翻译批评与鉴赏-范文
翻译批评与赏析
翻译批评与赏析学期论文学院：高级翻译学院专业： 2014 级英语笔译姓名：王红伟学号： Y140254前言学习感悟本学期有幸选了陈老师开设的选修课—翻译批评与赏析,陈老师授课方式新颖独到，以德国功能翻译理论学派重要代表人物凯瑟琳娜·赖斯的《翻译批评：潜力与制约》一书为主线，以学生讲解老师总结答疑为主要方法，并穿插有课堂讨论，让学生各抒己见，畅所欲言，一学期的学习让我收获颇丰。
在未上陈老师的课之前，自己的翻译批评往往多是感性的翻译评论，没有系统的批评理念与批评模式，面对一个译本，只会从表层进行主观评判，既缺乏系统性又不具有客观性，难以服众。
经过一学期的学习我认识到翻译批评绝不是为了批评而批评，更不能带有学术偏见而起意气之争，相互攻讦，翻译批评应该是建设性的，必须公正、客观、全面，有理有据。
作为翻译专业研究生，更应该对翻译批评认真加以学习，用全面的眼光看待翻译，树立科学的翻译批评观，并将其用于指导、审视自己的翻译活动。
翻译批评的文本功能视角—兼评赖斯的文本类型理论摘要:凯瑟琳娜·赖斯是德国功能派翻译理论的主要奠基者，在其扛鼎之作《翻译批评：潜力与制约》中赖斯借鉴德国心理学家布勒的语言功能划分模式将文本划归为三种基本类型：信息型文本、表情型文本和操作型文本，并建议根据文本功能采取相应的翻译方法。
本文从赖斯的文本类型理论着手，结合不同文本译例，并对之加以述评。
关键词：赖斯；翻译批评；文本类型；文本功能；《翻译批评：潜力与制约》1. 引言凯瑟琳娜·赖斯（Katharina Reiss）是德国功能派翻译理论研究的先驱，1971年赖斯出版了其扛鼎之作《翻译批评：潜力与制约》“是德国从语言功能角度切入翻译研究的开端作品”，（陈吉荣，2007:3）赖斯在该书中以文本类型理论为基本框架，试图建构一个客观、可行、全面的翻译批评模式。
赖斯的文本类型理论基本沿用了德国心理学家布勒的语言功能三分法影响，根据布勒的语言功能工具模式，赖斯把文本划分为三种主要类型，即信息型文本、表情型文本和操作型文本（亦称感染型）。
翻译批评与赏析-长恨歌
Where „mid the clods beneath the slope he couldn‟t
forget The fair-faced Lady Yang, who was unfairly slain. He looked at ministers, with tears his robe was wet; They rode east to the capital, but with loose rein.
4.3Anadiplosis顶真
• 在语言形式上，句式匀称整齐，句子前后衔接紧 密，环环相扣，读起来流畅明快，情趣横生。《 长恨歌》中也使用了这种修辞格 • 例如:
云鬓花颜金步摇，芙蓉帐暖度春宵； 春宵苦短日高起，从此君王不早朝 。
• 杨氏译： • Her hair like a cloud, Her face like a flower, A gold hair-pin adorning her tresses. Behind the warm lotus-flower curtain, They took their pleasure in the spring night. Regretting only the spring nights were too short; Rising only when the sun was high; He stopped attending court sessions In the early morning.
• 赏析：
• 在翻译对比的时候，句式结构上用两个 “Or when”比较严格地保留了原文的格式 ，只是在每句里主谓语的位置又有所变化 。由他翻译我们可以看到原文的“形美” 和“意美”。
例2: 在天愿作比翼鸟，在地愿为连理枝
翻译评析模板
翻译评析模板(总9页) -CAL-FENGHAI.-(YICAI)-Company One1-CAL-本页仅作为文档封面，使用请直接删除译文评析本篇英译汉原文选自新概念英语第四册Lesson11(亚历山大、何其莘，2007)，全文从科技的发展情况及依旧存在的问题开始阐述，再写到科技的先进性和能给人类带来的无数好处，最后运用一些的专业术语提升文体含金量。
《自动化时代》通篇语言直白、较容易理解，但部分专业术语给翻译增加了难度，但同时也给翻译增添了不少的乐趣，现将原译文里的优点及出现的一些问题归纳整理，评析如下：一、翻译目的“翻译是将一种语言文化传承的意义转换到另一种语言文化中的跨语言，跨文化的交际活动。
”（陈宏薇、李亚丹，2004）教材中这么说到，而翻译的目的就是要基本传达作者原文信息，达到良好的文字转变功能。
原译文采取全译的处理方式，主要运用意译译法，译者不拘泥于原文句子的结构，充分发挥所译语言的优势，译文能很好的体现出译者的创造能力，通顺流畅，容易理解。
二、翻译原则译文通顺流畅，很好的达到了翻译的要求。
但也因个别语句拘泥原文，翻译腔调颇浓，而“貌合神离”，失却了原文的韵味。
例如：原文：We shall need to apply our scientific and technological resources to literally every aspect of our society, to our commerce, our industry, our medicine, our agriculture, our transportation.原译文：我们应该应用科技来服务于我们的社会，在商业、工业、医学、农业以及交通运输领域。
修改译文：我们应该在商业、工业、医学、农业以及交通运输领域应用科学技术，以便服务于我们的社会。
修改译文不拘泥于原文，更加符合中文表达，通顺流畅，利于读者理解。
文学翻译批评与欣赏
Appreciation of the Different Translations of ChineseLiterary Classics姓名：温嘉茵班级：英语09-02学号：540908010220Appreciation of the Different Translations of ChineseLiterary Classics【Abstrac t】The focus of the paper is to appreciate some good translation of Chinese literary classics, including 《椒聊》from The Book of Songs, Li Qingzhao‟s Ci---- 《声声慢》, Liu Zongyuan‟s poem----《江雪》and Zhang Ji‟s poem----《枫桥夜泊》. The translators who translate these works all are famous scholars, including Chinese translators, Xu Yuanchong, Wang Rongpei and Yang Xianyi couple and so on, and famous foreign Sinologists, James Legge, Waley, Ezra Pound and so on. These translators open a door for us to the world of translation and let foreigners read more good Chinese literary works.Key words: appreciation, translations, Chinese literary classics【Introduction】The purpose of the paper is to let those people who like translating appreciate more good works of translation. The focus is to appreciate some good works of the classical literature. Although these works are not modern works, they are eternal cultural heritage that our ancestors leave to us.Ⅰ. Appreciation of the translations of 《椒聊》from The Book of Songs In Scholarship of The Book of Songs, the view of the interpretation of poetry has a big important influence on the translation of The Book of Songs. To get “the meaning of poet” is almost the mainstream of the translation of The Book of Songs, so the theme of the translation presents diversification. James Legge supported some principles in his first version of translation----“不以言害辞，不以辞害志，以意逆志，是为得之”, which was the first time to put forward the view to getting “the meaning of poet”. Alien, C. F. R. improved this principle, using transcultural anthropology to understand the poetry. Other scholars put forward different principles of the translation of The Book of Songs. The following is to appreciate different translations of 《椒聊》.《椒聊》The original work as follows：椒聊之实，蕃衍盈升。
英文小说翻译批评赏析作文
英文小说翻译批评赏析作文我非常喜欢阅读小说，尤其是英文小说。
我认为翻译是一门艺术，因为它涉及到语言、文化和情感的转换。
翻译小说需要对原文的理解和敏锐的语言感知力，以及对目标语言的驾驭能力。
在我看来，一本好的翻译小说应该能够保留原作的精髓和情感，并且在目标语言中流畅自然地表达出来。
英文，I really enjoy reading novels, especially English ones. I believe that translation is an art because it involves the conversion of language, culture, and emotions. Translating a novel requires a deep understanding of the original text, a keen sense of language, and a mastery of the target language. In my opinion, a good translated novel should be able to preserve the essence and emotions of the original work and express them fluently and naturally in the target language.翻译小说的质量是很重要的，因为一部优秀的翻译作品可以让读者在不懂原文的情况下，也能够领略到原作的魅力。
我曾经读过一本由英文翻译成中文的小说，它是《1984》。
翻译者将乔治·奥威尔的原著精髓完美地转化成了中文，让我感受到了小说中的恐怖和绝望。
这本翻译小说让我深刻地体会到了翻译的力量，它可以跨越语言和文化的障碍，让读者沉浸在故事中，忘却自我。
英文，The quality of translated novels is crucial because an excellent translation allows readers to appreciate the charm of the original work even if theydon't understand the original language. I once read a novel translated from English to Chinese, which was "1984". The translator successfully captured the essence of George Orwell's original work and conveyed the terror and despairin the novel. This translated novel deeply impressed mewith the power of translation, as it can transcend the barriers of language and culture, allowing readers to immerse themselves in the story and forget about themselves.翻译小说也面临着一些挑战，比如如何准确传达原作中的文化细节和特定语境下的含义。
翻译鉴赏批评之桃花源记英译文的批评赏析
《桃花源记英译文的批评赏析》原文：晋太元中，武陵人捕鱼为业；缘溪行，忘路之远近。
译文一：During the reign of Chin，there was a fisherman of Wuling. One day he was walking along a bank.译文多为短句，简单通畅，“以捕鱼为业”翻译成“fisherman”简练地道。
“忘路之远近”并入下一句翻译，打破原文结构，得意忘形。
译文二：In the year of Taiyuan of the Jin Dynasty，there lived a man in Wuling jun who earned his living by fishing. One day he rowed his boat along the stream, unaware of how far he had gone when all of a sudden, he found himself in the midst of a wood full of peach blossoms.译文为一个较长的复合句，更符合目标读者的习惯。
“忽逢桃花林”并在一起翻译，打破原文结构。
译文三：During the reign of Tai Yuan of Tsin Dynasty，a certain fisherman of Wuling, who had followed up one of the river branches without taking note whither he was going, came suddenly upon a grove of peach-trees in full bloom, extending some distance on each bank, with not a tree of any other kind in sight.译文亦为较长的复合句，并将“忽逢桃花林。
谈霍桑《古屋杂记》的翻译批评与赏析
天 下
学术探讨
INSIGHT
谈霍桑《古屋杂记》的翻译批评与赏析
文 _ 郭馨遥
摘要 ：本文是对夏济安先生的译文进行批评与赏 clergyman，主语是牧师，而不是他的灵柩，应该
但原文本意讲的是西方文化中物质和精神世
析。从不同方面来评析原译文的内容。
是牧师从宅子到公墓。
界的两分，译者在理解时可能受到了中国文化中人
unknown epoch) we beheld the gray front of the old 路旁觅食的那头老白马，也可以在这里吃到几口可
parsonage terminating the vista of an avenue of black 口的美餐。
ash trees.
“园门里的林荫大路和宅门前的马车道”对
关键词：《古屋杂记》；翻译批评与赏析
夏济安先生在本句末尾增加了“执绋随行”， 鬼阴阳的影响，使这间屋子不再属于人世而成为鬼
这种增词让读者更能深切地体会当时的情景，因为 的世界，在这一点上与原文作者的本意是有出入的。
文学翻译，尤其是散文翻译，不能单纯地直译， 原文中用了“venerable”一词，增词后更能体现牧
原文 3：ຫໍສະໝຸດ 达了出来。但在一些用词上还有待商榷。在霍桑的
是以源语为中心，而是以译语或目的语为中心，译
The wheel-track leading to the door, as well as the 心中只是敬仰之情，有圣洁的光辉和神秘之感。
文的直译与意译，形式对应与功能对等不再是评判 whole breadth of the avenue, was almost overgrown
原文 1：
living to pick up along the roadside.
英文小说翻译批评赏析作文
英文小说翻译批评赏析作文Title: Unleashing the Magic of Literary Translation: A Postmodern Exploration。
1. Rhythm of Words: In the realm of literary translation, "Chatgpt" is not just a name, but a dance of words. Each stroke, like a brushstroke in a canvas, carries the essence of a novel. The translator, a隐形的 DJ, weaves the English tapestry, capturing the essence of the original French author's "Jour de Pluie" (Rainy Day), where the raindrops speak in a language of melancholic serenity.2. The Art of Subversion: The act of translating "Pride and Prejudice" into modern English is not a simple replication, but a subversion of time. Jane Austen's wit,in my hands, transforms into a sly wit, resonating with the contemporary reader. The dialogue, once staid, now sparkles with a contemporary wit, like a vintage champagne in a modern glass.3. The Unseen World: The world of "Alice's Adventures in Wonderland" is not just a story, but a journey through the labyrinth of language. Each pun and metaphor, like Alice's rabbit hole, leads to a new understanding, where the reader is both participant and interpreter. The translation, a portal to this alternate universe, keeps the magic alive.4. The Echoes of Culture: A novel like "The Great Gatsby" whispers a tale of the American Dream, but the translation echoes the nuances of the British voice. The translator, a subtle interpreter, captures the societal commentary, making it resonate with the reader's own cultural context.5. The Living Text: In the digital age, "Chatgpt" is a living entity, constantly evolving with the reader's interpretation. It's not just a static entity, but a dynamic conversation, where every translation is a unique interpretation, a reflection of the translator's artistry and the reader's engagement.6. The Reader's Journey: The journey through atranslated novel is a personal one, each reader'sexperience unique. "Chatgpt" is the catalyst, igniting the spark, allowing the reader to forge their own path through the literary landscape.In conclusion, "Chatgpt" in the world of literary translation is a symphony of words, a dance of ideas, and a testament to the power of language to transcend time and borders. It's a dialogue, not a monologue, a journey, not a destination. It's the art of translation, where the reader and the text coexist in a beautiful, ever-changing dialogue.。
翻译批评与欣赏 what i live for
• 这里写了追求知识的三个方面:一是了解人类心灵;二是了解星星为什么发 光;三是理解毕达哥拉斯思想的威力。这三方面实际上包含了人类知识的 几个重要方面:人类、自然和社会。
肺腑的怜悯。（泰云）
• 三种激情虽然简单，却异常强烈， 它们统治着我的生命， 那便是：对于爱的渴望， 对知识的追求，以及对人类苦
难的难以承受的同情。（译文4）
• These passions, like great winds, have blown me
Here ahnidththeerre,ainn dalltdhirietchtieonr, in a wayward course, over a great ocean of anguish, reaching to the very verge of
• 3〉语义 共核语（正式语体（书卷语）、一般语体 （共核）、非正式语体（口语体）在词汇层次、短
语层次、句型层次和篇章层次都有区别）仍然为主，
但是这些常见的共核语在表意上既简练又准确，如 passion一词，就无法用feeling或emotion来替代。 另外正式语体的词也是显而易见的：govern比 control正式 ；hither and thither 为古旧用法，但是 用在这里比in all directions显得正式；verge比edge 更具有文学色彩，即比喻性用法(metaphorical use)。 修辞格也比较丰富。文中使用了多种修辞格，如明 喻、暗喻、蝉联、拟人、排比等。
• 散文特点：
翻译批评
“blossom’ed pear tree变成了‘烂熳的夭 桃’;将Scatters误为‘露珠’(Dewdrops) 和‘花瓣’(Blossoms)的动词; At the bent spray’s edge译成‘抓着曲下的枝条’ 等”。
最典型的是将原诗第11行pear-tree (梨树) 译成了“夭桃”。
方梦之. 2004. 译学辞典. 上海：上海外语教育出版社 . 346
翻译批评的类型：
1、从批评对象上分：文本批评、译者批评、读者 接受批评、文化批评、翻译理论元批评；
2、从批评理念上分：规定性批评和描写性批评
3、从历史延展上分：语文学翻译批评、结构主义 翻译批评、解构主义翻译批评（王宏印、吕俊）
英汉语语段特征比较：
1、汉语不求结构形式齐整，词组可以独立适用，语流疏放， 以潇洒、欣畅、自然为美；英语结构形式必须齐整，词组不能 独立适用，语流组织严谨，以整合精致、节奏有序为美。2、 汉语讲求意合，重内在联系，英语讲求形合，重形式规范。3、 汉语主语的承接力很强，一次出现，后续句中可以隐含，英语 主语的承接力有限，每一句都得有主语，第一句出现后，后续 局必须用代词承接。4、汉语语段流散与句子动词无形态约束 有关，英语语段聚集与句子动词有形态变化有关。5、汉语很 难实现后置、插入、破折，语序成了行文紧密联系的重要手段， 起伏主要依靠音、意、形，英语有大量的后置成分、插入成分， 形成跌宕、倒叙。(P204)
Newmark P. 2001. A Textbook of Translation. Shanghai: Shanghai Foreign Language Education Press. 184
翻译批评的任务是以一定的翻译标准为准绳，以科学的 方法对译本或译论的艺术价值或科学价值进行判断，对 其不足之处进行理论上的鉴别，特别要检查翻译实践的 跨文化交际效果，从中探索译者的审美境界、科学视野 和艺术技巧，以提高译者和读者的鉴别能力。
翻译鉴赏与批评(2)
译者简介
• 叶渭渠（1929~2010）广东东莞人。1929年出生于越南湄公河畔的 华人聚居区，1952年归国。上世纪70年代末，叶渭渠和唐月梅才 真正开始日本文学的翻译和研究。”这个时候家庭负担也是最繁 重的时候，家里一双未成年儿女，还有重病在身的婆婆。“我们 只能在杂物间支起一张小书桌，轮流工作。老叶习惯工作到深夜， 我则凌晨四五点起床和他换班，要休息时就睡在过道支起的行军 床上。”正是在这样窘迫的环境中，两人完成了《伊豆的舞女》、 《雪国》、《古都》等重要作品的翻译工作。 • 高慧勤，1934年生，辽宁省大连市金州区人，19高慧勤的译著文 体风格贴近原著，译文典雅优美，选词炼句精益求精，堪称翻译 精品，在国内外译坛享有很高声誉。
不思議に思いながら、鼻につけて匂いを嗅いでみたり していたが、ふとその指で窓ガラスに線を引くと、そ こに女の片眼がはっきり浮き出のだった。
• 私：他一边觉得奇异，一边时不时的闻着那个味道，不觉得用那 手指在窗户上划道，突然一只女孩的眼睛就清楚的浮现在眼前。 • 叶：他想着想着，不由得把手指送到鼻子边闻了闻。当他无意识 地用这个手指在窗玻璃上划道时，不知怎的，上面竟清晰地映出 一只女人的眼睛。 • 高：他觉得有点不可思议，时时把手指凑近鼻子闻闻。无意之中， 这个指头在玻璃窗上画了一条线，上面分明照见女人的一只眼睛。 • 这可能与当时发表文章的小标题有关
• 主语
デジタル大辞泉の解説 たより‐な・い【頼り無い】 ［形］［文］たよりな・し［ク］ １ たよりにならない。あてにならない变化的。心もとない。靠不住，心里 没底「―・い返事」「―・い人」 ２ たよりになるものがない。 [派生]たよりながる［動ラ五］たよりなげ［形動］たよりなさ［名］ 「由縁(ゆかり)の人を失い、―・き身となりしにつけ
翻译批评与鉴赏-范文
翻译批评与鉴赏-范文译者的阐释与读者的误读：以《红楼梦》译文为例作者（学号）（学院、班级、专业）摘要：文学经典的阐释是一个历史过程，永远不会终结。
译者翻译的过程，是对原文文本进行阐释的过程。
读者阅读的过程，也是对译文文本进行阐释的过程。
但是，在批评界，阐释、误读与错译三者有时混为一谈，甚至等同起来。
阐释学观点认为，对作品的理解总是以理解者——包括作者、译者、读者——的视野为前提。
本文通过讨论《红楼梦》中几个具体例证，试图考察作者、译者、读者三个主体因素在文本的创作、翻译和阅读过程中所起的主体作用。
本文指出，译者对原文的不同解读，在读者眼里可能是错译，也可能是误读——在理解者本人看来，不同于自己理解的就是误读。
这些解读，无论是合理的还是不合理的，都构成文学文化的一部分。
(宋体，小五，1.25倍行距)关键词：译者；错译；误读；阐释学；主观性Translator’s Interpretation and/or Readers’ Misinterpretation: A Case Study of the Renditions of Honglou MengAuthor Name (student number)Abstract: Interpretations of literary classics is a historical process without end. The process of translating ST and reading TT is a process of interpretation. Translation errors and misinterpretations are sometimes confused and misused by the critics. Cultural misinterpretation is a complex phenomenon in literary translation, with multifarious reasons. From a hermeneutic point of view, interpretation is always conditioned by one’s own horizons and perspective. By discussing several exemplary cases of Honglou Meng in translation and cross-cultural understanding, this paper argues that the author, translator and reader can all play a subjunctive role in their respective interpretation processes of writing, translating and reading. Translation errors should be avoided, while misinterpretations, whether reasonable or unreasonable, are unavoidable and destined to be part of literature. (Times New Roman, 5号, 1.25倍行距)Key Words: translation errors; misinterpretation; author; translator; reader一、引言(小标题用黑体五号字；正文用宋体五号字)“文化”一直是经久不衰的话题。
First Snow翻译批评与鉴赏
⑥ The flakes were falling thick and hard now, pouring past the window, a waterfall of
mystery.(Para 6)
• Flake[雪花]用词丰富 • Pouring [倾斜]雪花飘落用了pouring • Across the street, a family scurried into gear. • Scurried[急转] • Gear[齿轮]在此指：准备行动起来 • 很快开始了新的一天。 • 选词往往代表了作者的感情色彩，可以看出笔者在进行创作时，词汇都是精挑细选，准确
cradle.
• Inched toward[inch 英寸]
形象地描写出男子走路时，轻手轻脚，唯恐吵到自己的妻子。
④ Reaching down, he gently lifted the warm bundle to his shoulder. Then, as he tiptoed from the
的场景，包括对冬日雪景的赞美、孩子们雪中嬉闹、 街道、邻居家场景，通篇都穿插地讲述了主人公对小 女儿疼爱有加的种种情愫。全文十三个小段，其中第 1、3、4、14段是对主人公和小女儿的描写；第2、6、 7段描写了冬日初雪景象；第5、8、9、11、12段描写 了初雪的街道、玩雪的孩子和热闹的邻家景象。作者 无论是对主人公和女人的直接描写，还是对雪景、街 道、邻家的间接描写，都是想表达主人公对女儿的浓 浓的情愫和绵绵的情谊。
译文评析
遣词造句 段落篇章 译文总览
遣词造句
• He wasn’t sure what had awakened him. Perhaps the child had made some small noise in her
《荷塘月色》英译文 翻译批评与赏析
一.作者简介
朱自清（1898— 1948） 原名自华、号秋实，改名自清，字佩弦；原籍浙江绍兴，生 于江苏东海；现代著名散文家、诗人、学者、民主战士。 他的散文朴素缜密、清隽沉郁、语言洗炼、文笔清丽、极富 有真情实感。以独特的美文艺术风格，为中国现代散文增添 了瑰丽的色彩，为建立中国现代散文全新的审美特征创造了 具有中国民族特色的散文体制和风格。 主要作品有《背影》《春》《欧游杂记》《桨声灯影里的秦 淮河》《荷塘月色》 等。
于是又记起，《西洲曲》里的句子： 采莲南塘秋，莲花过人头；低头弄莲子，莲子清如水。 今晚若有采莲人，这儿的莲花也算得“过人头”了；只不见一些 流水的影子。这令我到底惦着江南了。——这样想着，猛一抬头， 不觉已是自己的门前；轻轻地推门进去，什么声息也没有，妻已 睡熟好久了。
采莲
gather VS pluck
散文介绍受用这无边的荷香月色好了就自然而然地过渡到第二部分段的夜景描写烘托出一片宁静之后让蝉声和蛙声打破宁静借此转下最后的第三部分写六朝采莲的热闹和江南故乡采莲的情状心境又回到现实生活了
翻 译 批 评 与 赏 析
荷 塘 月 色
By 谢瑶
Contents
一.作者简介 二.译者简介 三.散文介绍
四.译文赏析
引 用 了 信 息 布 局 理 论 （ i n f o r m a t i o n g r o u n d i n g theory ）来说明在语篇构建过程中如何合理布局。该 理论认为，可接受的语篇既包括前景信息 （ foregrounded information ），又包括背景信息 （backgrounded information）。前者是指句子当中 新的或者被人们认为更为重要的主干信息，后者则是 指听话人或读者在理解新信息时所需要的信息，或者 是次重要的辅助信息。前景化信息围绕语篇的特定主 题或话题展开,且有助于突出所描写的对象。
翻译批评与欣赏 Five
Lecture FiveOn C-E Prose Translation1. The Prose Translation by Lin YutangPassage I:闲情记趣（节选）余忆童稚时，能张目对日，明察秋毫，见藐小微物，必细察其纹理，故时有物外之趣。
夏蚊成雷，私拟作群鹤舞空。
心之所向，则或千或百，果然鹤也。
昂首观之，项为之强。
又留纹于素帐中，徐喷以烟，使其冲烟飞鸣，作青云白鹤观，果如鹤立云端，怡然称快。
于土墙凹凸处，花台小草丛杂处，常蹲其身，使与台齐；定神细视，以丛草为林，以虫蚁为兽，以土砾凸者为丘，凹者为壑，神游其中，怡然自得。
(摘自《浮生六记》第二卷)The Version:The Little Pleasure of LifeI remember that when I was a child, I could stare at the sun with wide, open eyes. I could see the tiniest objects, and loved to observe the fine grains and patterns of small things, from which I derived a romantic, unworldly pleasure. When mosquitoes were humming round in summer, I transformed them in my imagination into a company of storks dancing in the air. And when I regarded them that way, they were real storks to me, flying by the hundreds and thousands, and I would look up at them till my neck was stiff. Again, I kept a few mosquitoes inside a white curtain and blow a puff of smoke round them, so that to me they became a company of white storks flying among the blue clouds, and their humming to me the song of storks singing in high heaven, which delighted me intensely. Sometimes I would squat by a broken earthen wall, or by a little bush on a raised flower-bed itself, and there I would look and look, transforming in my mind the little plot of grass into a forest and the ants and insects into wild animals. The little elevations on the ground become my hills, and the depressed areas became my valleys, and my spirit wandered in that world at leisure.Passage II:桃花源记陶渊明晋太元中，武陵人捕鱼为业，缘溪行，忘路之远近；忽逢桃花林，夹岸数百步，中无杂树，芳草鲜美，落英缤纷。
批评与赏析
翻译批评与赏析之天净沙·秋思院系：班级：姓名：学号：Analysis and Comparison of Different English V ersions of A Chinese Qu-poetry-Tian-Jing-Sha-QiuSiAbstract:With the development of state economy and the improvement state power, china has a greater and greater influence in the world, and Chinese culture becomes more and more popular around the world.In order to satisfy the needs of the foreigners and spread our culture more wildly, many Chinese works have been translated into English,however,different translators may translate the same work different according to their own understanding.This paper means to find out the similarities and differences between the Chinese originals and their translations, and analysis the various advantages and disadvantages of each version, pointing out whether the versions are acceptable or not.Key words: transition Tian-Jing-Sha--Qiu Si versionI IntroductionTian-Jing-Sha-Qiu Si,a Chinese Qu-poetry,is wrote by Ma Zhiyuan who was a famous Qu composer regraded as Libai(a well-known poet) in the Tang dynasty(618-907AD)and Sushi(a well-known Ci-composer)in the Song dynasty(960-1279AD) and was known for his bold and unconstrained styled Yuan Sanqu (a type of verse popular in the Yuan, Ming and Qing dynasties, with tonal patterns modelled on tunes drawn from folk music),while this poemis a lyric poetry to express the deep homesick of a man travelling or residing far away from home.This poem is very famous and was regarded as the forefather of QiuSi by Zhou Deqing in his famous book ZhongY uanYinY un and was praised as the sound of nature by W ang Guowei in his Song Y uan Xi Qu Kao and in his renowned Ren Jian Ci Hua he also said very few words fully revealed the excellent of the Tang poetry which can not be done by the all the Y uan poets except Ma Zhiyuan.II.The Chinese original versionIn Chinese original version ,this poem was consisted of only 28 words including only 10 subjects and one person . There is not a single common saying ,a slang or a function word in the whole poet. It seems that the poet just links some unrelated things together without the using of verbs or linking words to unfold us a impressive image to express the great homesick of the person who is far away from home.III.Analysis and comparisonThere are many translated versions about the Tian-Jing-Sha-Qiu Si, and I am going to make a analysis and comparison among the following five versions translated by a)W ong Xianliang b) Ding Zuxing and Burton Raffel c)ZhaoZhentao d)Wayne Schlepp e)Zhou Fangzhu.As the first three verses have the same patten, I decide to analysis them together.(1)the first three versesWong's version：Crows hovering over rugged trees wreathed with rotten vine —the day is about done. Yonder is a tiny bridge over a sparkling stream, and on the far bank, a pretty little villageDing and R's version:Withered vines hanging on old branches,Returning crows croaking at dusk.A few houses hidden past a narrow bridge,And below the bridge a quiet creek running. /Zhao's version:Withered vines, olden tree, ev [e] ning crows;Tiny bridge, flowing brook, hamlet homes;Ancient road, wind from west, bony horse; /Schlepp's versionDry vine, old tree, crows at dusk,Low bridge, streamrunning, cottages,Ancient road, west wind, lean nag,Zhou's versionWithered vine, old tree, crows at dusk,Tiny bridge, flowering brook, and cottages,Ancient road, blesk wind, bony steed.From the versions above it is not difficult for us to see that the last three versions are of the same patterns.They keep the same pattern with the original version.what different is the wording.The Analysis of W ong's version:W ong derestroy the original pattern and adopt the way to paraphrase and also add something to the version for example and on the far bank so as to convey us information more correctly. However, this kind of translation loses the original pithiness and penetratingness ,what is more, it also express us so mush that it limit our imagination.While, the wording of this version is very good, the word hovering he used presents us a much more vivid picture to show the scene how the crows are flying. There are also other words such as rugged ，wreathed，rotten making the image more vividly. But the word sparkling is unsuitable for it conveys a mirthfully atmosphere while the whole poet is sad and sorrow. The analysis of the second version: this version is just the same as the first version as for the pattern for it also does notfollow the original pattern and wording.while the second also has something special,in the original poet all the images are of equal importance and they are place paralleled that is to say there is no attribution relationships among there.however, in the second version,Withered vines hanging on old branches,Returning crows croaking at dusk. It seems that the old branches is just a setting for vines are and crows,they are no more paralleled,thus the translator changes the original three images to two scenes.And it goes the same as the next verse, the translator chooses the bridge as the setting thus changing the three images to two scenes.The Analysis of the last three version:just as what has said above,the last three versions have something in common,that is they are all of the same pattern which is almost the same as the original version, which leaves us a great of imaginary space just as what the poet intents to .while, there is still difference them that is the choosing of the word.Of course they all have their shining points in their wording, here i just want to mention the translation of a noun phrase xifeng,in china xifeng blows in winter when everything is bloom therefore it symbolizes cold suffering and misery. While in the western ,xifeng blows in spring when everything comes back to life therefore itsymbolizes life , recovery and hope. So I think to translate xifeng directly into westwind is not appropriate.(2) The forth verseFor Wong has amalgamated the last two verses into one,so I will analysis it together with the firth verse soon afterward.Ding and R's version: The sun dips down in the westZhao's version:The sun is settingSchlepp's version: The sun westeringZhou's version:The sun sinking westReading the original poetry carefully you will easily have a feeling that this verse is not only means to state the fact that the sun is westering but also try to present us an image.Of the four versions I think the first is the best for the translator uses a verb dip which not only shows us the dynamical process of the fallen of the sun but also gives an impression that the sun is further and further.while,the other three translations just show us the action of the sun without the image represented by the sun.while,among the three zhou's version is better,for a word sinking does not only means the sun fallen in the west but also shows the the sense of heaviness of the sun, what is more, sinking also vividly present the sadness and helpless of theperson who is far away from home.All in all, all of the four translations convey the original poetry truthfully and leave us great imaginary space.(3) the last verseWong's version：But the traveler has to go on down this ancient road, the westwind moaning, his bony horse groaning, trudging towards the sinking sun, farther and farther away fromhome.Ding and R's version:And the lovesick traveler is still at the end of the world.Zhao's version:Broken man, far fromhome, roams and roams.Schlepp's versionAnd one with breaking heart at the sky’s edgeZhou's version:A heart-torn traveler at the end of the world.In Chinese,zai is a verb and later with the development of the language it changes to preposition.while, in the original poetry the second noun phase is a place and it is just in this place that the first noun phase located. While,Among the five translations, only the second adopts the same process of the original poetry, it use the verb is to translate the Chinese zai.Butwhat deserves our attention is that the translator still add a adverb still to his version,here still is a commentary adverb in functional grammar which is used to demonstrate the author's opinion.Therefore, by adding a still the translator puts his own opinion into his translation thus limiting the readers' imaginary space intangibly.While I think W ong's version is a little better for he translates the last two verses into four minor sentences to express four dynamical scenes which makes the original statical scenery dynamical and vivid. what is more, the relationship between the horse and traveller has not been pointed out while in his translation the relationship is very clear thus making the scene more clear.Roam in the third translation is not suitable for roam means wander or walk aimless or without destination, it is usually used to express one's confusion.while the original poetry does not mean to convey us so.It is easy to find that Schlepp's version and Zhou's version are very similar for they both translate into a noun phase plus a prepositional phase and they all chose the preposition at, while at has many meanings and only it used together with verbs orothers can it conveys a complete meaning. So from this sense, both of the two versions do not have a clear relationship between the first noun phase and the second. Thanks to this, the readers can connect them according to their own imaginations. They can think the heart-broke is really at the sky's edge or just in his own imagination or illusion then it changes to a psychological process.IV.conclusionDifferent people has different translations according to their different understandings and emphases, so it is not strange at all for us to see so many versions of the same original works,and as all they translators have their own advantages and disadvantages, when we read their works in the following days we should try to find their shining points and weakness and make us a good reader and translator by the way of intaking their merits and getting rid of their demerits. Reference:[1] 黄宪芳．论诗体结构中文化内涵的传递[J]．广东经济管理学院学报，2004（2）．[2] 顾延龄．马致远《天净沙·秋思》英译赏析[J]．外国语，1993，（2）．[3] 陈刚．及物性对等与汉诗英译[J]．安徽工业大学学报（社会科学版），200（3）．[4] 黄国文．从《天净沙·秋思》的英译文看“形式对等”的重要性[J]．[5] 朱永生，严世清，苗兴伟．功能语言学导论[M]．上海：上海外语教育出社，2004．〔6]Different versions of Tian-Jing-Sha-Qiu Si翁显良：AutumnCrows hovering over rugged trees wreathed with roten vine —the day is about done. Yonder is a tiny bridge over a sparkling stream, and on the far bank, a pretty little village /But the traveler has to go on down this ancient road, the westwind moaning, his bony horse groaning, trudging towards the sinking sun, farther and farther away fromhome. /丁祖馨Burton Raffel Tune：TianJinShaBy Ma ZhiyuanWithered vines hanging on old branches,Returning crows croaking at dusk.A few houses hidden past a narrow bridge,And below the bridge a quiet creek running. /Down a worn path, in the west wind,A lean horse comes plodding. /The sun dips down in the west, /And the lovesick traveler is still at the end of the world.赵甄陶：Autumn Thoughts Withered vines, olden tree, ev [e] ning crows;Tiny bridge, flowing brook, hamlet homes;Ancient road, wind from west, bony horse; /The sun is setting, /Broken man, far fromhome, roams and roams. /Wayne SchleppTune to “Sand and Sky”——Autumn Thoughtsby Ma ZhiyuanDry vine, old tree, crows at dusk,Low bridge, streamrunning, cottages,Ancient road, west wind, lean nag,The sun westeringAnd one with breaking heart at the sky’s edge周方珠Withered vine, old tree, crows at dusk, Tiny bridge, flowering brook, and cottages, Ancient road, blesk wind, bony steed.The sun sinking west,Aheart-torn traveler at the end of the world.。
《浮躁》翻译批评与赏析
刻画人物：细节描写包括：人物形象、特征、动作、语言、心理及所处环境和场面等人物动作翻译策略，方法及技巧：归化；意译；省译，增译（意译，省译）1韩文举醉卧着，看见岸上歪过来的一株柳上，一瓣黄月朦胧，柳枝上的两只斑鸠似睡未睡亦在朦胧。
那双手窸窣而动，咣啷啷在船板上将六枚铜钱一溜儿撒开；火柴划亮。
三枚“宝通”朝上。
恰火柴又灭了，又划一根，翻开的是一本线装古书，烂得没头没尾；寻一页看了，脑袋放沉，酒气中咕哝一句：“今年又要旱了！”窸窣（xi su）：象声词，形容细小的摩擦声Han Wenju laydrunk in the bottom of his boat, looking up at the dropping willowbranch and the hazy yellow moon above it. The haze caught two turtledoves perching sleepily on the branch. Han Wenju’s hand shook as he tossed six copper coins onto the wooden planks, where they clanked around. He struck a match; three coins lay face up. The match went out. He struck another and picked up an ancient, thread-bound book, so dog-eared it was nearly falling apart. He foundthe page he was looking for. His brain was clouded, and he gave off the stench of alcohol when he said, “ Another year of drought!”dog-eared: 卷角的（书），翻烂的（书）cloud：to show sadness, fear, etc ( 显得阴沉）（意译）2 脚手架上，爹是一个四脚虫，骑在椽上，双脚交叉，努力着平衡，画笔就吸饱各色颜料，画一笔，在嘴上备备，再画一笔，再备备，嘴唇上便滑稽可笑，吐一口唾沫也五颜六色。
翻译批评与赏析
翻译批评与赏析-CAL-FENGHAI.-(YICAI)-Company One1下面我将就TEM8中一篇文章的三个中文翻译版本进行翻译批评与赏析，同时提供自己整合后的新版本。
原文：1. When I try to understand what it is that prevents so many Americans from being as happy as one might expect, it seems to me that there are two causes, one of which goes much deeper than the other.2. The one that goes least deep is the necessity for subservience in some large organizations.3. If you are an energetic man with strong views as to the right way of doing the job with which you are concerned, you find yourself invariably under the orders of some big man at the top who is elderly, weary and cynical.4. Whenever you have a bright idea, the boss puts a stopper on it.5. The more energetic you are and te more vision you have, the more you will suffer from the impossibility of doing any of the things that you feel ought to be done.6. When you go home and moan to your wife, she tells you that you are a silly fellow and that if you become proper sort of yes-man, your income would soon be doubled.7. If you try to divorce or remarry, it is very unlikely that therewill be any change in this respect.8. And so you are condemned to gastric ulcers and premature old age.译文一：我想弄清楚为什么那么多美国人不像人们料想的那样快乐，觉得似乎有两个原因，其中一个比另一个深刻得多。
翻译批评与鉴赏
Comparison of Two Translations of “Of Study”Introduction: The prose Of Studies is one of the most influential essays of Francis Bacon. It is an artistic prose which frequently uses the formal language and the words are concise, quaint and elegant. It is right to say that the prose is a beauty in content, form and style. Therefore, it is of great value to study it and the translation versions. This article will attempt to compare two different translation versions from the perspective of literary form style, ellipsis and repetition.In the process of translation, the target text should not only be faithful to the original meaning, but also keep correspondence with the literary form style of the original text. Next, l et’s have a comparison at the two versions. The first version is from Wang Zuoliang, who is a well-known educator, linguist, and writer. He is also a productive translator who has translated a large amount excellent works, especially classical poetries and prose. The second is from Liao Yunfan, who is a famous physician.Source text 1: Studies serve for delight, for ornament, and for ability.Target text 1：读书足以怡情，足以博彩，足以长才。
英文小说翻译批评赏析作文
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译者的阐释与读者的误读：以《红楼梦》译文为例作者（学号）（学院、班级、专业）摘要：文学经典的阐释是一个历史过程，永远不会终结。
译者翻译的过程，是对原文文本进行阐释的过程。
读者阅读的过程，也是对译文文本进行阐释的过程。
但是，在批评界，阐释、误读与错译三者有时混为一谈，甚至等同起来。
阐释学观点认为，对作品的理解总是以理解者——包括作者、译者、读者——的视野为前提。
本文通过讨论《红楼梦》中几个具体例证，试图考察作者、译者、读者三个主体因素在文本的创作、翻译和阅读过程中所起的主体作用。
本文指出，译者对原文的不同解读，在读者眼里可能是错译，也可能是误读——在理解者本人看来，不同于自己理解的就是误读。
这些解读，无论是合理的还是不合理的，都构成文学文化的一部分。
(宋体，小五，1.25倍行距)关键词：译者；错译；误读；阐释学；主观性Translator’s Interpretation and/or Readers’ Misinterpretation: A Case Study of the Renditions of Honglou MengAuthor Name (student number)Abstract: Interpretations of literary classics is a historical process without end. The process of translating ST and reading TT is a process of interpretation. Translation errors and misinterpretations are sometimes confused and misused by the critics. Cultural misinterpretation is a complex phenomenon in literary translation, with multifarious reasons. From a hermeneutic point of view, interpretation is always conditioned by one’s own horizons and perspective. By discussing several exemplary cases of Honglou Meng in translation and cross-cultural understanding, this paper argues that the author, translator and reader can all play a subjunctive role in their respective interpretation processes of writing, translating and reading. Translation errors should be avoided, while misinterpretations, whether reasonable or unreasonable, are unavoidable and destined to be part of literature. (Times New Roman, 5号, 1.25倍行距)Key Words: translation errors; misinterpretation; author; translator; reader一、引言(小标题用黑体五号字；正文用宋体五号字)“文化”一直是经久不衰的话题。
文化交流是促进人类社会进步的主要动力之一。
季羡林先生(2007：151)曾说，没有文化交流，人类就没有进步，就没有今天世界上这样繁荣兴旺的社会。
“文化热”自上个世纪80年代就开始流行，当时就有一些极端意见认为，未来世界的冲突，将是文明的冲突，文化之间的深刻差异和尖锐对立是不可超越和克服的。
今天世界的纷争虽不完全是由文化冲突引起，但也决非与文化冲突无关。
目前的文学文化界，文化和谐与冲突成为热点。
翻译评论界也不例外。
也难怪，语言文字的差异造成的翻译困难一般摆在明处，容易引起重视，而文化差异造成的翻译困难却往往如水中的暗礁，导致翻船。
王佐良（1989: 34）认为，翻译里最大的困难是两种文化的不同，在一种文化里有一些不言而喻的东西，在另外一种文化里却要费很大的力气才能解释清楚。
孙致礼（1999: 62）也说：“翻译不仅要考虑语言的差异，还要密切注视文化的差异，文化差异处理的好坏，往往是翻译成败的关键。
”本文试图从阐释学视角，以《红楼梦》翻译为例，探讨翻译过程中因作者、译者和读者三个因素对文化因素的不同处理而出现的误读和错译现象。
二、文本阐释、误读与错译“误读”首先假定了一个“正确的”解读，它不仅是理论推导的产物，同时也作为一种标准。
凡是与“正确的解读”不同的，都是“误读”。
孙致礼（2000: 356-359）提出“‘文化传真’是翻译的基本原则”，并要求译者“作真正意义上的文化人”。
在一定程度上，这是一种理想。
翻译过程中文化的传递至少需要两个步骤：首先是正确地理解原语中的文化，然后是把正确的理解正确地表达出来。
但是，有时候并不存在一个正确的理解。
伽达默尔（Gadamer, 1975）在《真理与方法》中提出阐释学的三个原则：“理解的历史性”、“视界融合”和“效果历史”（转引自张德让，2001：23）。
阐释学的核心问题就是理解，而理解总是以理解者的认知能力和视野为前提。
尽管阐释学理论的出发点不是针对翻译而来，但是，众所周知，任何翻译都是从对原文的理解开始的，读者的接受也是从对译文的理解开始的。
因此，阐释学理论对跨文化翻译同样适用。
正如张隆溪（2007：15）所言，“我们对事物的理解总是受到我们自身眼界和视野的限定”，因而“不是纯粹‘客观的’、唯一正确的理解”。
其实，无论是作者、译者还是读者，都只能从自己特定的视野去理解各种事物。
但是，干扰作者、译者和读者对文本的理解的因素有很多：小而言之，有他个人的经历、性格、教育、修养等等；大而言之，则有他们所处的时代，他们置身其中的民族文化传统、思维习惯等等。
同一个文本，不同读者会产生不同的理解；同一个社会文化现象，不同观众有不同看法。
即使译者很好地理解了原文，有时在表达过程中也难免会生成新的含义，让读者产生误解。
译者的文学功底，译者的政治、宗教立场，译者所处的时代、社会意识形态等都会对译者的表达产生或左或右的影响。
同样，读者的文学功底、政治宗教立场、社会意识形态等也会左右他对同一译本的不同理解。
绝对的中立或完全的透明是不可能的。
因此，让·贝西耶（1999: 143）说，文化误读的真实性是肯定的，因为文化间存在差异和政治上的不平等；文化误读之所以产生，是因为目前我们还没有能力解读或调和文化相异性。
译者只能在精通双语的同时，学习双文化乃至多文化的知识，特别是要对两种语言的民族心理意识、文化形成过程、历史风俗习惯、宗教文化以及地域面貌特性等一系列互变因素均有一定的了解，不断提高自己的文化素养。
不少学者把文化误读分为两类：有意误读和无意误读（如杨松芳，2006：176）。
笔者认为，如果误读是一种事实，就不存在有意无意之别。
从阐释学视角来看，误读只存在是否合理的问题，即，合理的误读与不合理的误读。
合理的误读主要是由于作者或译者站在不同的文化立场上，或者出于不同的翻译目的而产生的。
不合理的误读主要是由于译者或读者：1. 对原语或者译语文化不甚了解；2. 个人偏见或者过于自负；3. 表达的失误。
一般而言，不合理的误读就是一种错译。
2.1 读者不同解读而产生误解每一个阅读者都是一个独立的个体。
误读的产生，来自于每个个体对同一事物的不同理解。
同一个文本或者短语，因为视角不同、立场不同，可能会导致不同的理解。
在理解者本人看来，与自己的理解相异即是误读。
作者在其作品中，无疑有自己的文化立场。
读者（包括译者）读该作品时，也有一个自己的文化立场。
他的立场也许与作者的立场一致，也许与作者的立场冲突。
译者不仅仅是读者，而且是译文的创作者。
他的文化选择不仅仅是个人理解问题，而且往往会影响其译作的读者。
许钧（2002: 66）指出，每一个有使命感的译者，都会在翻译一部作品时明确选择自己的文化立场，而这一立场的确立，无疑直接影响着译者的翻译心态和翻译方法。
译者作为跨越两种文化的使者，他所面临的，有原语文化与译语文化。
面对这两种文化，出于不同的动机和目的，译者至少可采取三种文化立场：一是站在原语文化的立场上；二是站在译语文化的立场上；三是站在沟通原语文化与译语文化的立场上（同上）。
最典型的实例就是大家熟悉的《红楼梦》的两个英译本——杨宪益夫妇翻译的A Dream of Red Mansions和英国汉学家大卫·霍克斯（David Hawkes）翻译的The Story of the Stone，前者站在中国（原语）文化立场上，而后者站在英国（译语）文化立场上。
许多学者比较过两译本，这里仅举一例说明。
例如，《红楼梦》第四十七回中这么一段话：“那柳湘莲原是世家子弟，读书不成，父母早丧，素性爽侠，不拘细事，酷好耍枪舞剑，赌博吃酒，以至眠花卧柳，吹笛弹筝，无所不为。
”（曹雪芹，1999：1334）文中“花”“柳”是对“妓女”的委婉称呼，汉语里还有“寻花问柳”、“花柳病”等说法。
“眠花卧柳”被霍克斯（Hawkes, 1973:437）译为“frequented the budding groves”，而杨宪益和戴乃迭（1999: 1335）译为“fond of the company of singsong girls”。
一般人都认为后者完整地表达了该词的意义，“比较充分地展现了原词语的文化内涵”，而前者“显然是没有把握“花”“柳”两字的内涵意义“（姜倩何刚强，2008：175）霍克斯真的不懂“寻花问柳”的真实涵义吗？试看另一个例子。
在第68回，尤二姐和王熙凤相见时，王熙凤说她多次劝贾琏洁身自好，“别在外眠花宿柳”（曹雪芹，1999:2036）。
霍克斯的译文是not to go sleeping out “under the willows” (you know what I mean) both for his health’s sake (Hawkes, 1980: 333)。
咋一看，译文是按照中文字面来翻译的，但是补充的一句you know what I mean（你知道我的意思）表明霍克斯完全明白“眠花宿柳”的意思，只是为了保持与原文一样的委婉：家丑不可外扬，妻子王熙凤不可能直接说贾琏嫖娼。