Chapter One The History of Translation in China
坎特伯雷故事集及作者介绍英文作文
坎特伯雷故事集及作者介绍英文作文【中英文实用版】The Canterbury Tales, a seminal work in English literature, is a collection of stories written by Geoffrey Chaucer in the 14th century. It portrays a vibrant tapestry of medieval society through the diverse narratives of various characters on a pilgrimage to Canterbury. Chaucer, often hailed as the father of English poetry, masterfully employs a variety of literary forms and languages, making the Tales an enduring and influential piece in the literary canon.《坎特伯雷故事集》是英国文学史上的里程碑之作，由杰弗里·乔叟于14世纪创作。
这部作品通过描绘朝圣者们前往坎特伯雷的旅程中，各色人物讲述的丰富多彩的故事，展现了一个生机勃勃的中世纪社会。
乔叟被誉为英国诗歌之父，他巧妙地运用了多种文学形式和语言，使得《故事集》成为文学宝库中一部经久不衰且具有深远影响的作品。
In the Tales, Chaucer introduces a diverse cast of characters, including knights, prioresses, millers, and many more, each embodying different social classes and occupations of the time. Through their stories, he satirizes the corrupt clergy, comments on societal issues, and explores the complexities of human nature. The vividness and realism of these characters have made the Canterbury Tales a profound reflection of the medieval era.在《故事集》中，乔叟塑造了一个多样化的角色群，包括骑士、修女、磨坊主等，他们代表了当时社会各阶层和各行各业。
吕著中国通史 英文版
吕著中国通史英文版The world of historical research is vast and diverse, encompassing the tales and chronicles of civilizations old and new. Amidst this expanse, "History of China" by Lu Siqing stands as a monumental work, offering a comprehensive and nuanced understanding of the rich tapestry of Chinese history. The English edition of this tome not only bridges the linguistic divide but also presents a global audience with a window into the profound cultural heritage of China.The book's structure is both comprehensive and meticulously planned, covering all significant epochs in Chinese history from prehistoric times to the modern era. Lu Siqing's writing style is both engaging and accessible, making complex historical events and concepts comprehensible to a wide readership. The author's attention to detail and meticulous research is evident in every chapter, bringing alive the vibrant historical figures and events that have shaped China's trajectory.The English translation of "History of China" is particularly noteworthy. It not only preserves theoriginal's essence but also adapts it to suit aninternational audience, ensuring that the nuances and complexities of Chinese history are not lost in translation. The translator has done an admirable job of maintaining the flow and rhythm of the original text, while also ensuring that the terminology and historical context are accurately represented.One of the most remarkable aspects of this book is its ability to connect the dots between historical events and their impact on contemporary China. By tracing theevolution of Chinese society, politics, and culture throughout the ages, Lu Siqing provides readers with a deeper understanding of the factors that have shapedChina's modern identity. This is particularly relevant in today's globalized world, where understanding thehistorical context of different cultures is crucial for fostering mutual understanding and respect.The English edition of "History of China" also servesas a valuable resource for scholars and students alike. It offers a wealth of information on various aspects of Chinese history, including political systems, culturalmovements, economic developments, and military conflicts. The book's extensive bibliography and footnotes further enrich the reading experience by providing additional resources for further exploration.In conclusion, the English edition of "History of China" by Lu Siqing is a remarkable achievement inhistorical scholarship. It not only preserves and传播了中国的历史文化，but also bridges the linguistic and cultural divides, making Chinese history accessible to a global audience. The book's comprehensive coverage, engaging writing style, and accurate translation ensure that readers gain a deep and nuanced understanding of China's rich historical legacy. It is a must-read for anyone interested in Chinese history and culture, offering insights that are both profound and thought-provoking.**吕著《中国通史》英文版：穿越历史长河的文化桥梁** 历史研究领域浩瀚无垠，涵盖了古今中外文明的种种故事和编年史。
The history of translation in China,中国翻译史介绍
我国的翻译有着数千年的历史。打开 这一翻译史册，我们可以看到翻译高潮迭 起，翻译家难以计数，翻译理论博大精深。 了解这一历史不仅有助于我们继承我们的 先人的优秀文化遗产，而且也有助于我们 今天更加深入认识和发展我们的翻译事业。 简单说来，中国的翻译史大致可以分为以 下几个阶段：一、汉代-秦符时期； 二、隋 -唐-宋时期； 三、明清时期； 四、五四时 期； 五、新中过成立至今。
二、隋-唐-宋时代
从隋代（公元五九0年）到唐代，这段时间是我国翻译事业高度 发达时期。隋代历史较短，译者和译作都很少。比较有名的翻译家 有释彦琮（俗姓李，赵郡柏人）。他是译经史上第一位中国僧人。 一生翻译了佛经23部100余卷。彦琮在他撰写的《辨证论》中总结翻 译经验，提出了作好佛经翻译的八项条件：1）诚心受法，志愿益人， 不惮久时（诚心热爱佛法，立志帮助别人，不怕费时长久）；2）将 践觉场，先牢戒足，不染讥恶（品行端正，忠实可信，不惹旁人讥 疑）；3）荃晓三藏，义贯两乘，不苦闇滞（博览经典，通达义旨。 不存在暗昧疑难的问题）；4）旁涉坟史，工缀典词，不过鲁拙（涉 猎中国经史，兼擅文学，不要过于疏拙）；5）襟抱平恕。器量虚融， 不好专执（度量宽和，虚心求益，不可武断固执）；6）耽于道术， 淡于名利，不欲高炫（深爱道术，淡于名利，不想出风头）；7）要 识梵言，乃闲正译，不坠彼学（精通梵文，熟悉正确的翻译方法， 不失梵文所载的义理）；8）薄阅苍雅，粗谙篆隶。不昧此文（兼通 中训诂之学，不使译本文字欠准确）。
彦琮还说，"八者备矣，方是得人".这八条说的是译者的修养问题，至今 仍有参考价值。在彦琮以后，出现了我国古代翻译界的巨星玄奘（俗称三藏 法师）。他和上述鸠摩罗什、真谛一起号称华夏三大翻译家。玄奘在唐太宗 贞观二年（公元六二八年）从长安出发去印度取经，十七年后才回国。他带 回佛经六百五十七部，主持了中国古代史上规模最大、组织最为健全的译场， 在十九年间译出了七十五部佛经，共一三三五卷。玄奘不仅将梵文译成汉语， 而且还将老子著作的一部分译成梵文，是第一个将汉语著作向外国人介绍的 中国人。玄奘所主持的译场在组织方面更为健全。据《宋高僧传》记载，唐 代的翻译职司多至11种：1）译主，为全场主脑，精通梵文，深广佛理。遇有 疑难，能判断解决；2）证义，为译主的助手，凡已译的意义与梵文有和差殊， 均由他和译主商讨；3）证文，或称证梵本，译主诵梵文时，由他注意原文有 无讹误；4）度语，根据梵文文字音改记成汉字，又称书字；5）笔受，把录 下来的梵文字音译成汉文；6）缀文，整理译文，使之符合汉语习惯；7）参 译，既校勘原文是否有误，又用译文回证原文有无歧异；8）刊定，因中外文 体不同，故每行每节须去其芜冗重复；9）润文，从修辞上对译文加以润饰； 10）梵呗，译文完成后，用梵文读音的法子来念唱，看音调是否协调，便于 僧侣诵读；11）监护大使，钦命大臣监阅译经。
《欧洲文化入门》知识点笔记
00230Both Latin and Greek belong to Indo-European language.
00240The Roman writer Horace(:e0lQCQMR65-8t^ WlN0) said captive Greece took her rude conqueror captive 0
00The world s first vast interior space.NLu
N,{ Colosseum('Yt珐) is an enormous.2)Yvsb_q_gRb
00410Sculpture(QX) She-wolf(
00; Father of History ! Herodotus ! war(between Greeks and Persians)
00This war is called Peleponicion wars. ZSWTY嬒d 3
00fH[ v^l g_洺0
00; The greatest historian that ever lived. ( geggO'YvS[) ! Thucydides ! war (Sparta Athens and Syracuse)
00200The burning of Corinth in 146 B.C. Marked Roman conquest of Greece.
00210The melting between Roman Culture and Greek Culture. (Wl_ g ^Jvh)
00220From 146 B.C. Latin was the language of the western half of the Roman Empire.
塞万提斯传记(英文版)
Cervantes Saavedra, Miguel de:The grandmaster of Spanish literature and the father of the modern novel. Cervantes is believed to have been born in 1547 in the town of Alcaláde Hénares. His life itself reads like an adventure novel. Cervantes became a soldier in Italy in 1570 and fought in the Battle of Lepanto (1571). He was injured in this battle and lost the use of his left hand. While attempting to sail back to Spain in 1575, Cervantes was taken prisoner by Greek pirates and taken to Algiers. Miguel attempted to escape unsuccessfully three times, before he was finally ransomed. After returning to Spain, he struggled to make a living writing and was unhappily married to Catalina de Salazar y Palacios. Cervantes was jailed at least two times for debt and falsifying bookkeeping records. He did not achieve success until later in life. In fact his most productive and successful period was from around 1606 until his death in 1616.Don Quixote was released in two "installments" beginning in 1605. It met with immediate success and secured his position as the writer of one of the greatest novels in history. Don Quixote is a voluminous work which satirized the romantic notions of this period, chivalric novels, as well as Spanish society. It effectively blends humor, adventure and romance with an exploration of idealism versus realism. Its primary characters (Don Quixote and Sancho Panza) have achieved immortality and the novel has served as inspiration for many subsequent works of art, including musicals, plays and painting.Cervantes wrote his Novelas Ejemplares (Exemplary Stories,1613) concurrently with Don Quixote and this is the only other work which I have been able to find translated into English. They are a delightful collection of novellas primarily in the style of the picaresque novel. His first novel was entitled La Galatea (1585), but it was not well received. Although Cervantes is primarily associated with the novel, he also produced several collections of poetry and several plays. Several of these can be found in various collections of Spanish prose and drama.Miguel de Cervantes, born in Alcalá de Henares in 1547, was the son of a surgeon who presented himself as a nobleman, although Cervantes's mother seems to have been a descendant of Jewish converts to Christianity. Little is known of his early years. Four poems published in Madrid by his teacher, the humanist López de Hoyos, mark his literary début, punctuated by his sudden departure for Rome, where he resided for several months. In 1571 he fought valiantly at Lepanto, where he was wounded in his left hand by a harquebus shot. The following year he took part in Juan of Austria's campaigns in Navarino, Corfu, and Tunis. Returning to Spain by sea, he fell into the hands of Algerian corsairs. After five years spent as a slave in Algiers, and four unsuccessful escape attempts, he was ransomed by the Trinitarians and returned to his family in Madrid. In 1585, a few months after his marriage to Catalina de Salazar, twenty-two years younger than he, Cervantes published a pastoral novel, La Galatea, at the same time that some of his plays, now lost except for El trato de argel and El cerco de Numancia, were playing on the stages of Madrid. Two years later he left for Andalusia, which he traversed for ten years, first as a purveyor for the Invencible Armada and later as a tax collector. As a result of money problems with the government, Cervantes was thrown into jail in Seville in 1597; but in 1605 he was in Valladolid, then seat of the government, just when the immediate success of the first part of his Don Quixote, published in Madrid, signaled his return to the literary world. In 1607, he settled in Madrd justafter the return there of the monarch Philip III. During the last nine years of his life, in spite of deaths in the family and personal setbacks, Cervantes solidified his reputation as a writer. He published the Novelas ejemplares in 1613, the Viaje del Parnaso in 1614, and in 1615, the Ocho comedias y ocho entremeses and the second part of Don Quixote, a year after the mysterious Avellaneda had published his apocryphal sequel to the novel. At the same time, Cervantes continued working on Los trabajos de Persiles y Sigismunda, which he completed three days before his death on April 22, 1616, and which appeared posthumously in January 1617.What we know of Cervantes's life is the result of a long series of inquiries begun during the first three decades of the seventeenth century. But the most significant contributions have been those of scholars in the early part of this century, especially Cristóbal Pérez Pastor. The documents that have been published through their efforts come from public, parochial, and notarial archives, and they generally refer to Cervantes's captivity, the posts that he occupied in Andalusia, and certain other important events in his life. Few of these documents, however, cast any light on his life as a writer, much less on his personality. We need a methodical commentary on these documents to bring up to date the sketch which James Fitzmaurice Kelly published in Oxford in 1917: Miguel de Cervantes Saavedra; reseña documentada de su vida. We also need a critical biography worthy of the name. Luis Astrana Marín's big book Vida ejemplar y heroica de Miguel de Cervantes Saavedra (Madrid, 1948-1958, 7 vols.) suffers from a less-than-solid methodology as well as a number of personal biases. Still it contains a considerable amount of information and so remains an essential work of reference. Rosa Rossi's essay Escuchar a Cervantes (Valladolid, 1988) attempts to do away with the idealized portrait of Cervantes by interpreting his life as the confluence of his supposed Jewish origins and his latent homosexual tendencies. Certain recent biographers--such as Andrés Trapiello (Las vidas de Cervantes, Barcelona, 1993) and, not without a hint of scandal, Fernando Arrabal (Un esclavo llamado Cervantes, Paris and Madrid, 1996)--have revived the tradition of romanticized biographies in which the biographer's personality obliterates that of the writer whose life is the supposed subject.The biography written by the author of this note (Jean Canavaggio, Cervantès, revised and amplified edition, Paris: Fayard, 1997) differs from its predecessors in its pretentions. Unlike other works, it does not attempt to plumb the depths of the irrational in order to decipher the symbolism that Cervantes's fiction presumably contains. Rather than "explain" Cervantes, a man who disappeared almost four centuries ago and whose creation has taken on a life of its own, this biography aspires to "tell his story" better. We must first establish with all the necessary rigor what is actually known of Cervantes's actions and experiences, and we must exclude the legends, such as his having studied at the Jesuit school in Seville or his having composed the Quixote while in prison. Then Cervantes, who was an obscure participant in a heroic adventure, a lucid observer of a time of doubt and crisis, and a very personal interpreter of Spain at a crucial moment in its history, must be placed in his own milieu and his own time, better known now because of the work of recent historians. We must do our best to find that man. As we trace this life which has become a destiny that we attempt to render comprehensible, the book offers us a likely profile of a figure who is not the same individual that his friends and family knew, nor the "rare genius" whose profile Cervantes himself created, nor the figure which, since his death, has arisen from a series of myths which some day ought to be looked into. In other words, we are looking for the missingprofile which we assign to the secret narrator hidden behind his masks, this absent one who is always present, whose voice is his alone and, through the magic of his writing, is always recognizable even among a thousand othersStudents will understand the following:. Discuss how Miguel de Cervantes’ life is mirrored in Don Quixote’s.2. Explain how the eight people shown in the introduction refused to abandon their dreams despite popular sentiment that those dreams were unattainable. (Amelia Earhart, Nelson Mandela, women suffragettes, Mahatma Gandhi, John F. Kennedy, Jackie Robinson, Martin Luther King, Jr., Mother Theresa)3. At the end of Cervantes’ sequel, the Knight of the White Mo on, Sampson Curasco, forces Don Quixote to give up his fantasies “for his own good.” Discuss why people like Curasco feel the need to destroy the illusions and dreams of those who do not subscribe to a practical approach to life.To Dream the Impossible DreamDon Quixote might be seen as not simply crazy in his refusal to see things as they really are but more like a person who wants to accomplish a greater good and so refuses to compromise his ideals. Examples of such people include Nelson Mandela, Mahatma Gandhi, and Martin Luther King Jr. Ask students to discuss (with examples and other evidence) whether or not they think Quixote deserves to be put in the company of real-world idealists or is merely delusional.Tackling the IssuesAsk the class to discuss solutions to an issue that plagues contemporary society at large or just your community—for example, homelessness, violence, environmental degradation, hunger. Half the class should mention idealistic solutions to the chosen issue; the other half should mention only realistic approaches to solving the problem. See if, in listening to both sides, someone can come up with a proposal that is both realistic and unconventional—an idea that hasn’t been tried yet.Man of La Mancha is not the easiest of constructs: it features a play within a play, with a third layer thown in for good measure. Cervantes and an associate are brought to prison to await a hearing with the Inquisition. He is set upon by the prisoners, who decide to hold a mock trial in order to find him guilty and steal all his possessions (including a package he seems to value greatly). Cervantes presents a play as his defense, to give the "jury" insight into the "crimes" of which they acuse him. They agree and become actors in his play. Cervantes plays Alhonso Quiana, a man who has set his own reality aside and become Don Quixote De La Mancha. Man of La Mancha simultaneously tracks the experiences of the three men (Cervantes, Quiana, and Quixote), focusing mostly upon Quixote. It can be confusing at first exposure, but with this framework in mind to lend additional clarity -- it can be transformational. Please seek it out.。
剑桥拉丁美洲史英文版
剑桥拉丁美洲史英文版The intertwined histories of Cambridge and Latin America have long been a topic of fascination for scholars and enthusiasts alike. From the colonial era to the present day, the connections between these disparate regions have shaped the cultural, political, and intellectual landscape of both. This essay will delve into the multifaceted relationship between Cambridge and Latin America, exploring the ways in which this partnership has evolved over time.One of the earliest and most significant links between Cambridge and Latin America can be traced back to the colonial period. As European powers sought to expand their spheres of influence across the globe, Cambridge-educated scholars and administrators played a crucial role in shaping the colonial enterprises that took root in Latin America. From the establishment of universities and research institutions to the development of policies and strategies for governing these distant territories, the imprint of Cambridge's intellectual tradition was evident throughout the region.The rise of independence movements in Latin America during the19th century further strengthened the ties between Cambridge and the emerging nation-states. Many of the leaders and thinkers who spearheaded these revolutionary efforts were educated at Cambridge, where they imbibed the ideals of Enlightenment philosophy and political liberalism. The influence of these Cambridge-trained intellectuals can be seen in the constitutions, legal systems, and educational frameworks that were established in the newly independent countries of Latin America.As the 20th century dawned, the relationship between Cambridge and Latin America evolved in response to the changing geopolitical landscape. The two world wars and the subsequent Cold War era saw an increased emphasis on academic collaboration and knowledge exchange between the two regions. Cambridge scholars and researchers became deeply engaged in the study of Latin American history, culture, and socioeconomic development, while their Latin American counterparts sought to leverage the resources and expertise of the Cambridge academic community.One particularly notable example of this collaboration was the establishment of the Institute of Latin American Studies at the University of Cambridge in 1965. This interdisciplinary research center has played a pivotal role in fostering a deeper understanding of Latin America's past and present, drawing on the expertise of scholars from a wide range of disciplines. Through its publications,conferences, and collaborative projects, the Institute has helped to bridge the gap between Cambridge and the diverse nations of Latin America.Beyond the realm of academia, the relationship between Cambridge and Latin America has also manifested in the realm of politics and diplomacy. Cambridge-educated diplomats and policymakers have played a crucial role in shaping the interactions between their respective nations, navigating the complexities of international relations and working to forge new partnerships and alliances. The influence of Cambridge's international outlook and commitment to multilateralism can be seen in the foreign policies and diplomatic initiatives of many Latin American countries.In recent years, the relationship between Cambridge and Latin America has continued to evolve, with a growing emphasis on collaborative research, student exchange programs, and the sharing of best practices in areas such as sustainable development, public health, and social justice. As the world becomes increasingly interconnected, the need for cross-cultural understanding and cooperation has become more pressing than ever before, and the enduring partnership between Cambridge and Latin America remains a vital component of this global dialogue.In conclusion, the history of the relationship between Cambridge andLatin America is a rich and multifaceted tapestry, woven together by centuries of intellectual exchange, political collaboration, and cultural intermingling. From the colonial era to the present day, the influence of Cambridge's academic and intellectual traditions has been felt throughout the region, shaping the course of history and contributing to the ongoing evolution of Latin American societies. As the world continues to grapple with the challenges of the 21st century, the continued strengthening of this partnership will undoubtedly play a crucial role in shaping the future of both regions.。
英美文学史 第一部分 盎格鲁
第一部分盎格鲁——撒克逊时期III. 名词解释1. Epic (or Heroic Poetry)It is, originally, an oral narrative poem, majestic both in theme and style. Epics deal with legendary or historical of events of national or universal significance, involving action of broad sweep and grandeur. Most epics deal with the exploits of a single individual, thereby giving unity to the composition. Typically, an epic includes several features: the introduction of supernatural forces that shape the action; conflict in the form of battles or other physical combat; and stylistic conventions such as an invocation to the Muse, a formal statement of the theme, long lists of the protagonists involved, and set speeches couched in elevated language. Commonplace details of everyday life may appear, but they serve as background for the story and are described in the same lofty style as the rest of the poem. Epic poems are not merely entertaining stories of legendary or historical heroes; they summarize and express the nature or ideals of an entire nation at a significant or crucial period of its history. Examples include the ancient Greek epics by the poet Homer, the Iliad and the Odyssey. The characteristics of the hero of an epic are national rather than individual, and the exercise of those traits in heroic deeds serves to gratify a sense of national pride. At other times epics may synthesize the ideals of a great religious or cultural movement. The Divine Comedy by the Italian poet Dante expresses the faith of medieval Christianity. The Faerie Queene by the English poet Edmund Spenser represents the spirit of the Renaissance in English and like Paradise Lost by the English poet John Milton, represents the ideals of Christian humanism.2. AlliterationA repeated initial consonant to successive words. In Old English verse, any vowel alliterates with any others, and alliteration is not an unusual or expressive phenomenon but a regularly recurring structural feature of the verse, occurring on the first and third, and often on the first, second, and third, primary-stressed syllables of the four-stressed line. Thus, from The Seafarer:hreran mid hondum hrincaelde sae(“to stir with his hand the rime-cold sea”)In later English verse tradition, alliteration becomes expressive in a variety of ways. Spenser uses it decoratively, or to link adjective and noun, verb and object, as in the line: “much daunted with that dint, her sense was dased.” In the 18th and 19th centuries it becomes even less systematic and more "musical".IV .1.What is the theme of Beowulf?Beowulf, which centers on the narration of the exploits of the heroic figure Beowulf, is mainly about his three major adventures. It reflects a life of fights and feasting, of ceremony, of brilliant gold and sudden darkness. Here is a world of sacred obligations, feud and vengeance with heroic figures who are proud of their birth and their physical strength. But beyond this, the forces of wyrd (fate) seem to control man's destiny with mysterious omnipotence, while evil itself is both primordial and powerful. However, thematically the poem presents a vivid picture of how the primitive people wage heroic struggles against the hostile forces of the natural world under a wise and mighty leader. The poem is an example of the mingling of nature myths and heroic legends. For those interested in symbols, thesimplest interpretation of the myths in the poem is to regard Beowulf’s successive fights against the three monsters as the overcoming of the hostile forces of nature by man’s indomitable will and perseverance. For instance, the battle between Beowulf and the Dragon symbolically represents that phase of Winter and Summer myth in which the Summer God, here embodied by Beowulf, fights his last battle against the Winter Dragon in order to rescue the treasures of earth, that is, the golden corn and ruddy fruits. Having given them back to men, Beowulf himself dies of the Winter’s breath.2.What is the heroic ideal of Beowulf?Beowulf is essentially an aristocratic poem concerned with the heroic ideal of kings and kingship in North Europe. The social patterns ascribed in the poem are rigidly feudal, highly violent. Battle is a way of life. Strength and courage are basic virtues for both kings and his warriors. The hero-king strove to do better than any one else the things that are vitally important to the happy life of his people. The king should protect his people and show gentleness and generosity to his warriors. And in return, his warriors should show absolute obedience and loyalty to the king. By praising Beowulf's wisdom, strength and courage, and by glorifying his death for his people, the poem presents the heroic ideal of a king and his good relations to his warriors and people.3.What is the structure of Beowulf?According to the contents of the story, the poem can be divided into three parts:Part I: the fight against GrendelPart II: the fight against Grendel’s motherPart III: the fight against DragonBeowulf is an oral poem and for centuries the bards sing it to the people. As it is quite long, the bard could only sing a part of the story each night. Usually he would sing one adventure on the first night about the battle with Grendel. Then on the second night, he would continue and sing about Beowulf's fight against Grendel’s mother. However, there might be some new listeners. So before he came to the second adventure, he would give a short summary about what he sang the night before. And on the third night, he would give a longer summary about what happened on the first two night. There is also a prelude to invent an allusion to the real story. The poem begins with the funeral of a king and rounds up with that of another.4.Give a description of style in Beowulf.“Beowulf”towers above all other literary works written in Anglo-Saxon, chiefly because it is a powerful poem about a people’s hero written in true epic style, and not so much because the other extent writings of the period are mediocre or fragmentary. Beowulf is not simply a man of great military prowess but he is forever eager to help others in distress and in his last adventure with the dragon he shows himself a worthy leader ready to sacrifice his own life for the welfare of his people. Setting aside the supernatural elements pervading the poem as an inevitable limitation of the tribal-feudal age, “Beowulf” deserves to be ranked among the great heroic poems of northern Europe through it has not been as well known as the “Nibelungenlied”. In artistic form the epic tells the tale in a leisurely way, full of elaborations in legendary details, and the verse rises at places to heights of poetic grandeur, particularly in the descriptions of the hero’s nobility ofcharacter and in the narrations of his courageous battlings with malevolent foes.尼伯龙根之歌（Nibelungenlied）是著名的中世纪中古高地德语叙事诗。
英美文学简史 Chapters 1—2
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Beowulf
significance Outline of the Story
• • • • •
Medieval Literature: A Brief Introduction
1066—Norman Conquest—Middle English—Feudal Society The Arthurian Legends Sir Gawain and the Green Knight Robin Hood John Wycliffe
Medieval Literature: A Brief Introduction
Robin Hood Collection of 15th century medieval ballads about Robin Hood Robin Hood, the hero of the poor, the enemy of the rich and the powerful The ballads are many in number, “Robin hood and the Monk,” “Robin Hood and the Guy of Gisborne,” “Robin Hood and the Porter,” Lytell Geste of Robin Hood
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Chapter One The History of Translation in China
1.翻译的定义
2.翻译的种类
3.我国翻译的历史
1.翻译定义
翻译是运用一种语言把另一种语言所表达的思维内容准确而完整地重新表达出来的语言活动.
Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning, and secondly in terms of style.
翻译是接受语复制出与原语信息最接近的自然等值体---首先是就意义而言,其次是就其风格而言.
2.翻译的种类
按涉及到的语言来分,有本族语译成外语,外语译成本族语两种;
按其工作方式来分,有口译和笔译两种;
按翻译材料来分,有科技材料的翻译,文学作品的翻译(包括小说戏剧诗歌等),政论作品的翻译(包括社会科学论文报告演说辞等)以及其他应用文的翻译(包括新闻报导电报文件);
按其处理方式分,有全译摘译和编译等。
3.我国翻译的历史
我国翻译事业有约两千年的历史。
（1）西汉哀帝时代开始有个名叫伊存的人到中国口传一些简短的佛经经句。
（2）东汉桓帝建和二年正式开始佛经的翻译。
（安世高、支娄迦谶、支亮和支谦）支娄迦谶译笔生硬，读者不易看懂.
（3）符秦时代开始设置译场，翻译成为有组织的活动。
（释道安、鸠摩罗什）释道安: 主持设置了译场，翻译成为有组织的活动。
他主张严格的直译。
鸠摩罗什: 主张意译，改正了过去音译的弱点，提倡译者署名，译著有《金刚经》《法华经》等300余卷。
他的译著有”天然西域之语趣”。
（4）南北朝时，真谛从印度来到中国译了《摄大乘论》对中国佛教思想有较大影响。
5）隋代起到唐代，是我国翻译事业的高度发达的时期。
其中出现了古代翻译界的巨星玄奘（与上述鸠摩罗什、真谛一起号称我国佛教三大翻译家）。
玄奘带回657部佛经，主持了更加健全的译场。
他还把老子著作的一部分译成梵文，是第一个把汉文著作向国外介绍的中国人。
他提出了“既须求真，又须喻俗”的翻译标准。
（6）从明代万历年间到清代“新学”时期，出现了以徐光启、林纾、严复等为代表的介绍西欧各国科学文学哲学的翻译家。
明徐光启和意大利人利玛窦合作翻译了欧几里得的《几何原本》《测量法义》等。
林纾又叫林琴南，译了160多部文学作品，其中《巴黎茶花女遗事》《黑奴吁天录》（Uncle Tom’s Cabin）《块肉余生述》(David Copperfield)等。
严复：我国清末新兴资产阶级的启蒙思想家，所译作品多系西方政治经济学说。
T. H. Huxley的《天演论》（Evolution and Ethics and Other Essays）, Adam Smith的《原富》（An Inquiry into Nature and Causes of the Wealth of Nations）等。
严复提出著名的“信、达、雅”翻译标准。
（7）“五四”是我国近代翻译史的分水岭。
我国翻译开始介绍马列主义经典著作和无产阶级
文学作品。
Chapter Two
1.翻译的标准
2.翻译的过程
3.对翻译工作者的要求
1.翻译的标准
忠实：译文中所表达的内容与原作中所表达的内容必须同一。
（内容通常指作品中所叙述的事实、说明的事理、描写的景物以及作者在叙述说明和描写过程中所反映的思想观点、立场和所流露的感情等。
）
通顺：指译文语言必须通顺易懂，符合规范。
（即在忠实的前提下，遵从语言的习惯性）
忠实
⏹Many a friend will tell us our faults without reserve, who will not so much as hint at our
follies.
⏹许多朋友愿意毫无保留地向我们指出错误，可是却不会同样暗示我们的愚蠢。
⏹许多在我们做蠢事时连提醒都不提醒我们一下的朋友，却会毫不客气地指出我们的
过失。
⏹忠实也指保持原作的风格。
（P8）
通顺
A luxuriant tan speaks health and glamour.
⏹丰润的棕色皮肤诉说着健康和魅力。
⏹丰润的棕色皮肤是健康和魅力的标志。
⏹We must claim extraordinary insight for Hegel.
⏹我们必须为黑格尔要求非凡的洞察力。
⏹我们不能不说，黑格尔具有非凡的洞察力
2.翻译的过程
⏹1).理解
⏹2).传达
⏹3).校核
1).理解
a.理解原文的词义
For example: evening, night, small hours, early hours.
evening 指晚饭后到睡觉前
night 指从日落到日出
small hours 指凌晨两三点
early hours 指大清早
The secretary and accountant of the company was present.
公司的秘书和会计在场。
公司的秘书兼会计在场。
Ashurst was seeing Megan.
阿舒尔特那会儿正在看着梅甘的面影。
阿舒尔特那会儿正在回忆着梅甘的面影。
Three cousins of the French President were also to receive diamonds.
法国总统的三位远亲后来也接受了一些钻石。
b. 理解原文的句法结构（语法知识）
Their voices had been to him, lying there on the carpet with his head wrapped in his arms, indistinguishable.
威廉趴在地毯上，两只胳膊抱住了头，听不清他们在说什么？
Y et what it was that she must cover up she never knew.
但是要遮掩什么，她压根儿就不知道。
c.理解文化因素
文化人类学家把文化划分为四大系统：
•技术—经济系统，包括生态环境、生产、交换和分配方式、科学技术、人工制品等。
•社会系统：包括社会阶级、群体、亲属制度、政治、法律、教育、风俗习惯、历史等。
•Turkey Dinner 土耳其午餐火鸡大餐
•观念系统：包括宇宙观宗教巫术民间信仰艺术创作和意象价值观念任知和思维方式等
It looks as if we were thinking along parallel lines.
parallel lines 平行—不相交—不矛盾
平行—不相交—碰不起头—不一致
2).传达（直译法和意译法）
a.直译法即在译文语言条件许可时，在译文中既保持原文的内容，又保持原文的形式—特指保持原文的比喻、形象和民族、地方色彩等。
他（听到这话）心里一跳，脸色也变了。
His heart jumped and the color of his face changed.
At this his heart missed a beat and he became pale.
b.意译法
Do you see any green in my eye?
你以为我是好欺骗的吗？.校对:主要是补上原译中脱漏的内容，改正原译中的失误和不正确之处。
3).校核
a.校对:主要是补上原译中脱漏的内容，改正原译中的失误和不正确之处
b.文字润饰
⑴惯用法
He crashed down on a protesting chair.
他猛然坐到一张吱吱地发出抗议声的椅子上。
他猛然坐到一张椅子上，椅子被压得吱吱作响。
⑵在不降低表现力的情况下，尽量选用简洁的表达法。
阅后请放回原处。
Please put back what you read after reading.
Please replace after reading.
⑶为使译文明白顺畅，有时可加一些“范畴词”。
Such subtle flattery got him almost everything.
这种巧妙的奉承手段使他几乎得到了他想要的每一件东西。