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把原作藝術(shù)意境作為探求譯文藝術(shù)內(nèi)容和語言形式的出發(fā)點
2024-01-15 09:39:14    etogether.net    網(wǎng)絡(luò)    

〔再現(xiàn)派譯文〕

The blinds I raised; with joy the New Moon saw.

The steps descended eager to adore.

My whispered prayer might not be heard

of men.

The North wind's fingers at my girdle tore.

                                 (Fletcher)

原詩無fingers一詞。譯詩加上fingers后,似乎能更生動地描繪出深閨少女替未婚夫婿祈禱的羞澀心情。

《我叫阿拉木》中有這樣一段文字:

Any time a circus used to come to town, that was all me and my old pal Joey Renna needed to make us hog-wild, as the saying is. All we needed was to see the signs on the fences and in the empty store windows to start going to the dogs and neglecting our educations. All we needed to know was that a circus was on its way town for me and Joey to start, wanting to know what good a little education ever did anybody anyway.

After the circus reached the town we were just no at all. we spent all our time down at the trains, watching them unload the animals, walking out Ventura Avenue with the wagons with lions and tigers in them and hanging around the grounds, trying to win the favour of the animalmen, the workers, the acrobats, and the clowns.

The circus was everything everything else we know wasn't. It was adventure, travel, danger, skill, grace, romance, comedy,peanuts,popcorn,chewing-gum and soda-water. We used to carry water to the elephants and stand around afterwards and try to seem associated with the whole magnificent affair, the putting up of the big tent, the getting everything in order, and the world-wise waiting for the people to come and spend their money.

                                                (William Saroyan: My Name is Aram)

呂叔湘同志的譯文是這樣的:

“每回馬戲班一到我們城里,我和我的老朋友約爾·雷納就成了沒籠頭的馬。只要一見圍墻上跟商店玻璃窗上的招貼兒,我們就壞了事了,功課什么的全都不管了。只要一得風(fēng)聲,馬戲班快到了,我跟約爾就開始追問,功課這樣?xùn)|西究竟于人有什么好處。

“馬戲班到了以后,我們簡直就糟了。我們整天的工夫就算是送給它了。到火車站看他們搬動物下車,眼著那裝獅子的大車跟裝老虎的大車一路走,走完芬吐拉路到了演戲場,這就釘住了不走了,跟那些管獅子老虎的,管雜事的,走索兒翻筋斗的,扮小丑的,搭油著話,套交情。

“馬戲班代表著我們平??匆姷囊磺袞|西所無的一切,它是冒險,旅行,危險,技巧,美麗,浪漫,喜劇,花生米,爆玉米花,橡皮糖,蘇打水,兼而有之。我們提一桶水去送到大象旁邊,在左右盤桓,看他們搭起大帳蓬,擺起各項用具,然后深通世故似的靜侯大家來花錢。我們不但是看,還裝作仿佛也是里頭的人似的?!保ㄗⅲ?/p>

如果譯者沒有抓住原作藝術(shù)意境,沒有清晰地想象出這一生活畫面的話,譯文決不會這樣生動。這是再現(xiàn)派的譯文,比復(fù)制

派譯文高明多了。我們不妨指出幾個地方,把兩種翻譯方法加以對比。

1、[復(fù)制派] 動物管理員,工人,奇技演員,小丑(成人眼中的世界)

     [再現(xiàn)派] 管獅子老虎的。管雜事的,走索翻筋頭的,扮小丑的(孩子眼中的世界)

2、[復(fù)制派〕努力爭取……的好感(成人眼中世界)

     [再現(xiàn)派] 跟……搭訕著說話,套交情(孩子眼中的世界)

3、[復(fù)制派)裝作和這整個了不起的事情有聯(lián)系(成人眼中的世界)

    [再現(xiàn)派] 我們不但是看,還裝作仿佛也是里頭的人似的(孩子眼中的世界)


總之,抓住原作藝術(shù)意境,并且真實地加以再現(xiàn)——這就是翻譯藝術(shù)真諦之所在。


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