聊斋志异文化观外文翻译文献综述
聊斋志异文化观外文翻译文献综述(文档含中英文对照即英文原文和中文翻译)
译文：
好狐狸，坏狐狸
在中国两千多年的寓言中，狐狸一直是受欢迎的角色。她们第一次出现在她们的原型形成之前，既仁慈又恶毒，通过伪装成妖艳、迷人的年轻女子来逐步摄取人们的灵魂。
明代（1368 - 1644）著名作家蒲松龄的关于狐狸精的故事描写在他著名的《聊斋志异》中，他把她们作为美丽的生物来塑造从而体现出了人类忠诚、爱、慷慨、正义和乐意帮助别人的美德。在过去的三个世纪中，阅读蒲松龄作品的读者已经把这些字符看成是“狐仙”而不是“狐狸精”。
马瑞芳，中国的学者和专家教授，致力于《聊斋志异》的研究，曾担任东道主采访来自美国芝加哥大学的教授。当时，有两个研究蒲松龄作品的教授表示非常惊讶。这个17世纪的中国作家是如何在当时封建制度根深蒂固，孤立的，君
权至上的中国社会创作出《恒娘》这个《聊斋》500多个故事中最著名的关于狐狸的故事的。这其中隐含的对妻子的建议是她们应该用女性的温柔娇媚去确保配偶对自己的激情永固，就像律师依靠美国80年代的报纸、杂志征求异性朋友。
女性的理想世界
《恒娘》中的情节是经典的丈夫，妻子和情妇的三角恋。恒娘是一个善良的狐狸精，同时也是一个人类的妻子。她有一个邻居叫洪大业，洪大业有一妻一妾。妻子朱氏远比小妾漂亮，只是年龄比妾稍大，但是让朱氏大为吃惊的是丈夫洪大业更宠爱小妾。同样恒娘的丈夫也有一个小妾，小妾明显比恒娘更年轻、更漂亮，但是他仍然深深爱着她的妻子。当朱氏问恒娘为什么会这样时，恒娘告诉她这是人类的天性放弃旧事物，追求新事物，渴望得不到的和充满神秘性的东西。在恒娘的建议下，朱氏在接下来的一个月采取宽宏大量的态度对待她的丈夫和小妾，让他们自由地在一起度过日日夜夜。恒娘还建议朱氏改变她的容貌。在接下去的一个月里尝试着不要化妆打扮，穿着旧衣服，让自己忙于家务劳动中。但在这个月的最后一天，她要穿上新衣服、新鞋子，设计一个漂亮的发型，好好打扮一下自己。正如恒娘所预料的，爱的光芒回到了洪大业的眼中当他看到朱氏的时候，而且在黄昏来临前，他就敲响了朱氏的房门。但朱氏依然遵从恒娘的建议，以疲劳为借口，温柔地但是坚定地拒绝了他。第二天，她遵循同样的策略。到了第三天，太阳还没落山，大业就溜进了她的房间，等着天黑。这天晚上，夫妻俩渡过了自从他们新婚以来最快乐的一夜。事后当大业问她他能明天晚上还与她一起渡过时，朱氏表示反对并告诉他必须再等三天才准他再次进房。
朱氏高兴地向恒娘叙述了她重新赢得大业宠爱的成功。恒娘告诫朱氏要继续用她教给她的女性诡计，因为虽然朱氏很漂亮，但她缺乏女性魅力，所以她丈夫的激情被重新唤起只能是短暂的。恒娘解释说，魅力包括一个女人的生活方式、各种行为习惯，比如她走路的方式、说话的方式甚至看她丈夫的眼神。恒娘指导朱氏所有适当的女性习惯，并告诉她要每天在镜子前自己练习。在这样的情况下，朱氏当然最终赢回了丈夫忠贞的爱情。在这里恒娘所说的魅力被1000年前唐代（618- 907）著名作家和诗人骆宾王定义为“狐之魅”。他创作了这个词，在一篇
针对女皇武则天，将其定罪的散文中，给了它轻蔑的隐藏涵义。无论如何，女皇应该感到荣幸，而不是被这个典故激怒。
在《聊斋》中另一个有关狐狸精的故事——《娇娜》。这篇故事赞美了人与狐狸之间真诚的友情和爱情。当一位年轻的书生孔雪笠患了重病时，他的朋友，一个狐狸精劝告他让他的姐妹娇娜来为他医治。一个年轻的女子，她的形象和做人方式就像“柳树的恩典”，满怀着柔情和耀眼的智慧，出现在他身边。娇娜为孔生做了一个外科手术，并把一颗长生不老药喂进了他嘴里，这颗药是耗尽了她多年生命能量，精心培育而成的。当孔生恢复知觉以后，他深深地爱上了这位年轻女子的温柔、娴静、漂亮和慈爱。所以，孔生向娇娜的兄长请求能与她结婚。但由于娇娜年纪太小而不能成婚，她的家族让比她大的姐妹松娘代替她与孔生成亲。松娘跟娇娜一样又漂亮又善良，从此夫妻俩过着幸福美满的生活。
几年之后，孔生的朋友也就是狐狸表哥告诉他，有一个雷霆大劫将要降临到他们家，他们都将灭亡除非孔生能出手营救他们。孔雪笠不顾自己的生命安危，立即答应了他的请求。在那个风雨交加的夜晚，孔生手拿宝剑，守护着狐狸一家居住的洞穴的入口。突然，一阵黑色的旋风盘旋着转出了洞口，而娇娜正在飓风的中心。孔生用他的剑用尽全力插入黑风中。最终，娇娜掉到了地上，得救了。由于孔生对她的帮助使孔生被雷电所袭。随后，暴风雨减缓了，天空也恢复了晴朗，狐狸一家安全了，但孔生却危在旦夕。娇娜牺牲了最后一颗用一千年修行炼成的长生不老药，将它吐到长生的嘴里，再一次救活了他。在孔雪笠的坚持下，狐狸一家搬去与他一同居住。为了避免更多的灾难，狐狸一家在一个安静的小院里过着与世隔绝的生活，小院的门只为孔生和松娘开放。数年之后，孔生与松娘的孩子长大了，而他也变成了一个白发苍苍的老人。他维持着与狐狸表哥和婚后的娇娜以及他们的家庭的亲密友谊。
《小翠》是另一个可爱的狐狸精的故事。小翠是一只非常可爱、活泼机灵的狐狸精，但她的外貌是一个年轻漂亮的小姐。一天，她的妈妈带她到一户姓王的人家家里偷窃，似乎想抛弃她的女儿。王家是当地的一户有脸面的人家，只有一个儿子，而且是个智障。他既没有玩伴也没人愿意跟他结婚，但是小翠跟他结为好友，并且嫁给了他。尽管王家一开始很喜欢小翠，但她不守规矩的方式引起了他们的反感，他们经常责骂和训斥她，但小翠平静地接受了这种对待。当王老爷被他的
政敌陷害时，小翠用她的智慧救全家于水深火热之中。而且，她还治好了她丈夫的精神病。但是，小翠知道她的公婆永远不能接受她对当时封建制度所采取的叛逆态度。她在无意中发现一个年轻的女子长得很像她，于是暗中安排她取代他在王家的位置。在偷偷离开前，小翠向她的丈夫承认了她实际上是一只狐狸精的女儿。几十年前，她的母亲在王老爷的衣袍下躲过了雷霆劫，当时王老爷正在一所寺庙中避雨。尽管王老爷没有意识到他给予狐狸母亲的帮助，但她觉得感激所以来报答他当时的善举。正是这个原因，她在关怀中留下了小翠。
邪恶的狐狸精
箴言常用狐狸比喻，然而通常以狡猾、卑鄙来描写这样一种聪明、美丽的生物。箴言中有这样一个例子“狐假虎威”。这是一则讲骗子和无赖的寓言，是说他们会弯曲别人对自己力量强大的夸耀。它的起源是一个关于两千年前楚国国王的故事。国王问他的大臣：“有谣言说北方的诸侯都害怕楚令尹昭奚恤，真的是这样吗？”他的大臣通过一个寓言回答了王的问题：森林之王老虎要吃掉一只它刚刚捕获的狐狸时，狐狸告诉它：“你不能吃掉我，因为我有上帝的指令，让我做群兽的领袖。如果你不相信我，那么跟我一起穿过森林，看看是否有其他动物敢阻拦我的道路。”老虎同意了。果然，所有的动物在他们接近时都远远地逃跑了。老虎不明白，动物们害怕的是它而不是狐狸，以至于不敢吃狐狸。
大臣蒋怡继续指出，大王的领土覆盖面积达2500平方公里，军事力量更是达到百万之众，所有人都在昭奚恤的统领之下。北方诸侯毫无疑问是害怕昭奚恤的，但是他的地位是作为国王军事力量的控制者和至高无上皇权的代表。蒋怡警告如果国王强迫，他的优势必将削弱。随后国王逐渐稀释赵国的军事力量。
备受责骂的狐狸精
妲己是《封神榜》的女主角，是邪恶狐狸精的典型例子。这部明代文学作品是关于商朝灭亡和周朝崛起的故事的。纣王是商朝最后一位君主，同时也是一位臭名昭著的暴君。他在老百姓身上横征暴敛、苛捐杂税为自己建造奢侈的宫殿，过着放荡的生活。在他的统治时期，已有600年历史的商朝迅速瓦解。猖獗的战
争使人民失去了生计，使君主统治混乱不堪。在《封神榜》中，纣王的妃子妲己，被描述成商朝灭亡的罪魁祸首。
妲己是一只狐狸精，她变成美貌女子的形象被送进宫迷惑纣王，推翻商王朝。她的酬劳是长生不老。
纣王对国家大事非常不在意，把一切事务都交给他的叔叔，丞相比干。比干发现了妲己的真面目，力劝纣王除掉她，但是毫无用处。不但如此，纣王还对他叔叔的鲁莽行为非常愤怒，下令驱逐比干。妲己意识到了比干对她的威胁，就制定了一个计划杀死这个敌人。她假装生病，和另一个妖精用美人计迷惑纣王，告诉他除非妲己吃比干的心，不然她就会死。比干因此被杀害了，但是，妲己的邪恶超出了她的敌人的预料，她沉迷于对未出生婴儿的喜爱，甚至鼓励纣王过沉迷于酒色的糜烂生活。所有这些都加速了商朝的灭亡。
妲己最终被抓获并被判以死刑，但是所有被派去执行命令的刽子手都被她的妖媚迷惑而无法执行命令。经过几个熟练的刽子手都未能履行职责后，一个有法力的将军亲自动手结束了妲己的生命。
这部小说有一个主要原因就是解释为什么女性的魅力往往被等同于邪恶的狐狸精，为什么叫一个女人狐狸精通常会被当做是一种侮辱。
尽管有着种种的负面狐狸形象，然而狐皮却一直被广泛的赞美着。最早的书面参考在2000年前的《诗经》中。它写道：“用狐皮做成皮毛大衣，献给我们年轻的王子。”狐皮大衣被视为唯一适合贵族服饰。
古代的中国人想尽一切办法尽可能地去捕获狐狸的皮肤，但由于狐狸是一种警惕性非常高且非常狡猾的动物，狩猎通常只是成功地让它提高警惕。人类从来没有成功地驯化或饲养过狐狸，它是少数动物中有足够的智力能瞒骗过人类的一种。
它可能是怨恨和钦佩的混合体，引起中国文学界将其作为善恶交替的生物来描写。山海经、地理编辑超过2000年的神话百科全书将狐狸描述成具有九个尾巴，专门吃人的妖怪。说文解字（解释和研究字符组成的原则），中国历史上第一部字典，创作于100年到121年的东汉时期，将狐狸定义为“一个迷人的动物被魔鬼缠身”。
原文：
Good fox, Bad fox
Hou Jiaying. China Today, Oct2007, Vol. 56 Issue 10, p62-66
Foxes have been popular characters in Chinese fables for two millennia. They first featured in their original animal form before gradually taking on the persona of spirits, both benevolent and malevolent, in the guise of bewitchingly beautiful, charming young women.
Famous Ming Dynasty (1368-1644) writer Pu Song ling’s stories about fox spirits in his well-known Strange Tales from Make-do Studio characterize them as beautiful creatures that embody the nest human virtues of fidelity, love, generosity, justice, and willingness to help others. Over the past three cen turies, readers of Pu Songling’s work have come to refer to these characters as “fox angels” rather than “fox spirits.”
Ma Ruifang, Chinese scholar and expert on the Strange Tales from Makedo Studio, once acted as host to a visiting American professor from Chicago University. When the two spoke of Pu Songling’s works the professor expressed his amazement at how this 17th-century Chinese writer from feudal, isolated, imperial China could have dreamt up the story Hengniang, one of the 500 Strange Tales’ most famous foxy stories. Its implicit advice to wives that they should employ feminine wiles to ensure their spouses’ passion strongly resembled the counsel dispensed on the lonely hearts pages of American newspapers and magazines of the 1980s.
Women of the Dream World
Hengniang’s plot is the classic husband, wife and mistress love triangle. Hengniang is a benign fox spirit and wife of a mortal. Her neighbor, Hong Daye, has a wife, Zhu, and a concubine. Zhu is more beautiful, and only a few years older than th e concubine but, to Zhu’s consternation, Hong Daye favors his concubine over her. Hengniang’s husband also has a concubine, one appreciably younger and more beautiful than Hengniang, but he nevertheless loves his wife the more by far. When Zhu asks Hengniang why this should be Hengniang tells her that it is human nature to abandon the old for the new and to yearn for the elusive. At Hengniang’s suggestion, Zhu adopts a magnanimous attitude towards her husband and his concubine for a whole month, making it easy for them freely to spend day and night together. Hengniang also advises Zhu to improve her looks. During the month-long experiment, Zhu busies herself around the house wearing old clothes and no makeup. But on the last day of the month, she dons new clothes, shoes and styles her hair. As Hengniang predicts, the light of love returns to Hong Daye’s eyes when he beholds her, and before nightfall he comes knocking at Zhu’s bedroom door. Zhu, still following Hengniang’s advice, gently but firmly declines to let him in, feigning tiredness. The next day, she follows the same strategy. On the third day, Daye slips into Zhu’s room before sunset and waits till dark. That night the couple spend their happiest night together since they were newlywed. When Daye asks Zhu if he may stay with her the next night, Zhu demurs, telling him he must wait for three days.
Zhu joyfully recounts to Hengniang her successful reclamation of Daye’s passion. Hengniang cautions Zhu to continue using her feminine wiles, because although Zhu may be beautiful she lacks charm, so her husband’s reawakened passion may be short-lived. Hengniang explains that
charm encompasses a woman’s manner and all aspects of behavior – the way she walks, talks and even looks at her husband. Hengniang instructs Zhu in all the appropriate feminine mannerisms, telling her to practice them every day in front of a mirror. Zhu, of course, eventually wins back husband’s devoted love. The “charm” of which Hengniang speaks is what was defined as “fox charm” 1,000 yea rs earlier in the Tang Dynasty (618- 907) by famous poet and writer Luo Binwang. He coined the term, giving it pejorative connotations, in a condemnatory piece of prose directed against Empress Wu Zetian. The empress, however, was flattered rather than e nraged at this allusion.
Another foxy story in Pu Songling’s work, Jiaona, celebrates true friendship and love among mortals and foxes. When the young scholar Kong Xueli falls seriously ill, his friend, a fox spirit, urges Kong to let his sister Jiaona cur e him. A young woman, “brimming softness and beaming intelligence”whose figure and manner resemble a“willow’s grace”then appears. Jiaona performs a surgical operation on Kong, and spits into his mouth an elixir that is the cultivated accumulation of years of her vital energy. Upon regaining consciousness Kong falls in love with the young woman’s soft, serene beauty and kindness and asks her brother’s permission to marry her. As Jiaona is too young to wed, her fox family instead marries her elder sister Songniang to Kong. Songniang is as beautiful and kind-hearted as Jiaona, and the couple lives happily.
A few years later, Kong’s friend and fox brother-in-law tells him that a massive thunderstorm threatens his family, and that they will all perish unless Kong comes to their rescue. Kong immediately agrees, regardless of the danger to himself. On that stormy night, Kong, sword in hand, guards the entrance to the fox family cave. Suddenly, a black gust of wind whirls out of the cave with Jiaona at its center. Kong makes an almighty thrust with his sword and Jiaona falls to the ground. As Kong is about to help her up, he is struck by a thunderbolt. The storm then abates, the sky clears and the fox family is safe, but Kong is about to expire. Jiaona sacrifices the last drop of her self-cultivation of 1,000 years and spits in to Kong’s mouth the elixir that will save him a second time. The fox family moves in with Kong Xueli at his insistence. In order to avoid further disaster, the fox family lives a secluded life in a quiet courtyard whose doors open only to Kong and Songniang. Years later, Kong and Songniang’s children are grown up, and he is a white-haired old man. He maintains his intimate friendship with his fox brother-in-law, Jiaona, now married, and their families.
Xiaocui is another charming fox spirit story. Xiaocui is lovely, vivacious fox spirit with the outward trappings of a beautiful young lady. One day, her fox mother takes her to the Wang household and steals away, apparently abandoning her daughter. Wang is a local of cial whose only son is mentally challenged. He has neither playmates nor marriage prospects, but Xiaocui befriends and later marries him. Although the Wangs initially love Xiaocui, her unruly ways antagonize them, and they often scold and upbraid her, but Xiaocui accepts this treatment with equanimity. When Wang is framed by his political enemies, Xiaocui’s wisdom saves the family from disaster. She also cures her husband’s mental illness. But Xiaocui knows that her parents-in-law will never be able to accept her rebellious attitude towards the feudalistic conventions of the time. She finds a young woman that resembles her and arranges for her to take her place in the Wang household. Before stealing away, Xiaocui confesses to her husband that she is actually the daughter of a fox. Decades previously, her mother had sheltered from a thunderstorm under Wang’s robe as he himself took refuge from the storm in a temple. Although Wang had not been aware of the help he had given the fox mother, she felt beholden to repay him the kindness he had done her. It was for this reason that she left Xiaocui in his care.
The Evil Fox Spirit
Proverbs that use fox imagery, however, generally portray this intelligent, charming animal as cunning and contemptible. One example is the proverb, Hu (fox) Jia (fake, under) Hu (tiger’s) Wei (power), an allegory for tricksters and scoundrels that bend others to their will by flaunting their powerful connections. Its origins are in a story about the king of the State of Chu from more than 2,000 years ago. The king asked
his ministers if rumors that the northern vassals feared the important Chu military of official Zhao Xixu were true. His minister Jiang Yi answered by telling the king a fable: The Tiger King of the Forest was about to devour the fox he had just captured when the fox told him, “You can’t eat me because I have the Mandate of Heaven that makes me head of the animal kingdom. If you don’t believe me, walk with me through the forest and see if any other animal d ares to cross my path.” The tiger agreed. Sure enough, all the animals they met fled at their approach. The tiger, not realizing that it was he and not the fox that the animals feared, refrained from eating the fox. Minister Jiang Yi went on to point out t hat the king’s territory covered an area of 2,500
kilometers and that his military force comprised one million men – all of whom were under the control of the official Zhao Xixu. The northern vassals undoubtedly feared Zhao, but in his capacity as controll er of the king’s military force and representative of his supremacy. Jiang warned that unless the king enforced his supremacy it would be bound to weaken. The king subsequently diluted Zhao’s military power.
Vituperative Vixen
Daji, heroine of Canonization of the Gods, exemplifies the evil fox spirit. This Ming Dynasty (1368-1644) work is about the downfall of the Shang Dynasty (1600-1046 B.C.) and the rise of the succeeding Zhou Dynasty. King Zhou was the last monarch of the Shang Dynasty and a notorious tyrant. He levied exorbitant taxes on the people with which to build himself luxurious palaces and fund his debauched lifestyle. During his rule, the 600-year-old Shang Dynasty rapidly disintegrated. Rampant wars lost the people their livelihoods, and chaos reigned. In Canonization of the Gods, however, Daji, the wife of King Zhou, is portrayed as the true culprit of the fall of the Shang Dynasty.
Daji is a fox spirit in the form of a beautiful young woman who is sent by the deity to bewitch King Zhou and bring about the downfall of the Shang Dynasty. Her reward is immortality.
King Zhou was extremely lax in his attention to state affairs, leaving everything to his uncle, Prime Minister Bigan. Bigan discovers the truth about Daji’s true persona and urges Kin g Zhou to be rid of her, but to no avail. Enraged at his uncle’s temerity the king banishes Bigan. Daji, aware of the threat Bigan represents, hatches a plan to kill her enemy. She feigns illness, and another evil spirit in beauteous mortal form comes to t he king, telling him that unless Daji eats Bigan’s heart she will die. Bigan is consequently murdered. But Daji’s evil goes beyond dispatching her enemies. She indulges her taste for unborn fetuses and also encourages the king in his dissipated lifestyle, thereby hastening the fall of the Shang Dynasty.
Daji is eventually captured and sentenced to death, but all the executioners sent to carry out the order fall under her spell and are unable to take her life. After several executioners are themselves executed for failure to carry out their duty, a commander with magic powers personally does away with Daji.
This novel is a main reason why feminine charms are frequently equated with evil fox spirits,
英文文献翻译
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变电站_外文翻译_外文文献_英文文献_变电站的综合概述
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https://www.360docs.net/doc/fb9766602.html, [3].基于语言经济学理论对上海世博中国展馆简介汉译英的研究.被引次数：3 作者：韩佳彤.外国语言学及应用语言学大连海事大学2011（学位年度） [4].中外体育礼仪的比较研究.被引次数：1 作者：谢小兰.体育人文社会学湖南师范大学2011（学位年度） [5].非语言交际与外语教学.被引次数：1 作者：马宏伟.英语语言文学山东大学2001（学位年度） [6].中外英语硕士毕业论文中使用元语篇手段的对比研究.被引次数：3 作者：封齐楚.外国语言学及应用语言学南京师范大学2008（学位年度） [7].新课标下高中语文外国文学教学策略探讨.被引次数：15 作者：丁宗林.外国文学华中师范大学2010（学位年度） [8].分析提高留学英国的中国硕士研究生学术经验的决定性因素. 作者：张俐.外国语言学及应用语言学山西财经大学2015（学位年度） [9]在华日资企业人力资源管理模式研究——以丰田汽车（中国）为例. 作者：李阳.劳动经济学中国人民大学2011（学位年度） [10].从功能对等理论的角度浅析美剧《老友记》中幽默字幕的翻译. 作者：刘畅立.英语语言文学湖南师范大学2013（学位年度） 三、中外文化差异论文专著参考文献 [1]中外文化差异探讨:谈当前跨文化交际中应注意的几个问题. 韩宁，20112011年北京服装学院学科专业建设年教研论文报告会 [2]中外动漫作品的文化差异和共鸣点分析. 王瑜，2012中国高等院校影视学会第十四届年会暨第七届“中国影视高层论坛” [3]弥合差异,避免误解浅谈对外传播中文文本的写作. 韩清月，2011全国第二届对外传播理论研讨会 [4]“Red”英汉互译中的文化差异与翻译方法. 白阳明，2008第18届世界翻译大会 [5]新疆石油企业哈萨斯坦跨国经营中跨文化管理浅析. 李军，2008第二届中外技术交流史国际学术研讨会