莎士比亚的长诗《维纳斯与阿多尼》语言华丽,修辞繁复,风格优雅。翻译家张谷若坚持“地道”的翻译原则,充分运用汉语诗歌的手段,译诗文字典雅凝重,细腻传神。他运用同音、行内韵和尾韵等语音手段,大量使用双声词、叠韵词以及叠词等,根...莎士比亚的长诗《维纳斯与阿多尼》语言华丽,修辞繁复,风格优雅。翻译家张谷若坚持“地道”的翻译原则,充分运用汉语诗歌的手段,译诗文字典雅凝重,细腻传神。他运用同音、行内韵和尾韵等语音手段,大量使用双声词、叠韵词以及叠词等,根据人物的形象、性格和情感的变化,使用响亮程度不同的汉语词曲韵辙,使译诗音声高低相和,富有节奏和韵味。他使用“以文绘画”的手法,通过具体化和增译等技巧,使译诗在故事叙事、形象塑造、环境描写、动作描写、心理刻画等方面都细腻、真实、生动、传神。文章以阐释学翻译理论为指导,对张谷若先生的译本进行赏析,研究张谷若先生在翻译过程中如何对原文内容、结构、以及韵律进行阐释,旨在给予文学诗歌相关领域的译者以启发。Shakespeare’s poem Venus and Adonis is rich in language, complex in rhetoric and elegant in style. The translator Zhang Guruo adheres to the principle of “authentic” translation, fully utilizes the means of Chinese poetry, and translates the poem in an elegant, dignified and delicate manner. He utilized phonetic devices such as assonance, internal rhyme and end rhyme, and made extensive use of double-sounding words, rhyming words and superlatives. According to the changes in the image, character and emotion of the characters, he used Chinese rhymes with different degrees of loudness so that the translated poems were in harmony with the sounds of the characters and were full of rhythm and flavor. He uses the technique of “painting with words” to make the translated poems delicate, true, and vivid in storytelling, image building, environment description, action description, psychological portrayal and so on by means of concretization and augmentation of translation. This paper takes hermeneutic translation as a guide to analyze Mr. Zhang Guoruo’s translations, and studies how Mr. Zhang interpreted the content, structure, and rhythm of the original texts in the process of translation, aiming to give inspiration to the translators in fields related to literary poetry.展开更多
在列维纳斯的早期著作中,其书写遵循着一条从“有”(Il y a)到“孤独”(hypostasis)再到面向他人的渐进过程。其中,“有”是一个终将被突破的过渡环节。许多评论家认为,列维纳斯在逻辑上预设了一位善良上帝的存在,作为与他人面对面伦理...在列维纳斯的早期著作中,其书写遵循着一条从“有”(Il y a)到“孤独”(hypostasis)再到面向他人的渐进过程。其中,“有”是一个终将被突破的过渡环节。许多评论家认为,列维纳斯在逻辑上预设了一位善良上帝的存在,作为与他人面对面伦理关系实现的保证,而这也是“有”必将被克服的原因。但其实,列维纳斯的上帝是源初异质性的显现,他的相关思想是一门“使意义成为可能”的哲学。将语境还原至他所身处的现象学运动中去,他希冀超逾胡塞尔的意向性和抗拒现代战争的努力,并一直在致力于捍卫主体性这一行动。展开更多
在《阿尔喀比亚德》中,柏拉图借“镜子比喻”引出了自我认知的概念以及具体认知过程。自我认知是通过“他人之眼”的反映而获得的关于灵魂、神圣的知识。亚里士多德在《优台谟伦理学》中将“镜子”比喻中的他人细化为“朋友”,在朋友对...在《阿尔喀比亚德》中,柏拉图借“镜子比喻”引出了自我认知的概念以及具体认知过程。自我认知是通过“他人之眼”的反映而获得的关于灵魂、神圣的知识。亚里士多德在《优台谟伦理学》中将“镜子”比喻中的他人细化为“朋友”,在朋友对我的情感中,自身的善得以显现。无论是柏拉图还是亚里士多德,都肯定把他人作为自我认知显现的重要途径,却忽视了他人、朋友的主动性。而列维纳斯主张在自我认知过程中应该对他者给予关照和尊重,以凸显“他者”的方式超越了传统同一化的认识论方法。但同时列维纳斯的他者理论也暗含了以他者为标准的自我认知与建构倾向,可能导致自我认知与构建的现实困境。In the Alcibiades, Plato used the “mirror metaphor” to introduce the concept of self-cognition and the specific cognitive process. Self-cognition is the knowledge of the soul, of the divine, gained through the reflection of the “other people’s eyes”. Aristotle, in the Eudemian Ethics, refined other people in the metaphor of the mirror to be the “friend”, and in the emotions that a friend has for me, my own goodness is revealed. Both Plato and Aristotle affirmed the importance of other people as a means of self-cognition manifestation, but they overlooked the initiative of other people and friends. Levinas, on the other hand, advocates that in the process of self-cognition, care, and respect should be given to “The Other”, which transcends the traditional epistemological approach of homogenization by highlighting “The Other”. But at the same time, Levinas’s theory of “The Other” also implies the tendency of self-cognition and construction based on the standard of “The Other”, which may lead to the practical dilemma of self-cognition and construction.展开更多
文摘莎士比亚的长诗《维纳斯与阿多尼》语言华丽,修辞繁复,风格优雅。翻译家张谷若坚持“地道”的翻译原则,充分运用汉语诗歌的手段,译诗文字典雅凝重,细腻传神。他运用同音、行内韵和尾韵等语音手段,大量使用双声词、叠韵词以及叠词等,根据人物的形象、性格和情感的变化,使用响亮程度不同的汉语词曲韵辙,使译诗音声高低相和,富有节奏和韵味。他使用“以文绘画”的手法,通过具体化和增译等技巧,使译诗在故事叙事、形象塑造、环境描写、动作描写、心理刻画等方面都细腻、真实、生动、传神。文章以阐释学翻译理论为指导,对张谷若先生的译本进行赏析,研究张谷若先生在翻译过程中如何对原文内容、结构、以及韵律进行阐释,旨在给予文学诗歌相关领域的译者以启发。Shakespeare’s poem Venus and Adonis is rich in language, complex in rhetoric and elegant in style. The translator Zhang Guruo adheres to the principle of “authentic” translation, fully utilizes the means of Chinese poetry, and translates the poem in an elegant, dignified and delicate manner. He utilized phonetic devices such as assonance, internal rhyme and end rhyme, and made extensive use of double-sounding words, rhyming words and superlatives. According to the changes in the image, character and emotion of the characters, he used Chinese rhymes with different degrees of loudness so that the translated poems were in harmony with the sounds of the characters and were full of rhythm and flavor. He uses the technique of “painting with words” to make the translated poems delicate, true, and vivid in storytelling, image building, environment description, action description, psychological portrayal and so on by means of concretization and augmentation of translation. This paper takes hermeneutic translation as a guide to analyze Mr. Zhang Guoruo’s translations, and studies how Mr. Zhang interpreted the content, structure, and rhythm of the original texts in the process of translation, aiming to give inspiration to the translators in fields related to literary poetry.
文摘在列维纳斯的早期著作中,其书写遵循着一条从“有”(Il y a)到“孤独”(hypostasis)再到面向他人的渐进过程。其中,“有”是一个终将被突破的过渡环节。许多评论家认为,列维纳斯在逻辑上预设了一位善良上帝的存在,作为与他人面对面伦理关系实现的保证,而这也是“有”必将被克服的原因。但其实,列维纳斯的上帝是源初异质性的显现,他的相关思想是一门“使意义成为可能”的哲学。将语境还原至他所身处的现象学运动中去,他希冀超逾胡塞尔的意向性和抗拒现代战争的努力,并一直在致力于捍卫主体性这一行动。
文摘在《阿尔喀比亚德》中,柏拉图借“镜子比喻”引出了自我认知的概念以及具体认知过程。自我认知是通过“他人之眼”的反映而获得的关于灵魂、神圣的知识。亚里士多德在《优台谟伦理学》中将“镜子”比喻中的他人细化为“朋友”,在朋友对我的情感中,自身的善得以显现。无论是柏拉图还是亚里士多德,都肯定把他人作为自我认知显现的重要途径,却忽视了他人、朋友的主动性。而列维纳斯主张在自我认知过程中应该对他者给予关照和尊重,以凸显“他者”的方式超越了传统同一化的认识论方法。但同时列维纳斯的他者理论也暗含了以他者为标准的自我认知与建构倾向,可能导致自我认知与构建的现实困境。In the Alcibiades, Plato used the “mirror metaphor” to introduce the concept of self-cognition and the specific cognitive process. Self-cognition is the knowledge of the soul, of the divine, gained through the reflection of the “other people’s eyes”. Aristotle, in the Eudemian Ethics, refined other people in the metaphor of the mirror to be the “friend”, and in the emotions that a friend has for me, my own goodness is revealed. Both Plato and Aristotle affirmed the importance of other people as a means of self-cognition manifestation, but they overlooked the initiative of other people and friends. Levinas, on the other hand, advocates that in the process of self-cognition, care, and respect should be given to “The Other”, which transcends the traditional epistemological approach of homogenization by highlighting “The Other”. But at the same time, Levinas’s theory of “The Other” also implies the tendency of self-cognition and construction based on the standard of “The Other”, which may lead to the practical dilemma of self-cognition and construction.
