Before death, he was left alone and only the laugh of wilderness existed around him. In the heart of a conquering darkness, “It was a moment of triumph for the wildern ess, an invading and vengeful rush which, it seemed to me, I would have to keep back alone for the salvation ofanother soul. And the memory of what I had heard him say afar there, with the horned shapes stirring at my back, in the glow of fires, within the patient woods, those broken phrases came back to me, were heard again in their ominous and terrifying simplicity.”1And in this indifferent world, human actions to Kurtz are always restricted, frustrated and stopped right in the air. Apart from his own restriction, like poverty and physical health, he had to go into the forest and communicated with the local people. In the meantime, Kurtz had to deal with his companions. It is no wonder that Marlow comments in the story “we live, as we dream-alone.”22.2 Degeneration“I could see the cage of his ribs all astir, the bones of his arm waving. It was as though an animated image of death carved out of old ivory had been shaking its hand with menaces at a motionless crowd of men made of dark and glittering bronze. I saw him open his mouth wide—it gave him a weirdly voracious aspect, as though he had wanted to swallow all the air, all the earth, all the men before him. You should have heard him say, `My ivory.’ Oh, yes, I heard him. `My Intended, my ivory, my station, river, my---’everything belonged to him." 3 Here Marlow is talking about a voracious and weird Kurtz, a man driven by a hunger to engorge the universe. The fiction displays the conqueror who despoils the planet he craves to possess, and points to his fate as victim of its terrible vengeance for the fantastic invasion.In the descriptive paragraphs related to Kurtz, we find him a real mysterious, cruel, greedy figure. When Marlow first caught sight of Kurtz's surroundings through his glasses, he sees the slope of a hill interspersed with rare trees and perfectly free from undergrowth. A long decaying building on the summit is half buried in the high grass. And near the house half-a-dozen slim posts remains in a row, roughly trimmed, and with their upper ends ornamented with round carved balls. When getting nearer Kurtz, Marlow takes up his binoculars again, looks at the shore and had a clear view of the ornamented upper ends of the posts: "They would have been even more impressive, those heads on the stakes, if their faces had not been turned to the house. Only one, the first I had made out, was facing my way. I was not so shocked as you may think. The start back I had given was really nothing but a movement of surprise. I had expected to see a knob of wood there, you know. I returned deliberately to the first I had seen---- and there it was, black, dried, sunken, with closed eyelids-a head that seemed to sleep at the top of that pole, and with the shrunken dry lips showing a narrow white line of the teeth, was smiling, too, smiling continuously at some1/toc/modeng/public/ConDark.html2/toc/modeng/public/ConDark.htmlendless and jocose dream of that eternal slumber."1From these descriptions, we obtain a clear vision of a cruel and totally corrupted Kurtz like the decaying building and ruined house. For more ivory he could do anything as the harlequin Russian, the man of patches says: “Nothing on earth to prevent him killing whom and there was he jolly well pleased. And it was true, too.” These heads are the heads of the "rebels" who stand in the way of his ivory obtaining. This is the Kurtz, an ivory-stricken demoniac Kurtz. The opening paragraph of his report about the "suppression of savage customs" is most representative to show his white supremacy. He began with the argument that “We white, from the point of development we had arrived at, must appear to them savages. In the nature of supernatural beings, we approach them with the might as of a deity. By the simple exercise of our will, we can exert a power for good practically unbounded, etc.” 2What we read from Kurtz are very complicated feelings of the author. Like what we have read from Marlow, Kurtz is another evidence of Conrad's conflicting visions, because he is both marvelous for all his good qualities as a white man, and malicious for his lack of restraint in an alien culture.3 A desolate messenger3.1 A talent.In the works, Kurtz is described as a perfect talent, which can be reflected in many aspects. His mother is half-English and his father is half-French. Advanced European civilization provides well educational situation for him. “All Europe contributed to the making of K urtz.”1He is a remarkable politician with outstanding eloquence. “The point was in his being a gifted creature, and that of all his gifts the one that stood out pre-eminently, that carried with it a sense of real presence, was his ability to talk, his words—the gift of expression, the bewildering, the illuminating, the most exalted and the most contemptible, the pulsating stream of light, or the deceitful flow from the heart of an imp enetrable darkness.”2 Kurtz is also very good at trade. With the great moral crusade of bringing lights to the backward people of the world, he became a first-class agent, who was in charge of a very important trading post. The ivory he sent in is as much as all the others put together.In contrast with Kurtz, the manager is described as a fool. The manager got his position just because he was never ill in the remote and hos tile environment. “He had served three terms of three years out there . . . Because triumphant health in the general route of constitutions is a kind of power in itself. When he went home on leave he rioted on a large scale—pompously. Jack ashore—with a difference—in externals only. This one could gather from his casual talk. He originated nothing, he could keep the routine going—that's all of.”3 Conrad doesn’t show us a clear and overall impression of Kurtz. For K urtz’s cousin, Kurtz is a great musician. For Marlow, Kurtz is an artist. For the journalist, he is a journalist who could paint or a paint who wrote for the papers. Kurtz is regarded as a representative of all the highest aspiration of nineteenth-century individualism. Above all, Kurtz is a universal genius.3.2 An idealistA majority of Western colonists went to Africa for gold or fame. Those men’s ideal was to pursue wealth and power. “To tear treasure out of the bowels of the land was their desire, with no more moral purpose at the back of it than there is in burglars breaking into a safe.”4 A funny Dane hammered the chief of a village because he thought himself wronged in the1/toc/modeng/public/ConDark.html2/toc/modeng/public/ConDark.htmlbargain, when he bought two black hens. His life and the whole village disappeared because of the two black hens. Different from the above guy, Kurtz has his own ideal that is "Each station should be like a beacon on the road towards better things, a center for trade of course, but also for humanizing, improving, instructing."1Of course, Kurtz’s ideal seems reasonable. According to Marlow’s narration, the Congo River is so similar with the old Thames. The Romans first came to the Thames, nineteen hundred years ago. “Light came out of the river since—you say Knights? Yes; but it is like a running blaze on a plain, like a flash of lightning in the clouds. We live in the flicker—may it last as long as the old earth keeps rolling! But darkness was here yesterday. Imagine the feelings of a commander of a fine—what d'ye call 'em?—trireme in the Mediterranean, ordered suddenly to the north; run overland across the Gauls in a hurry; put in charge of one of these craft the legionaries,—a wonderful lot of handy men they must have been too—used to build, apparently by the hundred, in a month or two, if we may believe what we read. Imagine him here—the very end of the world, a sea the color of lead, a sky the color of smoke, a kind of ship about as rigid as a concertina—and going up this river with stores, or orders, or what you like. Sandbanks, marshes, forests and savages,—precious little to eat fit for a civilized man, nothing but Thames water to drink. No Falernian wine here, no going ashore. Here and there a military camp lost in a wilderness, like a needle in a bundle of hay—cold, fog, tempests, disease.”2However, the Thames has changed a lot and the Congo River is still there.From the Russian, we can know that Kurtz surely wanted nothing from the wilderness. He wanted to prove his own value and realize his ideal. Kurtz had grown out of the lower stage, which can conclude that all that was necessary to raise up the people of Africa was to introduce European culture and technology to them. This perceived responsibility to lift up the nations of Africa came to be known as the “white man’s burden”. This feeling of responsibility gave rise to the fervor to bring Christianity and commerce to Africa. However, in reality, his ideal is so uncalculating and unpractical, though absolutely pure. After all, a man can’t change the whole tendency of society. Facing the indifferent society, the only thing he can do is to stick to his own ideal and be an idealist.3.3 A man in the edge, who strives to struggle3.3.1 A man, abandoned by European civilizationAs we know, Kurtz receives European civilization. Inspired by the “noble and impartial”occasion, the European went to the centre of Africa. But Kurtz had instinct differences from。
康拉德小说《胜利》中的“非人”形象——试论琼斯先生的“非人”形象建构及原因
１９ 年 出 版 。 至 １２ 年 ． 出版 ３部 中长篇 小说 及 短篇 ８５ 直 ９４ 共 ｌ
小说 集 和散 文 集 。 的作 品 根据 题 材可 分 为航 海小 说 、 他 丛
鲜 见 对 《胜 利 》 翻 译 之 作 ， 在 国 内 对 这 部 小 说 作 出 专 的 而 门批 评 研 究 的 更是 少 之 又 少 。因此 ， 文 从 《 利 》 部 小 本 胜 这
说 中 的 “ 人 ” 象 出 发 。 论 小说 作 者 是 如 何 通 过 描 述 非 形 讨
来 刻 画 这 些 “ 人 ” 象 ． 借 用 东 方 主 义 的 一 些 观 点 来 非 形 并 论 述 建 构 背 后 可 能 的 原 因
林 小说 和社 会 政治 小 说 。他 的航 海小 说 出色 地传 达 了海 洋 上 狂 风 暴 雨 的 气 氛 ， 以 及 水 手 们 艰 苦 的航 海 生 活 和 深
由 后 面 临 的很 可 能 是 更 糟 的 命 运 ： 样 的 ， 我 ” 个 自 由 同 “ 这 黑 人 除 了人 身 自由外 ， 有什 么 自 由？处 处被 限制 ， 工 还 找
部 长 篇 小 说 《 尔 迈 耶 的 愚 蠢 》 ｌ ｙ ｒＳ ｚ ） 阿 ｍａ ｅ ’ ｚ 于 ｙ
刻 细微 的心 理 活 动 。其 代 表作 有 《 仙 号 上 的黑 家伙 》 水
（ ｅＮｉｇ ｒｆｔｅ Ｎａｃ ｓ ｓ ） １ ９ 年 ） 《 风 》 — ｇ ｅ ｈ ’ ｏ ｒｉ ｕ ’ （ ８ ７ ｓ 、台 （
殖 民 主 叉批 评 他
关键 词 ： 胜 利 》 “ 人 ” 象 《 非 形
醒 使 他 逐 渐 地 接 受 了原 来 所 排 斥 的 黑 人 文 化 ． 而 在 黑 人 从
非洲英语文学在中国的传播分析论文
非洲英语文学在中国的传播分析论文非洲英语文学在中国的传播分析论文跨文化传播一词,最早出现在1959年美国文化人类学家爱德华·霍尔德的着作《无声的语言》中。
从学理上说,跨文化传播指属于不同文化体系的个人、组织、国家之间所进行的信息传播和文化交流活动[1]150。
伴随着信息技术的发展,互联网作为第四媒体,使信息的同步传播成为可能,同时也为跨文化传播提供了便利。
电子传播使地球缩小成为一个村落,文化的传播有了载体。
加拿大学者麦克卢汉认为,任何媒介都是人的延伸,而起源于文化人类学的“跨文化传播”,其核心就是跨文化,重点是对异质文化的关注。
中国从上世纪90年代初也开始关注后殖民理论。
后殖民理论和文学的研究源于西方社会内部,其属性为西方学术内部的自发反省和批判。
随着后殖民理论的发展,葛兰西、斯皮瓦克和霍米·巴巴把后殖民的政治性批判更多地转向文化反思。
跨文化传播使得后殖民理论成功吸引了曾经作为半殖民地的中国的注意力,而且也使后殖民文化批评理论跳出了同质文化内部的传播互动,将其扩展到异质文化之间,同时赋予了后殖民理论中最具争议性的问题——文化霸权极高的关注。
所以说将传播学放置到后殖民语境下研究,就是把跨文化传播学放入文化发展与交流的大背景下去研究,对研究跨文化传播学的发展基调提供了有力的依据。
近些年来前殖民地国家创作的反殖民题材的文学作品,极大地吸引了后殖民理论家的注意。
碍于非洲语言的复杂,“口头叙述”传播的特殊,非洲作家的作品传入甚少。
语言是传播的媒介,英语在西方国家的殖民侵略中充当了中坚力量,研究非洲英语文学在中国的转播,更能从一个巧妙的视角,揭开殖民伪善的面纱。
非洲英语文学,又叫“黑非洲英语文学”,但是为了不增加其称谓的殖民色彩,这里去掉“黑”字。
最早的非洲英语文学作品是加纳的约·凯瑟利-海福德的《解放的埃塞俄比亚》(1911),但是其译本没有传入国内。
伴随着殖民侵略和民族反抗运动的开展,非洲英语文学取得了快速发展。
浅谈英汉互译中的不可译性
浅谈英汉互译中的不可译性作者：赵彤贾欢来源：《现代职业教育·高职高专》2019年第03期[摘要]英语和汉语作为两种差异非常大的语言，在互译过程中存在着许多不可译的情况，但是不可译并不意味着放弃翻译。
因此，对不可译的情况进行归纳和总结，并得出英汉互译中不可译情况的挽救措施就显得十分必要。
[关键词]翻译;英汉互译;不可译性[中图分类号]H315.9[文献标志码]A[文章编号]2096-0603（2019）07-0122-02一、翻译的不可译性概述（一）不可译性的提出早在文艺复兴时期，意大利诗人但丁在研究《圣经》的拉丁文译文时，发现《圣经》的译文失去了原文的一些特征和意义，于是提出翻译的不可译性。
英国古典主义流派创始人约翰·德莱顿于17世纪提出，译者就像戴着脚铐在绳子上跳舞，他能够小心翼翼避免摔’下来，但不能指望他举止优美（Lefevere，2004：23）。
在德莱顿看来，翻译中无法一概直译，翻译的可译性也是有限度的。
而在我国，著名译经师玄奘在将经书翻译成梵语时总结出了“五不翻”原则，即“秘密故不翻”“含多义即不翻”“此无故不翻”“顺古故不翻”“生善故不翻”，提倡在这五种情况下不能强行翻译（却正强，2010：5）。
中国文学翻译的开拓者鲁迅也曾说过“翻译宁信而不顺”，同样肯定了翻译的不可译性。
（二）不可译性的原因德国语言学家洪宝提出：“每一种语言都是独特的，都有与众不同的内在特质，因而在其他语言中找不到一个对等物。
”（Lefevere，2004：65）每种语言都是独一无二的，任何两种语言之间不存在完全的对等，而英语和汉语的语音系统、文字结构和修辞方法之间存在很大差异，导致绝大多数语言成分无法在另一种语言中找到对等语。
同时，文化间的差异也进一步增加了翻译中不可译的因素。
如此一来，在英汉互译中必然存在源语言特征和意义的流失，如源语中暗含的幽默、劝诫讽刺之类的意味，使译文的质量在一定程度上降低，甚至使译文变得生涩难懂，大大降低了译文的可读性。
由《吉姆爷》中译本看小说翻译叙述视角的传译
由《吉姆爷》中译本看小说翻译叙述视角的传译作者：李珂来源：《文学教育》2009年第01期一、序言文学翻译中，译者不仅要在内容层面上与原文建立对等，也要反映原文中通过语体等形式特征体现的修辞、美学功能。
根据结构主义文学理论，每一篇叙事都由两部分组成：故事和话语，即叙事的内容和叙事表达、传达内容的方式。
现代小说更关注小说叙事的形式技巧，而形式技巧的一个很重要方面便是叙事视角的灵活运用。
视角在叙事学中指事件被见证、报道和判断的立足点。
小说叙述者主要使用一种视角叙述的同时，往往会对视角进行多样化的调节，如暂时使用人物视角、运用摄像式的旁观视角等以配合小说主题并取得一定的叙事效果。
小说译者应区分故事的叙述声音和叙事视角，辨析视角的转换调节，并予以准确传达。
本文试结合康拉德小说《吉姆爷》（Lord Jim）讨论小说翻译中的叙述视角问题。
《吉姆爷》（1900）可称是英国文学中一部突出的现代主义作品。
小说打破了按时间顺序交代故事来龙去脉的传统小说叙事，“采用前后穿插多次往复的叙述方式”。
[1]叙述视角方面也体现了新的尝试。
整个小说可分为三大部分：第一部分（一至四章）为全知叙述，在决定吉姆人生命运的关键时刻，全面展示吉姆的思想、情感、动机与性格，使读者直接看到主儿公的内心深处。
第二部分（五至三十章）运用有限叙述视角，以马洛作为好奇者探测疑云的方式展开。
读者看到一个旁观者的客观印象和判断，而未真正深入吉姆本人的精神世界。
第三部分（三十六至四十五章）通过给马洛的信转述了吉姆最终选择的过程。
二、全知叙述视角《吉姆爷》以倒叙开篇，采用全知视角，全知叙述者用自己的眼光叙事和观察故事世界及人物内心。
如小说第一段：He was an inch，perhaps two，under six feet， powerfully built……His voice was deep，loud，and his manner displayed a kind of dogged self-assertion which had nothing aggressive in it.It seemed a necessity，and it was directed apparently as much at himself as at anybody else.He was spotlessly neat，appareled in immaculate white from shoes to hat. [2]浦译：他差一两英寸就到了六英尺，身量儿十分魁梧……他的声音深沉、洪亮，举止中表现出一种我行我素的固执，但没有一点咄咄逼人的张狂。
从翻译操纵视角看约瑟夫·康拉德作品在中国的译介
作者简介：曾湘云（1988—），女，汉族，广西平南县人，硕士研究生，百色学院外国语学院助教，主要研究方向为翻译理论与实践、大学英语教学。
从翻译操纵视角看约瑟夫·康拉德作品在中国的译介曾湘云（百色学院外国语学院，广西百色533000）一、引言约瑟夫·康拉德是英国著名的小说家之一，人们大多从语言和文本等方面对其作品进行分析。
而笔者超越文本之外，从翻译操纵的视角，分析其作品能够在我国不同历史时期得以译介的外部因素。
为方便梳理，笔者探索性地将康拉德作品在中国的译介分为三个时期：早期（1924~1948）、停滞期（1949~1977）与发展期（1978~2012），以期为读者全面展现其译介情况。
二、勒菲弗尔的翻译操纵论安德烈·勒菲弗尔的翻译操纵论不局限于语言和文本的传统研究模式，而强调的是翻译和文化的相互作用、文化制约翻译的方式等问题。
在其所著的《翻译、改写、以及对名声的操控》一书中，他指出：“翻译是对原文的改写，所有的改写，不管目的如何，都反映了特定社会中的某种意识形态和诗学以某种方式对原文的操纵……”（勒菲弗尔，1992）他认为文学系统受两个因素的操纵，一个是内部因素，即占统治地位的意识形态和诗学观；一个是外部因素，即赞助人的力量。
意识形态是反应特定阶级或社团的要求和利益以及特定经济形态、特定社会生活的观念体系，诗学包括两个部分：一是文学手法、主题、体裁、象征、典型人物等的综合，二是文学在整体社会体系中的角色或观念。
赞助人则是有“促进或者阻碍文学的阅读、写作和重写的”权力的人或者机构，例如个人或组织、宗教集团、政府部门、出版社以及报纸杂志、电视台等大众传媒机构。
三、康拉德作品在中国的译介（一）早期译介康拉德作品在中国的译介始于1924年，我国学者诵虞撰文《新近去世的海洋文学家———康拉特》介绍了康拉德的生平。
同年，樊仲云发表的《康拉德评传———纪念这个新死的英国伟大作家而作》，这是对康拉德评价很有价值的文章。
文本的“陌生化”与“自然化”的冲突及翻译策略
Ｊ ａ ｎ ｅ Ｅ ｙ ｒ ｅ ）
【 译文】 如果她真爱他 的话 ， 她根本用不着满脸堆笑 ， 不停 的递
送秋 波， 这样煞 费苦心 的故作姿态 ， 千方百计 的装 出温柔斯 文的样
名著之一的《 红楼梦》 中有这样的句子 ： “ 贾雨村安排妥协 ， 却是 自己
产生审美疲劳。想要唤起读 者的兴趣 ， 就需要语句超常组合 ， 摆脱
惯性思维。曾使纳博科夫成名的长篇小说《 洛丽塔》 ， 就是 陌生化效 果大获成功的一 个精 彩的礼赞。 陌生化“ 首先可以理解为一种语言技巧， 主要是修辞手法， 诗里
的夸张 、 比喻 、 双关 、 委婉语 ， 诗中常用 的古字冷僻字外来语典故等 等ｏ ￣ ［ ２ １ 比如 ， 李 白的写景诗句“ 飞流直下ｊ千 尺” ， 写情诗句“ 白发三
的翻译方法发生冲 突， 而这些源语 文本 中陌生化元 素 中大部 分又恰 恰是 作者风格 的凝聚与体现 ， 不能草 率弃之 不顾 。文章首先分析 了
源语文本 中“ 陌生化 ” 的类型及其作 用， 然后探讨 冲突的原 因， 最后找 出解 决问题的 方法。
关键词 ： 源语 文 本 目的语 文本 陌 生化 自然化 冲 突 策略
类 型及其作用进行分析 。
１ 文 学 文 本 的 特 点
吐温的诙谐幽默 ； 李 白的飘逸 ； 杜甫的忧郁 ； 英国作家康拉德的《 黑 暗的心》 “ 采用的复型叙事结构 ， 不可靠叙述 ， 陌生化叙事语 言解码
延迟 。 ”
２ 目的 语 文 本 的 “ 自然 化 ” 倾 向
一
般来说 ， 在译者完成对源语 文本 的理解和阐释之后 ， 就意味
康拉德小说的现代主义特征
康拉德小说的现代主义特征徐定喜（红河学院外国语学院云南蒙自661100）摘要：对康拉德这位伟大的作家的研究，国内外的专著和材料可谓汗牛充栋。
但对于他是位现实主义作家还是现代主义作家之争有不同的意见；对于此，本文试图从康拉德的写作特点、福特的印象主义的主张以及社会达尔文主义对其影响等方面进行探讨，论证他和现代主义的关系。
关键词：康拉德；现代主义；表现手法；印象主义Abstract: Joseph Conrad is a very hot spot both in China and abroad, but to the question whether he was a realism writer or Modernism writer different critics have different opinions. This paper discusses this problem from different aspects such as Social Darwinism, Ford’s impressionism.Key words: Joseph Conrad Modernism representation impressionism英籍波兰裔作家约瑟夫·康拉德(JosephConrad,1857-1924)在20世纪文坛占据了极其重要的一席，在美国蓝灯书屋《当代文库》1998年选出的20世纪100本英文小说当中，康拉德入选了四部：《特务》、《诺斯特罗莫》、《黑暗之心》和《吉姆爷》。
然而，对于这位成就非凡的作家，不同的学者有不同的看法，大部分学者认为他是现实主义向现代主义转变的一位作家，有的就干脆把他看作一位现代主义大师。
的确，他作品在表现手法上、艺术特色等反方面表现出了现代主义色彩。
对于此，本文试图从康拉德的写作特点、他和福特关于艺术的主张及社会达尔文主义对其影响等方面进行探讨，论证他和现代主义的关系。
塞缪尔·约翰逊《致切斯菲尔德伯爵书》两个英译本赏析
塞缪尔·约翰逊《致切斯菲尔德伯爵书》两个英译本赏析康拉德约翰逊的一封致切斯菲尔德伯爵的信件，曾经被许多文学大师提及作为精神分享、启发他们的灵感及有信仰斗争的勇气。
康拉德约翰逊在这封信中表达出了他坚定的信仰，他针对切斯菲尔德的说辞，理解他的看法及斗争，把他的信仰形容成一股强大的潮流，鼓舞他的坚定，以及勇于斗争的信念。
《致切斯菲尔德伯爵书》是康拉德约翰逊向切斯菲尔德伯爵所写的一封信，他简明而冷静地给出了他对信仰的表达。
他以言简意赅的语言，表达了他对信仰改革的坚定，他用“潮流”一词来概括他要抗争的主张，以及即便是重重困难也不要放弃信仰的信念。
他强调，即使社会上有强势集团的抵抗，也不要放弃信仰，他的这种坚定立场，影响了许多后来的文学大家。
多年以来，英国学者们一直认为康拉德约翰逊的这封信是具有历史意义的著作，并认为其中的某些部分是具有经典价值的文学作品。
英文版本的《致切斯菲尔德伯爵书》具有许多翻译版本，这些版本也深受广大读者喜爱，甚至一些英语教材中也会纳入这些译本作为参考资料。
有两个英文译本特别值得赏析，分别是由英国学者乔治詹姆士纳特编著的《致切斯菲尔德伯爵书：康拉德约翰逊传奇中的精神》和由赫斯特威尔浦翻译的《康拉德约翰逊：信仰、勇气和智慧的典范》。
乔治詹姆士纳特的这本译本很精彩，他把康拉德约翰逊的信件翻译成文学作品，表达出他对信仰斗争的认同。
他的译本也重现了经典文学作品《致切斯菲尔德伯爵书》原有的精神，受到了读者们的喜爱。
赫斯特威尔浦的译本更加简洁凝练，他认为，在康拉德约翰逊的文字中，可以体现出信仰的勇气、智慧和坚定，以及一种力量，使人能够在社会上存在和发展，获得成功。
他的译本表现出信仰的坚定，也提供了一些新的英文表达，使这种信仰得以长久的传承下去。
《致切斯菲尔德伯爵书》是康拉德约翰逊最知名的作品，它不仅仅是一封信件，更是一种信仰斗争的象征。
由两个英文译本赏析可以看出，康拉德约翰逊的文字深具智慧，他的文字中蕴含着一股强大的信念，是一篇发人深远的作品。
从审美的角度比较罗素的Three Passions I Have Lived For两译文
从审美的角度比较罗素的ＴｈｒｅｅＰａｓｓｉｏｎｓＩＨａｖｅＬｉｖｅｄＦｏｒ两译文作者：雷国红来源：《中国新技术新产品》2009年第14期摘要:翻译是一种审美活动,是认识原文的美,并在译文中再现美的过程。
散文翻译是文学翻译的一种特殊形式,它的美在于意境深远。
本文通过对郑延国和胡作玄,赵慧琪几位翻译家对罗素的Three Passions I have Lived for 两译文的对比分析,揭示了两译文所挖掘和再现的美学方面的特征:意境美、忠实美及原作者的性格美,给读者以美的享受。
关键词:审美价值;散文翻译;Three Passions I Have Lived For;对比研究1 引言翻译是一门科学,一门艺术;我国翻译实践家们历来以“信、达、雅”为翻译标准,“雅”即“美”,表现在译文的形式美、忠实美、意境美、韵律美等方面,而科学和艺术却可在美的概念中得到统一。
人本主义心理学家马斯洛认为“审美是一种高级需要”,翻译是一种审美活动,翻译的最高阶段是审美阶段。
文学翻译家视翻译为再创作,是情感和人物性格的再造,而文学形态的多样性又赋予翻译重建形式美的不同艺术品格,这三个方面构成了文学翻译艺术审美的主要内涵。
散文翻译是文学翻译的一种特殊形式,它的美在于形散神聚、意境深远;在特定的情感、语境等因素的影响下,译者由于自身风格的差异,译作的效果也不尽相同。
下面笔者比较罗素的Three Passions I Have Lived For 两译文:《人生三愿》(郑延国译)和《我为什么而活着》(胡作玄,赵慧琪译),并从遣词造句方面分析他们所表现的艺术品质和审美价值。
2 词语的审美价值美是一个广义的概念,在科学和艺术的领域里,美分别被界定为准确和优美,而笼统的意义则是完美。
审美价值首先体现在炼字方面,用语言创造一种意境,气氛,浓缩源语情景,并将之传于目的语受众。
因此,翻译时应力求选词精当、达意传神、意境深远,充分发挥汉语优势。
约瑟夫·康拉德的短篇小说对其长篇小说的影响
于 １９ 年一ｌ９ 年 ，除最后一篇被拒绝之外 ，其 ８６ ８７
余都 曾连载过。从这本小说集 可以看 出康拉德在
问的 ４篇小说 “ 马拉塔 的种植 园主” “ 、 伙伴” 、
“ 两个女巫的 客栈”和 “ 因为美元” 。虽然当时康
事” 。这 些 小说 都 曾经 以连 载 的方 式刊 载过 ；该 小
除了中、长篇小说 以外 ，康拉德写了大约 ２ ５
个 短篇 ；这些 短篇 除 了 “ 回家 ” 和 “ 克 ” 被 编 福 辑 拒绝 而未 得 到 发 表 之 外 ，其 余 的 都 在 当时 的报 刊 或杂 志上 刊登 过 和 发 表 过 。这 些 作 品 后 来 被 康 拉 德集结 成 ６个 短 篇 篇 小 说 集 ，但 是 ，这 些 集 子 里 的故事 不 全 是 短 篇 小 说 ，还 包 括 一 部 分 中篇 小 说 。其 中 《 安 的故 事 》 （ ａｅ ｆＵ ｒｓ） 包 括 不 Ｔ ｌ ｏ ｎｅｔ ｓ
ｐ ｏｎａ ｄ０ ｒＳ ｒ ｓ 出版 于 １ ０ ｈｏ ｎ 出ｅ ｔ ｉ ） ｏｅ ９ ３年 ，收 录 了 作 者 写 于 １０ － １０ ９ ０ ９ ２年 的 中 篇 小 说 “ 台风 ” 以
对 这位伟 大作 家 的研 究 ，国 内许 多 学 者 都 把 注 意
力放在了其长篇小说上 ，而对其短篇小说 的关注
说集是康拉德最 杂的小说集之一 ，其 中的故事写 于 《 诺斯特罗莫》和 《 间谍》创作期间，内容及 故事背景都是五花八门。《 潮汐之间》 （ ｔｎｔ Ｗｉ ｉ ｈ ｈ ｅ
Ｔｄｓ 这 个 小 说 集 包 含 了 写 于 １１ ｉｅ） ９ ０年一 １１ ９４年
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
浅谈黄雨石的翻译著作《黑暗的心》
【摘要】本文主要表达了对黄石雨先生翻译的《黑暗的心》进行解读。
从题目翻译，景色描写翻译，人物语言翻译，三方面，对先生的翻译，表达了个人的观点和看法。
其中有部分内容包含其他译者对于《黑暗的心》的翻译，与黄石雨先生的译作进行对比和鉴赏，表达自己的观点。
【关键字】黄石雨康拉德翻译黑暗的心
在十九世纪末，二十世纪初的英国文坛上，约瑟夫·康拉德占有一个重要的位置，他不仅是英语世界杰出的作家，而且被认为是西方现代主义文学的先驱之一。
他的小说北京广阔，性格复杂，手法新颖，风格独特，在十九世纪传统小说与二十世纪现代主义小说之间起了承前启后的作用。
其中，《黑暗的心（Heart of Darkness ）》在康拉德的作品中，是公认的二十世纪文学经典。
这部作品入选1998 年兰登书屋评选出的“20 世纪100 部英语经典小说”，被认为是小说写作由现实主义向现代主义过渡的代表作品。
关于这部作品的中文译作很多，1982 年第2 期《外国文学季刊》发表了黄雨石翻译的《黑暗的内心深处》，预示着康拉德作品在中国译介第二次高潮的开始。
两年后，该小说经过译者自己全面校改，以《黑暗深处》为书名由百花文艺出版社出版。
这部中篇小说后来还有至少5 个中译本，如《黑暗的心》（智量等译，上海译文出版社，1985 年）和《黑暗的心脏》（王金玲译，小说出版社，1998 年）等。
翻译康拉德的作品有相当的难度，他那带有异国情调的晦涩而优雅的语言与别具一格的叙述手法，使得在翻译过程中难以传达原文的神韵。
在众多翻译版本中，本文认为，黄石雨先生的译本较为恰当，合理，精彩的将康拉德的文学经典展现给中国读者但同时也有一些问题，下面本文将从以下几个方面进行叙述。
一．题目翻译
《Heart of Darkness 》有很多种译法。
王金玲先生译为《黑暗的心脏》，黄时雨先生也在初次翻译时，取译名为《黑暗的内心深处》，后改名为《黑暗深处》,最后，定名为《黑暗的心》。
本文看来，“黑暗的心”这个名字取得更为得当。
《黑暗的心》描述了一个叫马洛的年青人在伦敦泰晤士河上一只小艇中对几个同事讲述的一个故事。
内容是马洛在刚果的一次旅行。
侧重展现了白人殖民者库尔兹从一个矢志将“文明进步”带到非洲的理想主义者到后来堕落成贪婪的殖民者的经过。
康拉德用复型叙述艺术为读者讲述了库尔茨的内心变化，生动的描绘了当时的殖民者的现状。
“心脏”这个词突出了生理意义，而“心”这个词更加具有文学的书面表达效果。
“内心深处”包含在“心”这个词的意义里。
“心”的词义原本也涵盖了人内心深处的情感。
“黑暗的心”比“黑暗的内心深处”更加简洁，更具美感，更能给人遐想，紧抓著作灵魂.
二．景色描写翻译
康拉德的小说虽然故事情节简单，但是关于景物的描写充满了未知而又神秘的异域风情，晦涩却细腻，海面上冉冉升起的太阳，桅杆上空盘旋的海鸥，本来已经富有情致的描写却都可以在康拉德笔下，带给读者更加不一样的阅读体验。
黄雨石先生正是抓住了康拉德的写作风格，在表达原意的基础上进行了二次创作。
本文将孙礼钟先生的翻译来和黄雨石先生的翻译做对比。
The sea-reach of the Thames stretched before us like the beginning of an interminable waterway.In the offing the sea and the sky were welded together without a joint,and in the luminous space the tanned sails of the barges drifting up with tide seemed to stand still in red clusters of canvas sharply peaked,with gleams of varnished spirit.A haze rested on the low shores that ran out to sea in vanishing flatness.The air was dark above Gravesend,and farther back still seemed condensed into a mournful gloom,brooding motionless over the biggest ,and the greatest,town on earth.
这段话黄雨石先生的翻译是：泰晤士河的入海口在我的眼前伸展，仿佛是一条横无际涯的水路的开端。
远处水面上，海天一色，浑无间隙。
在明净的天空下，几艘驳船缓缓行驶在潮水中，船上黑褐色的风帆反衬着尖尖的红帆布，好像着色后的鬼魂释放着幽光。
海滩笼罩在一片烟雾中，平坦地向大海蜿蜒，消失在烟波浩淼之处。
格雷夫森港上空天色阴沉，越往里越黯淡，凝结成一团朦胧，盘旋在这座世晃上最伟大的城市之上，森然可怖。
孙礼钟先生的翻译是：泰晤士河的入海口，像一条没有尽头的水路的起点在我们面前伸展开去。
远处碧海蓝天，水乳交融，看不出丝毫接合痕迹；衬着一派通明的太空，大游艇的因久晒变成棕黄色的船帆，随着潮水漂来，四核一动未动，只见它那尖刀似的三角帆像一簇红色的花朵，闪烁着晶莹的光彩。
在一直通向入海口的一望无际的海岸抵触，一片薄雾静悄悄地漂浮着。
格雷夫森德上空的天色十分阴暗，再往远处那阴暗的空气更似乎浓缩成一团愁云，一动不动地伏卧在地球上这个最庞大，同时也最伟大的城市的上空。
“welded together without a joint”在这里本文认为黄雨石先生译的较好：“海天一色，浑无间隙”简洁而准确的表达了康拉德原文意思，体现了原著原本的简洁，流畅的表达方式。
孙礼钟先生的翻译显然是用了“归化”的翻译方法，“水乳交融，碧海蓝天”四字词语在一起，虽然看起来整齐，也同样还原了文中海面美丽的景色，但是整个句子效果啰嗦，与原著不贴合。
一篇作品的特殊风格常能形成一种很特殊的气氛，使得多有的文具都能十分和谐和悠游自在的安处其中，从而使得整篇文字显得更为生动有力。
这段描绘体用途的句子，其全书营造的气氛神秘，瑰奇的，拥有异域风情。
康拉德运用词汇渲染了小说的黑暗基调。
综观小说，文中到处是有关“黑暗”的词语，勾勒了一
个笼罩着黑暗的以英国为代表的欧洲大陆和充满人类罪恶行为的非洲深处。
第一部分从笼罩在阴沉的泰晤士河上的浓雾开始，康拉德就对将要发生的故事提供了一种神秘的气氛。
所以在这部分中，作者使用名词gloom（阴沉）和形容词gloomy （阴沉的）共7 次，动词brood（原意为孵卵，引申为笼罩）和形容词brooding(神秘而凶险)共5 次。
而且以上几个词语经常同时出现在一个句子中，使读者在阅读中牢牢记住了这些高频词汇，勾勒出一幅阴郁沉沉的图画。
“seemed to stand still in red clusters of canvas sharply peaked,with gleams of varnished spirit.”“船上黑褐色的风帆反衬着尖尖的红帆布，好像着色后的鬼魂释放着幽光”黄雨石先生这样翻译，与孙礼钟先生的翻译“像一簇红色的花朵，闪烁着晶莹的光彩。
”相比，更加生动，准确的勾勒出了阴暗，神秘的全文基调，紧贴原著风格，具有美感。
三人物语言翻译
Some confounded fact we men have been living contentedly with ever since the day of creation would start up and knock the whole thing over.译文：自从上帝创造世界以来，我们男人一直与之和平相处的某些该诅咒的生活现实必然起而作乱，把它彻底砸
烂。
Confounded 这个形容词在最新高级英汉词典中有两个意思：其一是混乱的、惶惑的；其二是该受诅咒的、讨厌之极的。
究竟此处的confounded 一词为哪个意义，应当综合上下文语篇来进行判断。
这句话是小说叙事者马洛对殖民事业的评价。
他指出打着教化野蛮人幌子的殖民事业，其实真实的目的是赚钱，为了掠夺黑非洲的资源。
而包括马洛的姨母在内的女人们则被虚假舆论所蒙蔽，以为殖民事业是多么崇高的使命。
马洛觉得男人和女人简直生活在不同的世界。
男人们习以为常的现实，根本无法被女人们了解。
以上的例句就是在这种语境下借由马洛之嘴说出的。
根据上下文的意思，confounded 一词的两个意义都能解释通，但这段文字有明显的反讽口气，如果翻译成“该诅咒的”势必减弱反讽的力度，这与原文一贯的语气不符。
因此，笔者认为翻译成“混乱的”似乎更为贴切一些。
黄雨石先生对原文有深刻透彻的理解，正确的把握原文的风格，拥有对源语的社会文化背景有着深刻的理解，敏锐的美学和社会学眼光。
他翻译的《黑暗的心》再版很多次却依然被广大读者接受，喜爱。
本文虽然对黄雨石先生翻译的作品部分地方有不同的看法，但是就全文来看，先生都有着深厚的文学积淀，贴切的翻译内容，使康德拉的《黑暗的心》在中国被更多的读者知晓，解读。
【参考文献】
[1]《HEART OF DARKNESS》黄雨石译/康拉德著商务印书馆2012年
[2]《康拉德海洋小说》薛诗琦编上海文艺出版社2012年4月
[3]《黑暗的心》孙礼钟译/康拉德著上海译林出版社2011年7月。