The theory of rhetorical figures in cinema is highly problematic, besides it can be considered as outdated as the semiotic theory of cinema,1 yet it is convenient to reexamine the idea of＂cinematographic metaphor＂ i...The theory of rhetorical figures in cinema is highly problematic, besides it can be considered as outdated as the semiotic theory of cinema,1 yet it is convenient to reexamine the idea of＂cinematographic metaphor＂ in order to throw some light on the dominant idea of cinema as narrative medium. In this paper we will examine： （l） the supposedly existing metaphor of urban and industrial man as sheep at the beginn!ng of Chaplin＇s film Modern Times; and （2） the sequence of the awakening stone lion in Eisenstein＇s Battleship Potemkin as metaphor of the proletarian revolt against czarism. We will arrive to the notion of a purely metaphoric film, which together with Zavattini＇s ideal film showing 90 minutes in the life of a man to whom nothing happens, will helps us draw some conclusions about montage and narrativity in cinema. Especially interesting in this connection is the fact that symbolical shots as the mentioned ones are like description in literature, that is, they have nothing to do neither with the time of the story nor with the time of the discourse.展开更多
HAO Jing-fang, a Chinese writer with her novel Folding Beoing, was awarded the 2016 Hugo Award, the top award in global science fiction community, the second for Chinese science fiction writers after LIU Ci-xin for hi...HAO Jing-fang, a Chinese writer with her novel Folding Beoing, was awarded the 2016 Hugo Award, the top award in global science fiction community, the second for Chinese science fiction writers after LIU Ci-xin for his The Three-Body Problem, which stroke a strong shockwave to the science fiction community around the world. It cannot be denied that Ken LIU＇s translation has played an irreplaceable role in the success of Folding Beijing Unfortunately, there are a few studies on LIU＇s translation of Folding Beoing, let alone with Skopos theory. This paper refers to massive studies on it by scholars at home and abroad and is based on a careful reading of Folding Beifing, its translation counterpart and concludes that the translator adopts Skopos theory in translating figurative rhetoric by linking the three basic roles with the LIU＇s ideas on translation. This paper studies the translation on the figurative rhetoric in Folding Beijing and extracts so many typical sentences as to certify the flexible strategies and methods adopted by the author under Skopos theory, which conforms to the reading habit and taste of the target audience and provides a paradigm for the future translation of Chinese science fictions展开更多
文摘The theory of rhetorical figures in cinema is highly problematic, besides it can be considered as outdated as the semiotic theory of cinema,1 yet it is convenient to reexamine the idea of＂cinematographic metaphor＂ in order to throw some light on the dominant idea of cinema as narrative medium. In this paper we will examine： （l） the supposedly existing metaphor of urban and industrial man as sheep at the beginn!ng of Chaplin＇s film Modern Times; and （2） the sequence of the awakening stone lion in Eisenstein＇s Battleship Potemkin as metaphor of the proletarian revolt against czarism. We will arrive to the notion of a purely metaphoric film, which together with Zavattini＇s ideal film showing 90 minutes in the life of a man to whom nothing happens, will helps us draw some conclusions about montage and narrativity in cinema. Especially interesting in this connection is the fact that symbolical shots as the mentioned ones are like description in literature, that is, they have nothing to do neither with the time of the story nor with the time of the discourse.
文摘HAO Jing-fang, a Chinese writer with her novel Folding Beoing, was awarded the 2016 Hugo Award, the top award in global science fiction community, the second for Chinese science fiction writers after LIU Ci-xin for his The Three-Body Problem, which stroke a strong shockwave to the science fiction community around the world. It cannot be denied that Ken LIU＇s translation has played an irreplaceable role in the success of Folding Beijing Unfortunately, there are a few studies on LIU＇s translation of Folding Beoing, let alone with Skopos theory. This paper refers to massive studies on it by scholars at home and abroad and is based on a careful reading of Folding Beifing, its translation counterpart and concludes that the translator adopts Skopos theory in translating figurative rhetoric by linking the three basic roles with the LIU＇s ideas on translation. This paper studies the translation on the figurative rhetoric in Folding Beijing and extracts so many typical sentences as to certify the flexible strategies and methods adopted by the author under Skopos theory, which conforms to the reading habit and taste of the target audience and provides a paradigm for the future translation of Chinese science fictions
