Translation is complicated,and one reason for this difficulty is that one does not think the same way in French or in Chinese.But art is a way to transcend these barriers,or differences.With Sylvie this is important e...Translation is complicated,and one reason for this difficulty is that one does not think the same way in French or in Chinese.But art is a way to transcend these barriers,or differences.With Sylvie this is important even necessary.For two residencies,one in Guangzhou in 2005 and one in Tianshui in 2016 she came for展开更多
The French novelist Sylvie Germain spent 6 years in Czechoslovakia before, during, and after the Velvet Revolution of 1989 that ended four decades of oppressive totalitarian rule in that country. As a result of her st...The French novelist Sylvie Germain spent 6 years in Czechoslovakia before, during, and after the Velvet Revolution of 1989 that ended four decades of oppressive totalitarian rule in that country. As a result of her stay, Germain produced four texts that are imbued with painful Czech stories and memories of both the Holocaust and the Communist era. This study examines the inscription of Germain' s encounter with the (Czech) other into her writing through tropes of exile and dispossession, of the suffering or wounded body, and of illness. Although Germain did not experience either the Holocaust or totalitarianism at first hand, and has moreover no claim to a Czech heritage, I posit that her work can nonetheless be interpreted as a transnational witness to the suffering of the (Czech) other. Using theories of the self and other, as well as theories of exile and of the narration of illness, I discuss how Germain's work negotiates the fine line between an appropriation of the stories of the other and an ethical responsibility to respond to other stories of pain.展开更多
《西尔薇》(Sylvie)是19世纪法国作家奈瓦尔(Gérard de Nerval)于1854年出版的小说,其结构和内容的安排具备回旋曲式的艺术效果。首先,叙事时间和地点名词的重复类似回旋曲结构;其次,14个篇章的划分在结构上也呈镜面结构相互对称,...《西尔薇》(Sylvie)是19世纪法国作家奈瓦尔(Gérard de Nerval)于1854年出版的小说,其结构和内容的安排具备回旋曲式的艺术效果。首先,叙事时间和地点名词的重复类似回旋曲结构;其次,14个篇章的划分在结构上也呈镜面结构相互对称,这也同回旋曲式相互应和;并且文章叙事的轻重缓急也如同回旋曲节奏一般;最后,由主旋律音符——普通声响和副旋律音符——乐器之声和鸟语构成的音乐元素也对回旋曲式的内容做了进一步的补充,使得整个"回旋曲"式叙述更加饱满。本文试图从音乐性角度出发,运用文本分析方法、"时间零"(Temps Zéro)及"回旋曲"(Rondeau)音乐理论,分析《西尔薇》具备的回旋曲式特色及由此带来的"迷雾"效果。展开更多
在《受活》中,阎连科对豫西方言的运用与创用达到极致,给作品带来独特的审美效果与艺术张力,但同时对译者提出了巨大的挑战。2009年,法国翻译家林雅翎将其译成法文,书名为Bons baisers de Lénine(《列宁之吻》),获得了法国读者的...在《受活》中,阎连科对豫西方言的运用与创用达到极致,给作品带来独特的审美效果与艺术张力,但同时对译者提出了巨大的挑战。2009年,法国翻译家林雅翎将其译成法文,书名为Bons baisers de Lénine(《列宁之吻》),获得了法国读者的高度关注和普遍认可。本文对《受活》法译本的方言翻译进行分析,在此基础上,根据卡萨诺瓦的场域理论及勒菲弗尔的翻译改写理论,考察《受活》法译本中源语/目标语地位、译者惯习及赞助人改写等多方力量的介入与制约。展开更多
文摘Translation is complicated,and one reason for this difficulty is that one does not think the same way in French or in Chinese.But art is a way to transcend these barriers,or differences.With Sylvie this is important even necessary.For two residencies,one in Guangzhou in 2005 and one in Tianshui in 2016 she came for
文摘The French novelist Sylvie Germain spent 6 years in Czechoslovakia before, during, and after the Velvet Revolution of 1989 that ended four decades of oppressive totalitarian rule in that country. As a result of her stay, Germain produced four texts that are imbued with painful Czech stories and memories of both the Holocaust and the Communist era. This study examines the inscription of Germain' s encounter with the (Czech) other into her writing through tropes of exile and dispossession, of the suffering or wounded body, and of illness. Although Germain did not experience either the Holocaust or totalitarianism at first hand, and has moreover no claim to a Czech heritage, I posit that her work can nonetheless be interpreted as a transnational witness to the suffering of the (Czech) other. Using theories of the self and other, as well as theories of exile and of the narration of illness, I discuss how Germain's work negotiates the fine line between an appropriation of the stories of the other and an ethical responsibility to respond to other stories of pain.
文摘《西尔薇》(Sylvie)是19世纪法国作家奈瓦尔(Gérard de Nerval)于1854年出版的小说,其结构和内容的安排具备回旋曲式的艺术效果。首先,叙事时间和地点名词的重复类似回旋曲结构;其次,14个篇章的划分在结构上也呈镜面结构相互对称,这也同回旋曲式相互应和;并且文章叙事的轻重缓急也如同回旋曲节奏一般;最后,由主旋律音符——普通声响和副旋律音符——乐器之声和鸟语构成的音乐元素也对回旋曲式的内容做了进一步的补充,使得整个"回旋曲"式叙述更加饱满。本文试图从音乐性角度出发,运用文本分析方法、"时间零"(Temps Zéro)及"回旋曲"(Rondeau)音乐理论,分析《西尔薇》具备的回旋曲式特色及由此带来的"迷雾"效果。
文摘在《受活》中,阎连科对豫西方言的运用与创用达到极致,给作品带来独特的审美效果与艺术张力,但同时对译者提出了巨大的挑战。2009年,法国翻译家林雅翎将其译成法文,书名为Bons baisers de Lénine(《列宁之吻》),获得了法国读者的高度关注和普遍认可。本文对《受活》法译本的方言翻译进行分析,在此基础上,根据卡萨诺瓦的场域理论及勒菲弗尔的翻译改写理论,考察《受活》法译本中源语/目标语地位、译者惯习及赞助人改写等多方力量的介入与制约。