Discussion on Chinese Ancient Literature Translation Based on the English Translation of the Book of Songs

The Book of Songs is an important part of Chinese traditional culture and enjoys a high reputation at home and abroad.This article is based on Turi’s theory of translation norms,and takes the English translation of The Book of Songs·Jing Jing by Richard Jacob and Xu Yuanchong as the research object.Comparative studies are made on the historical nature of understanding,the normativeness of translation,and the application of the fusion of horizons in the two versions of the Book of Songs.Incorporating history into translation brings the translation closer to the roots of history.The comparative research method proposed in this article can be widely used in various ancient literature studies,and has important theoretical and application values.

A Study on the Metaphorical Translation of Pound’s Book of Songs from the Perspective of Cognitive Linguistics

The Book of Songs is the first collection of Poems in China,which is a very important milestone in the history of Chinese literature.There are abundant metaphorical expressions in The Book of Songs,providing valuable resources for linguistics,rhetoric and literature research.This study selects the most representative metaphors of women and marriage in The Book of Songs as the research object.Guided by Lakoff and Johnson’s conceptual metaphor theory,this study explores the metaphorical translation in Pound’s Book of Songs from the perspective of cognitive effect.It is found that Pound mainly adopts the translation strategies of vehicle equivalence,vehicle conversion and metaphor to simile in the process of translating female metaphors and marriage metaphors in The Book of Songs.

Translation Ecology Analysis of The Book of Songs & Book of Poetry

Shi Jing is the necessary reference book about Chinese literature.Waley's the Book of Songs and Xu Yuanchong's Book of Poetry are two excellent reference books.So,this paper hopes to find a new way to analyze the two versions.This paper will use the theory to analyze and compare the two translation works on the perspective of translation ecology.

Untranslatability in Onomatopoeia Translation—A Case Study of the Book of Songs

Classical poetry is a kind of special classical literature with highly concise language,rich emotion,profound implication and certain rhythm.The development of poetry translation is related to the spread of Chinese classical culture.There are many opinions about translatability and Untranslatability of poetry translation.The translation of meaning is relatively easy,while the rhetoric technique closely related to the form of expression is more difficult,which is the key to express the poet's feelings.There⁃fore,this paper aims to explore the untranslatability of onomatopoeia in poetry by combining with the Book of Songs.

Probe into the Logic and Rhetoric of Propriety in The Book of Songs :Taking “Guan Ju” as the Core Example

The Book of Songs is a book of propriety passing on rites and teaching people by the form of poetry with unique logic and rhetoric.“Guan Ju”is the most typical poem deducing the propriety of humans from the laws of nature,which is acceptable,convinced and obeyed by the people naturally,friendly and eloquently.Therefore,the logic and rhetoric in The Book of Songs can be reconciled and self-consistent in the poetic thinking of the unity of heaven and humans.

Influences of Cultural Differences on Translation of Titles of Songs

A title is like an eye that reveals its character. A good title of great originality can concentrate on the main points and arouse readers' interests. The title plays a significant part especially in the times of eyeball economy. However, though short as titles are, they always contain a lot of connotations which are quite difficult to translate. Translation is substantially kind of cross-cultural information communication, and translation of song titles is no exception. Due to different origins, Chinese and Western cultures possess their own characteristics in cultural images, ways of thinking, and historical allusions, which should be considered when translating song titles.

The Reflection of “Three Beauties” Principle in the English Translation of Song Lyric “Jiang Cheng Zi. Ji Meng” By Xu Yuanchong

Professor Xu Yuanchong‘s"three beauties"principle has become the guideline in the field of the classical Chinese poetry translation. But the"three beauties"are not easy to coexist in a translation work and very often one has to be sacrificed for the other. How the"three beauties"being realized and combined together in the translation has been discussed. It reveals that there is a perfect integration of the"three beauties"in Professor Xu's English translation of Song Lyric"Jiang Cheng Zi. Ji Meng".

An Analysis of Tree English Translations of “To the Tune of ‘Water Dragon Song^1’” by Su Shi

Su Shi is known for his poems of haofang style as well as wanyue style. The author takes a comparative reading of three English renderings of"Water Dragon Song"; both achievements and problems in each version are discussed regarding imagery, meaning, poet's sentiments and poetic atmosphere, for the purpose of working out a better rendering.

朗费罗长诗“The Song of Hiawatha”的两个中译本对比研究

炉边诗人朗费罗的长篇故事诗“ The Song of Hiawatha ”有两个中译本:赵萝蕤的《哈依瓦撒之歌》和王科一的《海华沙之歌》。直译法主导下的赵译版本措辞古朴、行文简练,完美再现原作史诗特色,并把读者带进一个充满印第安人语言、习俗的异域世界,其译本《哈依瓦撒之歌》体现的是异化风格。意译法主导下的王译版本不拘泥于原文,选词择句更偏向汉语文化和传统,其中不乏大胆灵活、令人拍案叫绝之处,其译本《海华沙之歌》则体现的是归化风格。除翻译方法、译文风格不同外,译文内容上两译本也有几处明显的分歧。

浅析张爱玲、孔慧怡合译之作 The Sing-song Girls of Shanghai

The Sing-song Girls of Shanghai为张爱玲译作之沧海遗珠,此译本凝结了张氏数十年翻译之功。后经孔慧怡整理,张、孔二人合译之The Sing-song Girls of Shanghai始由美国哥伦比亚大学出版社出版。从译者使用的翻译策略,即归化、异化并举之策略和对超文本的有效使用两方面评析这部合译之作可以发现,The Sing-song Girls of Shanghai再现了原文平淡而又近自然的风格。

Analysis of Song Lyrics Translation——Taking Viva La Vida and Set Love Free for examples

Based on Katharina Reiss's definition of the audio-medial text, this thesis first makes plain the unique feature of song lyrics translation while differentiating between the above two confusable concepts. Furthermore, it puts forward principles which lay emphasis on the balancing of three yardsticks-rhyming(optional), comprehensibility and loyalty. The first one can add elegance for lyrics translation. The last two requires mediation of intentions among the source writer and the target listener in a particular translational action. The principles are then applied to the evaluation of lyrics translation of two English songs of Viva La Vida and Set Love Free. The conclusion is thus reached that these principles can be used to make lyrics translation.

新见杜诗英译一首——胡适译“The Song of the Conscript”考察

胡适曾经将杜甫《兵车行》译成英文,并以"The Song of the Conscript"为题在《中国留美学生月报》上正式发表,但此前一直不为人所知。胡适的"The Song of the Conscript"是《兵车行》由中国人独立完成的第一种英译版本,也是胡适惟一的一种汉诗英译作品,具有很高的翻译史价值。胡适提倡白话文,赞赏《兵车行》对时局的讽刺与批评,选择将其译为英文,与查尔斯·巴德的另外一种英译版本风格迥异,对当今英文实用翻译具有重要的启示。

奈达翻译理论新解——奈达代表作书名Toward a Science of Translating的名与实

奈达代表作书名Toward a Science of Translating译成"翻译科学探索"引起译论界高度的关注和激烈争论。译文"翻译科学探索"中的两个词——"翻译科学"和"探索",都值得很好的商榷。Toward a Science of Translating的真正含义是"迈向翻译学"。

A Reflection on The Icarus Deception—How High Will You Fly Translation Practice

This thesis is based on the author's experience of English to Chinese translation practice of two parts of The Icarus Deception—How High Will You Fly which is an economic motivation book by American best selling author Seth Godin published by Penguin Books Ltd Dec, 2012. The thesis is a reflection about the process of translation, from the perspectives of lexical, sentence structure, discourse and the understanding of the source text etc.

楚简诗类文献与孔子删《诗》

孔子删《诗》与否一直是《诗》学史上的一大难题,结合楚简中越来越多的诗类文献,并从古本《诗》的编集流传、孔子时《诗》的形态、主张删《诗》者的论据等角度看,孔子可能并未删《诗》。首先,古本《诗》的编集是一个渐进的过程,乐官最初对诗歌进入《诗》文本进行了一定的整理甚至删削,清华简《耆夜》中的《蟋蟀》和《周公之琴舞》等都启示这一点。其次,《诗》传到孔子时,整体框架等与今本《诗》差别应该不是很大。最后,《史记·孔子世家》所言“及至孔子,去其重,取可施于礼义”的说法有不合事实之处;“诗三百”不是专指孔子所删之《诗》而言,它与《诗》的含义不是对立的,而是大体一致的。总之,孔子并未删《诗》,只是进行了正乐、调整篇次等工作。

论周代歌诗的“文本化”--兼论《诗经》中复杂文本的成因

歌诗的“文本化”过程,脱离了动态立体的乐用语境,剥落了“乐本”诗辞之外的其他乐用信息,使得歌诗成为平面、静态、固化的纯文本,造成部分歌诗文本的歧杂和诗义的难解。今本《诗经》中的复杂文本,如一些不整齐的叠咏曲式,可能是歌诗“文本化”不当造成的变异。某些原本属于“变调歌辞”的比兴之辞、章末乱辞、成辞旧调,也在“文本化”过程中被写录成了常态化的文本。作为高度“文本化”结果的今本《诗经》,并不能据以还原周代歌诗生成与歌唱的真实样貌。

宋代官修方书中脏腑病证研究进展

宋代官修方书是宋代医学成就的集中体现,也是在医学门户未大量分化之前最系统、最全面的中医学术总结。脏腑学说是中医理论体系的核心,而脏腑病证是中医认识疾病的核心,宋代官修方书中记载有大量脏腑病证相关内容,近年来学者们对其中各个脏腑的病证大都有所讨论,但仍不够系统与精深,宋代官修方书的系统性、权威性、实用性及承上启下作用为脏腑病证提供了一个良好的研究样本,值得系统挖掘与研究。

一咏三叹,由景至境——《诗经·国风》中自然景观展现特征及先民审美模式研究

《诗经》是我国诗歌史上举足轻重的存在,《国风》正是《诗经》的精华。在《国风》诗中,大量的诗歌涉及到了自然景观,而对于《诗经》的研究大多集中在文史哲领域,立足于风景园林学的相关研究较为匮乏,作为描写风景的最早诗篇尚未被研究颇为遗憾。因此将其作为研究重点,首先对《国风》中的自然景观要素进行提取、分类,分析其特点,得出其层次性和分时性的展现规律,以此为基础总结出先民既存型、演化型和类比型三种审美模式,即对中国人原生情感中的自然景观的感知方式和审美模式的溯源。寻找中国人对自然景观情感的原始表达,以及遗传意义,以期为现今的风景遗产保护与景观设计提供参考与启示。

《诗经》风诗叙事及其传统——《诗经》研读笔记之二

《诗经》十五国风,长短160首诗,记录着上古社会生活和周人情感活动的种种情况与风貌,它们同《诗经》中的史诗一样,贯穿着并构成了中国文学的抒(情)叙(事)传统。它们涉及的内容主要有恋爱家庭、农事生产、战争徭役、对统治者的美刺等几大方面。以往因为叙事一直受到忽视,风诗常被笼统称为抒情诗,中国文学也被说成是只有“一个抒情传统”。本文试取叙事视角,指出《诗经》风诗中不少篇章与历史记载可以互证,有的诗篇明显叙述一个故事(或个人经历),有的诗表面虽未直赋,却通过比兴、咏叹、对话、独白乃至写景抒情暗示出其背后实含一桩事情,从而切实地反映出生活的一角。这种“事在诗外”和抒叙浑融的现象是《诗经》风诗的重要艺术特色。运用叙事分析方法读诗,能够更全面细致地揭示抒情诗的丰富内涵,也更确切地理解中国文学从源头开始就贯穿着互惠博弈的抒叙两大传统,而绝非只有一个抒情传统。

《诗经·邶风·谷风》“伊余来塈”释义考辨

《邶风·谷风》是《诗经》中一首极富代表性的弃妇诗,作者以真实感人、凄凉哀婉的笔触叙写了自己被弃的孤独无助和悲痛欲绝,同时也侧面反映了丈夫的喜新厌旧和冷漠无情。然而,对于诗末“不念昔者,伊余来塈”一句中“塈”的释义,前贤时修却有不同见解。其中,以毛亨、王夫之、王引之、马瑞辰、于省吾、高亨、向熹等为代表,先后出现了“息也”“涂也”“怒也”“爱”“语词”“除去”“忌恨”等几种不同观点。对比众说,并结合诗文通篇的内容情感和前言后语的语义逻辑、相关诗篇的情感对比和“塈”字的具体用法来看,释“塈”为“爱”更契合诗意、允当可信。