英语Parody和汉语仿拟修辞格对比研究

英语的parody和汉语的仿拟修辞格,在英汉文学作品及仿拟成语、谚语、名言、警句等的表达中,都是一种巧妙、机智而有趣的修辞格。本文通过列举中英语言名句名段的仿拟、夸大原作某些特征的仿拟、善意幽默的仿拟诸方面,对比分析了仿拟的呈现方式和修辞功能;通过对中英作品中篇章层次、语句层次、词组层次和单词层次不同的仿拟特点,对比给出了中英语言在仿拟修辞应用上的差异和各自在不同层次上的优势与局限。

试论英语Parody和汉语仿拟的异同

本文论述了英语Parody和汉语仿拟在定义和形式上的一致性和操作机制的不同性以及它们的修辞作用

On Chinese Parody Translation

Chinese parody,as a traditional figure of speech,has captured more and more attention from scholars.The researches conducted up to date are inadequate in theorizing and exploring its translation.This paper,based on the comparative data analysis of Chinese parody translation examples in different types of texts,attempts to probe into the means about how to achieve the closest function equivalence in rendering Chinese parody under the guidance of Sociosemiotic Approach.It is found that the nature of Chinese parody translation is to achieve the closest natural equivalence or similarity in expressive function,informative function,vocative function and aesthetic function in its equivalents in English.And it is suggested that borrowing,imitating,paraphrasing and adapting are effective strategies in translating Chinese parody.

The Parody of Existentialism in the End of the Road

The End of the Road is John Barth's least discussed novel but it foreshadows his later themes and styles,both great achievements in American literature.By studying the parody of Existentialism embodied in the novel and exploring Sartre's slogan:"existence precedes essence",It is obvious that human being's existence has become a key issue for people to reflect on.

有趣的英语辞格Parody

我们都很熟悉英语中一句著名的谚语即:A friend inneed is a friend indeed.(患难见真情)。但是当我们读到下面这个句子时,一定会发出会心的笑。A friend in need is a friend to be avoided.显而易见,这句话是模仿那句谚语而来的。作者巧妙地用这个模仿的句子道出了世态的炎凉。以上就是英语中的一种修辞方法,称之为:Parody(仿化、仿拟)。这种修辞方法是故意模仿某一名言、警句、著名诗歌、现成的文章、成语。

Joycing Parody and Its Usage in“Ithaca”

Focusing on parody,this paper tries to explore“Joycing”parody and mainly investigates its usage in Ulysses’s seventeenth chapter,‘Ithaca’.Linda Hutcheon indicates that parody is one of the techniques for writers to“trans-contextualize”the past and then go off with their own ideological ends.[8]Joyce writes beyond the past and creates his own model of writing in the literature by employing the technique of parody tactfully.

A Study of Post Modernist Parody in Guoman Films---Take One Hundred Thousand Cold Jokes as An Example

Parody is the expression of postmodernism,which makes use of the similarity between texts to ridicule and parody the original classic texts.The creation method of parody makes the works have a brand-new character image and space-time experience,subverts and reconstructs the characters in the source text,makes the new characters abandon the constraints,and endows the characters with the independent spirit and comic effect.“100000 cold jokes”is a typical parody and collage animation.Even any picture and lens are created by the innovation of other classic text elements.This paper mainly takes“100000 cold jokes”as the main case of parody,focusing on the analysis of the performance of Parody in“100000 cold jokes”,and explores the artistic characteristics of Parody in animation.Dialectically treat parody animation creation,praise positive and beneficial content,and identify vulgar parody animation.Finally,the conclusion is that parody animation works have artistic and cultural value,which can effectively enhance the vitality of the domestic animation industry and promote mass entertainment.

The Parody of Plots in John Barth's Chimera

John Barth uses a lot of parody in Chimera,such as plots,characters,etc.This article will compare the plot between Chimera and the originals,to interpret the imitation and mockery of parody.

The Parody of Characters in John Barth’s Chimera

John Barth uses a lot of parody in Chimera,such as characters,story background,etc.From the analysis of character parody,we can feel the timeliness and reality of that period.

"Decadent"Aesthetics,Irony and Parody:Eileen Chang and Qian Zhongshu's Fiction in Occupied Shanghai(1937-1945)

This article provides the readers with vivid examples and detailed analysis of how "decadent"aesthetics find expressions in fiction written by Eileen Chang and Qian Zhongshu in occupied Shanghai during the War of Resistance against Japan(1937-1945).The main purpose of this article is to dig into the works of fiction by these two writers to examine the representations and variations of the aesthetics of"decadence".Through detailed textual and intertextual analysis,the aesthetical characteristic of"decadence"can be found in fiction written during the War of Resistance against Japan,which proves that the style of"decadence"was not just confined to the European continent,but was also an international literary movement that had already been spread to China's Mainland.Shrouded in the sinister shadow of the war,which annihilated thousands of lives and resulted in the collapse of the existing social values of that time,fiction writing demonstrated a style of "decadence",effusing ennui and desperation,in which the depiction of the mundane urban life was tinged with an annoying atmosphere of the doomsday.Meanwhile,fiction writing had become a means of escape for writers to assuage the anxieties of living and to dispel the melancholies deep down in their hearts.The deficiency of material life as well as spiritual life together constituted a grotesque atmosphere in which the style of"decadence"could thrive through literary works.Eileen Chang and Qian Zhongshu in occupied Shanghai during the War of Resistance against Japan embraced the advocacy of"art for art's sake"proclaimed by the decadent aesthetes,attaching more subtleties and complexities to their works of fiction with a belief that the literature could correlate to the social atmosphere to which they belonged.Modernism and Realism were miraculously combined together;idealism had been questioned and even discarded,while nihilism and hedonism reared up their ugly heads.

Remapping, Subversion, and Witnessing: On the Postmodernist Parody and Discourse Deconstruction in Marina Warner's Indigo

Among the many postmodern revisions of The Tempest, Warner's Indigo remains second to none. It rewrites and parodies The Tempest with its postmodern subversion and construction, aiming to bombard European logocentric hegemony under the context of the Western grand narrative and the suppression of colored women with its Christian patriarchal system. Based on the Shakespearean canon, Indigo pivots on the marginalized and neglected figures in the original play and gives them a spotlight on the stage by empowering them with voices so as to reverse, subvert, and reconstruct Western History, challenging the Western hegemonic discourses of its patriarchal and colonial systems. Its success lies not only in the scrutiny of the past history under the perspective of postcolonial and postfeminist theories, but also in its author's identity as a white British woman and descendant of early settlers in the Caribbean, which leaves her with a peculiar stance to form a dialogue with Shakespeare and scrutinize history. Through depicting the anxiety of personal identity within the family, Indigo showcases the diversity and hybridity of the postcolonial legacy in the Caribbean. It bears witness to the cruelty of colonization and carries on its legacy through nonlinear narratives spanning more than three centuries, through which we can get a glimpse of Warner's ambition in healing the scars of past colonization and critically disclosing the darkness of it. This paper aims to better our understanding of the essence of this postmodern novel through the lenses of parody and deconstruction.

Is the Shanzhai Style of Parodying Popular Culture Innovation or Piracy?

What started off as a term to describe copies of electronic brand products has now moved along the evolutionary road of duplication.

“偷梁换柱”的Parody

试读下例: 鸿渐道:“因为我不能干,所以要你这一位贤内助呀！”柔嘉瞟他道:“内助没有朋友好。”鸿渐道:“啊哟,你又来了！朋友只好绝交。你既然不肯结婚,连内助也没有,真是‘赔了夫人又折朋’。”(钱钟书:《围城》) 上段“赔了夫人又折朋”句式是“套用”了《三国演义》

Postmodern Features in Donald Barthelme's The Glass Mountain

This paper aims to analyze some postmodern features shown in The Glass Mountain by Donald Barthelme,which could be roughly categorized into two types:1) Parody and collage in terms of the writing techniques;2) Absurdity,ugliness,and uncertainty in terms of the content.

仿拟在英汉两种语言中的运用

仿拟是一种在英汉两种语言中都广泛使用的富于创造性的修辞手法。英语parody和汉语仿拟基本对应。本文就英汉两种语言中共有的仿拟现象及其运用进行了粗浅的探讨。

Signifying,Spiritual Places and Langston Hughes's Poems

Hughes's inheritance of literal language rooted in spiritual places constitutes important aspect of Hughes's parody of African American literary tradition.Three categories of themes about spiritual places of African American literary tradition were discussed in this essay to show better understanding of Hughes's poems from Signifying perspective.

The Rhetorical Devices of The Sutra of Hui Neng

The purpose of this paper is to explore three main rhetorical devices employed by the The Sutra of Hui Neng in terms of metaphor,pun,and parody.The Sutra of Hui Neng records the zen thoughts rather than the language.In the process of explaining the sutra,Hui Neng applied rhetorical devices in a flexible way to make the disciples fully comprehend the zen thoughts,so that Buddhist sutra can be vividly and fully expressed through language.

Rebirth or Relapse:Subversion of Myth in Shephard’s Buried Child

American playwright Shepard’s plays are known for their open endings.The ending of Shepard’s Pulitzer Prize-winning play-Buried Child is intriguing.Some critics see this ending as a sign of the rebirth of American families and the revival of American dream.But this article stands on the opposite position to give a negative answer to Haile’s“That may be the sun”(Shephard,1981,p.66)at the end of the play through illustrating Shephard’s authorization and subversion of two important myths in the play,which is a way of parody in postmodern theory.By digging the family scandals and corruption of American families in the play,it is expressed that perhaps the natural world has a chance to be reborn,but not human society under the pathetic and corruptive social background.

中西方文化汇串的一次“软着陆”——读陈尊三先生的“帕洛代”系列画

“帕洛代”原文为Parody,字典上对它的释义是“拙劣的模仿”或“通过模仿来加以嘲弄”。在美术运动中Parody特指一类在他人作品上做了某些改动,从而改变了本来意思的作品。简言之,就是那些有意“歪曲”原作的新作品。其中最具代表性的画家首推法国的杜桑。此公最惊世骇俗之作就是给文艺复兴时期的名画《蒙纳丽莎》添上两撇胡子的那件。我们显然不能简单地肯定或否定这类貌似调侃的东西,不宜武断地判定其好与坏、雅与俗,对其社会功能乃至在美术发展史上的地位,恐怕也会莫衷一是。似乎一定要搞出个公认的结论并没多大必要。尤其是眼下这个艺术上日益“多元”的时代,更是如此。但画总是要给人看的,看后要有个态度则是人之常情。当然,作为一个画家或喜欢这一行当的人,更惯于对不同的作品品头评足,加以臧否。本人也常常未能“免俗”。依我的管见,长胡子的“蒙纳丽莎”诚然没有不长胡子的那幅受看、耐看,但芬奇自有芬奇的伟大,杜桑也自有杜桑的胆识!试想把“溺器”搬进堂皇的艺术殿堂。