“讽刺”与“魔幻”的翻译
形容魔幻 英语
形容魔幻英语共10句含翻译1. The movie was a mesmerizing blend of magic and fantasy.这部电影是魔幻和奇幻的迷人融合。
2. Her imagination sparked a world of enchantment and wonder.她的想象力激发了一个充满魔法和奇迹的世界。
3. The enchanted forest was shrouded in an otherworldly mist.这片魔幻森林被一层超凡脱俗的薄雾所笼罩。
4. He conjured a dazzling display of illusions that left us spellbound.他召唤了一连串令人眼花缭乱的幻象，让我们完全着迷。
5. The story's magical realism transported me to a realm beyond my wildest dreams.这个故事中的魔幻现实主义把我带到了超出我最狂野梦想的领域。
6. The sorcerer's powers were both terrifying and captivating.那个巫师的力量既可怕又迷人。
7. Her art was an enigmatic blend of surrealism and magic.她的艺术是超现实主义与魔法的神秘混合。
8. The ancient myths were filled with tales of mystical creatures and magical powers.古代神话充满了关于神秘生物和魔法力量的故事。
9. The castle seemed to come alive with arcane energy and mystical auras.这座城堡似乎因神秘的能量和神秘的光环而变得栩栩如生。
莎士比亚作品汉语译文
莎士比亚作品汉语译文Hamlet：译文在书上 p.215. 下面给出大家上半段的paraphrase:To be or not to be—that is the Question; Whether it’s nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them?To live or to die, that is a question. Is it better to sustain the bitterness of atrocious fate in the mind, or should people rise up to pick up weapons fighting against and ending so many troubles in one’s life?To die, to sleep—No more; —and by a sleep to say we end The heartache, and the thousand natural shocks That flesh is heir to; ‘Tis a consummation D evoutly to be wishedTo die, to sleep, there will be no more existing. And if we can say that we end the bitterness in our mind and the countless natural strikes that human beings are bound to suffer by a sleep, then a sleep or a death would be the perfect thing that we have seriously wished for.To die, to sleep; To sleep, perchance to dream. Ay, there’s the rub; For in that sleep of death what dreams may come, When we have shuffled off this mortal coil, Must give us pause. There is the respect That makes calamity of so long life;To sleep perhaps is to dream, that is where the trouble is. In the sleep of death, when we get rid of our physical bodies and free ourselves from these earthly troubles, what may come as our dreams must make us hesitate. It is with this very consideration that people would rather endure a life so long and so painful.Macbeth何时姊妹再相逢，雷电轰轰雨蒙蒙？女巫乙且等烽烟静四陲，败军高奏凯歌回。
讽刺是一种文学手法
Satire is primarily a literary genre or form, although in practice it can also be found in the graphic and performing arts. In satire, vices, follies, abuses, and shortcomings are held up to ridicule, ideally with the intent of shaming individuals, and society itself, into improvement.[1] Although satire is usually meant to be funny, its greater purpose is constructive social criticism, using wit as a weapon.A common feature of satire is strong irony or sarcasm—"in satire, irony is militant"[2]—but parody, burlesque, exaggeration, juxtaposition, comparison, analogy, and double entendre are all frequently used in satirical speech and writing. This"militant" irony or sarcasm often professes to approve (or at least accept as natural) the very things the satirist wishes to attack.Satire is nowadays found in many artistic forms of expression, including literature, plays, commentary, and media such as lyrics.Satire is a rhetorical strategy in which human or individual vices, follies, abuses, or shortcomings are held up to censure by means of ridicule, derision, burlesque, irony, or other methods, ideally with an intent to bring about improvement.[1] In the strict sense satire is a literary genre, but the larger notion of satire, poking fun at the foibles of others, is also found in the graphic and performing arts.Although satire is usually intended to be funny, the purpose of satire is not primarily humor as much as criticism, using the weapon of wit. A very common, almost defining feature of satire is its strong vein of irony or sarcasm, using parody, exaggeration, juxtaposition, comparison, analogy, and double entendre.Satire is often aimed at hypocrisy in social institutions or used for political commentary, but great satire often takes as its target human self-deception in one form or another. Satire can vary in tone from bemused tolerance to bitter indignation. Voltaire's Candide (1759) gleefully poked fun at the fashionable optimism associated with the philosopher Leibniz and is among the most recognized satires in the Western literary canon. George Orwell's Animal Farm (1945), in contrast, savagely criticized the totalitarian machinery of government that emerged in the Soviet Union following the Utopian promises of the Russian Revolution.Like most criticism, satire can be constructive and salutary or motivated by an intent to draw opprobrium on the object of criticism. As a literary genre, it is generally didactic. It rarely aspires to hold up a mirror to life or to explore universal aspects of human experience as a primary objective.TermThe word satire comes from Latin satura lanx, meaning "medley, dish of colorful fruits," and was held by Quintilian to be a "wholly Roman phenomenon." This derivation properly has nothing to do with the Greek mythological satyr[2]. To Quintilian, satire was a strict literary form, but the term soon escaped from its original narrow definition. Princeton University scholar Robert Elliott wrote that"[a]s soon as a noun enters the domain of metaphor, as one modern scholar has pointed out, it clamours for extension; and satura (which had had no verbal, adverbial,or adjectival forms) was immediately broadened by appropriation from the Greek word for “satyr” (satyros) and its derivatives. The odd result is that the English “satire” comes from the Latin satura; but “satirize,” “satiric,” etc., are of Greek origin. By about the 4th century AD the writer of satires came to be known as satyricus; St. Jerome, for example, was called by one of his enemies 'a satirist in prose' ('satyricus scriptor in prosa'). Subsequent orthographic modifications obscured the Latin origin of the word satire: satura becomes satyra, and in England, by the 16th century, it was written 'satyre.'" "Satire" Encyclopaedia Britannica 2004[3]Satire (in the modern sense of the word) is found in many artistic forms of expression, including literature, plays, commentary, and media such as song lyrics. The term is also today applied to many works other than those which would have been considered satire by Quintilian - including, for instance, ancient Greek authors predating the first Roman satires. Public opinion in the Athenian democracy, for example, was remarkably influenced by the political satire written by such comic poets as Aristophanes for the theatre.[4][5]HistoryAncient EgyptThe so-called Satire of the Trades dates to the beginning of the second millennium B.C.E. and is one of the oldest texts using hyperbole in order to achieve a didactic aim.[6] It describes the various trades in an exaggeratedly disparaging fashion in order to convince students tired of studying that their lot as scribes will be far superior to that of their less fortunate brethren. Some scholars think that, rather than satirical, the descriptions were intended to be serious and factual.[7]The Papyrus Anastasi I (late 2nd millennium B.C.E.) contains the text of a satirical letter in which the writer at first praises the virtues but then mercilessly mocks the meager knowledge and achievements of the recipient of the letter.[8]Ancient GreeceThe Greeks had no word for what later would be called "satire," although cynicism and parody were common techniques. In retrospect, the Greek playwright Aristophanes is one of the best known early satirists; he is particularly recognized for his political satire, for example The Knights, which criticize the powerful Cleon for the persecution the playwright underwent.[9]The oldest form of satire still in use is the Menippean satire named after the Greek cynic Menippus of Gadara. Menippean satire is a term broadly used to refer to prose satires that are rhapsodic in nature, combining many different targets of ridicule into a fragmented satiric narrative similar to a novel. The term is used by classicalgrammarians and by philologists mostly to refer to satires in prose (cf. the verse satires of Juvenal and his imitators).Menippus, whose works are now lost, influenced the works of Lucian and Marcus Terentius Varro; such satires are sometimes termed Varronian satire, althoughVarro's own 150 books of Menippean satires survive only through quotations. The genre continued in the writings of Seneca the Younger, whose Apocolocyntosis divi Claudii (The Pumpkinification of the Divine Claudius) is the only near-complete classical Menippean satire to survive. The Menippean tradition is later evident in Petronius's' Satyricon, especially in the banquet scene "Cena Trimalchionis," which combines epic, tragedy, and philosophy with verse and prose. In Apuleius' Golden Ass, the form is combined with the comic novel.Menippean satire moves rapidly between styles and points of view. Such satires deal less with human characters than with the single-minded mental attitudes, or "humors," that they represent: the pedant, the braggart, the bigot, the miser, the quack, the seducer, etc. Critic Northrop Frye observed that "the novelist sees evil and folly as social diseases, but the Menippean satirist sees them as diseases of the intellect"; he illustrated this distinction by positing Squire Western (from The History of Tom Jones, a Foundling) as a character rooted in novelistic realism, but the tutors Thwackum and Square as figures of Menippean satire.Menippean satire plays a special role in Mikhail Bakhtin's theory of the novel. In Problems of Dostoevsky's Poetics, Bakhtin treats Menippean satire as one of the classical "serio-comic" genres, alongside Socratic dialogue and other forms that Bakhtin claims are united by a "carnival sense of the world," wherein "carnival is the past millennia's way of sensing the world as one great communal performance" and is "opposed to that one-sided and gloomy official seriousness which is dogmatic and hostile to evolution and change." Authors of "Menippea" in Bakhtin's sense include Voltaire, Diderot and E.T.A. Hoffmann.[10]Contemporary scholars including Frye classify Swift's A Tale of a Tub and Gulliver's Travels,Thomas Carlyle's Sartor Resartus,François Rabelais' Gargantua and Pantagruel and Lewis Carroll's Alice's Adventures in Wonderland and Flann O'Brien's The Third Policeman as Menippean satires.Roman satireThe two most influential Latin satirists from Roman antiquity are Horace and Juvenal, who lived during the early days of the Roman Empire. Other Roman satirists include Lucilius and Persius. In the ancient world, the first to discuss satire critically was Quintilian, who invented the term to describe the writings of Lucilius. Pliny reports that the 6th century B.C.E. poet Hipponax wrote satirae that were so cruel that the offended hanged themselves.[11]Criticism of Roman emperors (notably Augustus) needed to be presented in veiled, ironic terms - but the term "satire" when applied to Latin works actually is much wider than in the modern sense of the word, including fantastic and highly colored humorous writing with little or no real mocking intent.Middle AgesExamples from the Early Middle Ages include songs by goliards or vagants now best known as an anthology called Carmina Burana and made famous as texts of a composition by the twentieth century composer Carl Orff. Satirical poetry is believed to have been popular, although little has survived. With the advent of the High Middle Ages and the birth of modern vernacular literature in the twelfth century, it began to be used again, most notably by Chaucer. The disrespectful tone of satire was considered "un-Christian" and discouraged, with the exception of "moral satire," which criticized misbehavior from a Christian perspective. Examples include Livre des Manières (~1170) as well as some of Chaucer's Canterbury Tales. Epic poetry as well as aspects of feudal society were also satirized, but there was hardly a general interest in the genre.After the reawakening of Roman literary traditions in the Renaissance, the satires Till Eulenspiegel (a cycle of tales popular in the Middle Ages) and Reynard the Fox (a series of versified animal tales) were published. New satires, such as Sebastian Brant's Ship of Fools, (Narrenschiff) (1494), Erasmus's' Moriae Encomium (1509), and Thomas More's Utopia (1516) were also widely disseminated.Early modern satireThe English writers thought of satire as related to the notoriously rude, coarse and sharp "satyr" play. Elizabethan "satire" (typically in pamphlet form) therefore contains more straightforward abuse than subtle irony. The French Huguenot Isaac Casaubon discovered and published Quintilian's writing and thus presented the original meaning of the term. He pointed out in 1605 that satire in the Roman fashion was something altogether more civilized. Wittiness again became more important, and seventeenth-century English satire again increasingly aimed at the "amendment of vices."Gulliver Exhibited to the Brobdingnag Farmer by Richard RedgraveFarcical texts such as the works of François Rabelais tackled more serious issues (and incurred the wrath of the crown as a result). In the Age of Enlightenment, astute and biting satire of institutions and individuals became a popular weapon of such writers as Daniel Defoe, Jonathan Swift, and Alexander Pope. John Dryden also wrote an influential essay on satire that helped fix its definition in the literary world.Swift was one of the greatest of Anglo-Irish satirists, and one of the first to practice modern journalistic satire. For instance, his "A Modest Proposal" suggested that poor Irish parents be encouraged to sell their children as food, a program he disingenuously argued would benefit both society and parents. His essay "The Shortest-Way with the Dissenters"' satirically argued that dissenters from established Church doctrine should be vigorously persecuted. And in his best-known work, Gulliver's Travels Swift examined the flaws in human society and English life in particular through a traveler's encounter with fanciful societies compromised by familiar human foibles. Swift created a moral fiction in which parents do not have their primary responsibility to protect their children from harm, or in which freedom of religion is reduced to the freedom to conform. His purpose was to attack indifference to the plight of the desperately poor, and to advocate freedom of conscience.The French Enlightenment philosopher Voltaire was perhaps the most influential figure of the Enlightenment and his comic novella Candide (1759) remains one of the most entertaining and widely read satires in the Western literary canon. The book pillories the fashionable optimism associated with the philosopher Leibniz, but was widely banned because of its political and religious criticisms and scandalous sexual content. In the book, Dr. Pangloss teaches Candide that, despite appearances, they live in the "best of all possible worlds." Following a horrific series of misadventures, including the destruction of Lisbon by the great earthquake, tsunami, and fire in 1755, and imprisonment by the Portuguese Inquisition, Pangloss is left as a beggar infected with syphilis. Yet the philosopher remains unshaken in is principles. "I still hold to my original opinions, because, after all, I'm a philosopher, and it wouldn't be proper for me to recant, since Leibniz cannot be wrong, and since preestablished harmony is the most beautiful thing in the world, along with the plenum and subtle matter."[12] "Panglossian" has since entered the lexicon as an expression of simple-minded optimism.Satire in the Victorian eraSeveral satiric papers competed for the public's attention in the Victorian era and Edwardian period, such as Punch and Fun. Perhaps the most enduring examples of Victorian satire, however, are to be found in the Savoy Operas of W. S. Gilbert and Sir Arthur Sullivan. In fact, in The Yeomen of the Guard, a jester is given lines that paint a very neat picture of the method and purpose of the satirist, and might almost be taken as a statement of Gilbert's own intent:"I can set a braggart quailing with a quip,The upstart I can wither with a whim;He may wear a merry laugh upon his lip,But his laughter has an echo that is grim!"Mark Twain was a perhaps the greatest American satirist. His novel Adventures of Huckleberry Finn, set in the antebellum South, uses Huck's naive innate goodness tolampoon prevailing racist attitudes. His hero, Huck, is a rather simple butgood-hearted lad who is ashamed of the "sinful temptation" that leads him to help a runaway slave. His conscience—warped by the distorted moral world he has grown up in—often bothers him most at the moment that he seeks to follow his good impulses against what passes for morality in society.Twain's younger contemporary Ambrose Bierce gained notoriety as a cynic, pessimist and black humorist with his dark, bitterly ironic stories, many set during the American Civil War, which satirized the limitations of human perception and reason. Bierce's most famous work of satire is probably The Devil's Dictionary, (begun 1881 to 1906), in which the definitions mock cant, hypocrisy and received wisdom.In nineteenth century autocratic Russia, literature, especially satire, was the only form of political speech that could pass through censorship. Aleksandr Pushkin, often considered the father of Russian literature, satirized the aristocratic conventions and fashions of the day in his colloquial tales of Russian life, such as the novel in verse Eugene Onegin. The works of Nikolai Gogol, especially his short stories "The Nose" and "The Overcoat" as well as his play "The Inspector General" and his great black comic novel, Dead Souls, lampooned the bureaucracy as well as the brutishness of provincial life. Gogol's works operate on a more profound level as well, addressing not only the hypocrisy of a country obsessed with social status, but the foibles of the human soul.Twentieth century satireIn the early twentieth century, satire was put to serious use by authors such as Aldous Huxley and George Orwell to address the dangers of the sweeping technological and social changes as a result of the Industrial Revolution and the development of modern ideologies, such as communism. Huxley's Brave New World is a grim, in many ways prescient story of a futuristic society in which free will has been virtually extirpated. Citizens are monitored for "antisocial" tendencies; sex is ubiquitous recreation, even among children, and drugs are administered as part of a policy to ensure that people remain docile. George Orwell's novel 1984, written in 1947/1948 as a result of the Spanish Civil War's atrocities, describes a much harsher and punitive dystopia in which every action is monitored by all-knowing Big Brother, a god-like authority recalling the cult of personality of communist rulers such as Joseph Stalin. Orwell's Animal Farm is a political parable in which animals overthrow the authority of the farmer and take power. The novel satirizes the rise of political tyranny after the Russian Revolution and communist promise of proletarian power, freedom from authoritarian rule, and the eventual withering away of the machinery of the state.In film, similar uses of satire included Charlie Chaplin's film Modern Times about the dehumanization of modern technology, and The Great Dictator (1940) about the rise of Adolf Hitler and Nazism. Many social critics of the time, such as Dorothy Parker and H. L. Mencken used satire as their main weapon, and Mencken in particular isnoted for having said that "one horse-laugh is worth ten thousand syllogisms" in the persuasion of the public to accept a criticism. Novelist Sinclair Lewis was known for his satirical stories such as Babbitt,Main Street, and It Can't Happen Here. His books often explored and satirized contemporary American values.The Simpsons television comedyLater in the century, Joseph Heller's great satiric novel, Catch-22, (first published in 1961) lampooned the mentality of bureaucracy and the military, and is frequently cited as one of the greatest literary works of the twentieth century[13]. The title of his novel has become the very expression used to convey a situation in which a desired outcome is impossible to attain because of a set of inherently illogical conditions.The Stanley Kubrick film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb from 1964 was a popular black comedy in the vein of Catch-22 that satirized the Cold War. A more humorous brand of satire enjoyed a renaissance in the UK in the early 1960s with the Satire Boom, led by such luminaries as Peter Cook, John Cleese, Alan Bennett, Jonathan Miller, David Frost, Eleanor Bron and Dudley Moore and the television programme That Was The Week That Was.Tom Wolfe's late novels, such as Bonfire of the Vanities and A Man in Full, presented panoramic pictures of modern life using many of the standard devises of satire while consciously utilizing the realistic novel form of such nineteenth-century literary masters as Fyodor Dostoevsky, George Elliot, and Honore Balzac.Satire continues to be a popular and relevant form of political and social criticism. American television program Saturday Night Live's mockery of the mild press scrutiny of the Barak Obama presidential campaign, for example, led to an almost immediate reevaluation of press coverage and much harsher questioning by reporters and debate moderators. Other popular programs, such as the mock right-wing Colbert Report and John Stewart Show, present stinging, generally one-sided critiques of conservative policies. The popular, long running animated comedy The Simpsons playfully satirizes virtually every aspect of modern society by presenting exaggerated caricatures of modern character types, lifestyles, and even celebrity personalities. Satire and CensorshipBecause satire is criticism usually cloaked in humor, it frequently escapes censorship. Periodically, however, it runs into serious opposition. In 1599, the Archbishop of Canterbury John Whitgift and the Bishop of London George Abbot, whose offices had the function of licensing books for publication in England, issued a decree banning verse satire. The decree ordered the burning of certain volumes of satire byJohn Marston, Thomas Middleton, Joseph Hall, and others. It also required histories and plays to be specially approved by a member of the Queen's Privy Council, and it prohibited the future printing of satire in verse.[14] The motives for the ban are obscure, particularly since some of the books banned had been licensed by the same authorities less than a year earlier. Various scholars have argued that the target was obscenity, libel, or sedition. It seems likely that lingering anxiety about the Martin Marprelate controversy, in which the bishops themselves had employed satirists, played a role; both Thomas Nashe and Gabriel Harvey, two of the key figures in that controversy, suffered a complete ban on all their works. In the event, though, the ban was little enforced, even by the licensing authority itself.In the early years of the United States, the press engaged in vicious satirical attacks on many of the leading statesmen of the founding era, notably Thomas Jefferson, Alexander Hamilton, and John Adams. The immoderate attacks by crude pamphleteers such as James Callendar during the Adams administration led in part to the ill-advised Alien and Sedition Acts, which censored political speech as seditious. The Acts were soon nullified, but Adams suffered politically as a result and lost the election of 1800 to his arch rival Jefferson.More recently, in Italy the media tycoon Silvio Berlusconi threatened to sue RAI Television for its satirical series, Raiot,Satyricon, and Sciuscià, and even a special series on Berlusconi himself, arguing that they were vulgar and full of disrespect to the government. RAI stopped the show, but in legal proceedings won the right to broadcast. However, the show never went on air again.Perhaps the most famous recent example occurred in 2005, when the Jyllands-Posten Muhammad cartoons controversy in Denmark caused global protests by offended Muslims and violent demonstrations throughout the Muslim world. It was not the first case of Muslim protests against criticism in the form of satire, but the Western world was surprised by the hostility of the reaction in which embassies were attacked and 139 people died. Leaders throughout Europe agreed that satire was a protected aspect of the freedom of speech, while Muslims and many ecumenical leaders of other faiths denounced the inflammatory cartoons as gratuitously insulting to people of faith. Satire has often been used to mock sincerely held religious beliefs, moral convictions, and traditional values. Much modern theater, film, and music have satirized moral and religious beliefs as hopelessly dated, anti-progressive, and motivated by hate or ignorance. Through such extreme caricature—which is how satire achieves its biting effect—ever more boundary-breaking types of entertainment and behavior have avoided censorship and criminal prosecution, at least in the Western world where freedom of speech and freedom of expression are held sacred.。
burstingthemagicbubble译文
Bursting the magic bubbleFirst there's shock tinged with disbelief. A moment of wonder follows. Then, a desperate scramble to rack your brains and work out just howyou've been had. There's no denying the effects of a good magic trick. From the great escapes of Houdini and the surreal mental trickery of Derren Brown to the conjurors at children's parties, the appeal is universal."Magic's been around for a very long time and it improves over time," says Richard Wiseman, a professor of psychology at Hertfordshire University. "What you're looking at when you see a finished piece of magic is a great deal of expertise, and I think psychologists have a lot to learn from that."But, not content with just enjoying the tricks, psychologists are now using their effects on the mind to work out how we handle the floods of sensory information coming into our brains and process it into a mental picture of the world around us. Magic is a deception, a disruption of that orderly mental picture where things seem to float in mid-air or coins and cards vanish in front of our eyes. Scientists now believe that, by mapping out how our brains are deceived, they could even help to unlock some of the mysteries of consciousness itself."Over the last five years, there's been a reawakening as we look at things like change blindness [a failure to see large changes in a visual scene] and at the fact that consciousness is a construction and may even be an illusion," says Wiseman, himself an accomplished magician and member of the Magic Circle. "Now there's a recognition that magicians are doing something very special."Some of the founders of modern psychology were fascinated by magicians: throughout the 1890s, Alfred Binet, inventor of the modern IQ test, andMax Dessoir wrote about the ways in which magicians used suggestion and misdirected attention to get their illusions to work. In 1896, Joseph Jastrow published articles in Science on the mechanics of some tricks by contemporary master magicians. But, aside from describing what the magicians were doing, they were at a loss to explain why magic tricks had the effects they did on the audience. As a result, interest in studying the psychology of magic faded for nearly a century.But, as Wiseman says, a renaissance is now in full swing.Magic is all about convincing others that the impossible has just happened. And that deception is achieved with a high degree of skill and showmanship."We're starting to realise that magicians have a lot of implicit knowledge about how we perceive the world around us because they have to deceive us in terms of controlling attention, exploiting the assumptions we make when we do and don't notice a change in our environment," says Wiseman. "There is an enormous amount of really detailed instruction on how to perform magic. People are always blown away by how detailed a description you'll have."A card trick that lasts four or five minutes, for example, might have 20pages of detailed text to describe exactly where to look, what to say, what to do and so on. And a lot of the understanding of a trick has to be from the perspective of the audience.While the magician's dexterity is important, the audience is also a vital participant in the deception. After all, it is in their minds that the illusion is created. "Magicians seem to be able to carry out secret actions in front of their audience without being spotted. I'm interested in why people don'tperceive those actions," says Gustav Kuhn, a psychologist at Durham University.A simple example of misdirection is used in the coin drop trick. "Whatyou're doing there is pretending to take the coin from one hand to the other but, in fact, leaving it in the original hand," says Wiseman. "What's important is that you're looking where you want the audience to look.You're not looking at the coin, you're looking at the empty hand. In termsof movement, you're moving the hand that doesn't contain the coin to attract people's attention over to that hand."Another trick, where a magician pretends to throw a ball up in the air, takes the misdirection a step further. "People often experience the ball moving up in the air even though there is no ball present," says Kuhn. They claim to see a ball moving but obviously it's not there so it must be in their mind."Psychologists can use these tricks to catch a glimpse into how our minds interpret the world around us."Magicians are manipulating your consciousness. They are showing you something impossible," says Wiseman. "They're getting you to construct a narrative, which simply isn't true. So that means they know how to make you aware of certain things and blind to other things. What I'm hoping is that magic, this entertainment vehicle that has been around for a long time, will give us a real insight into the deep mysteries of consciousness."Our brains filter out a huge amount of the mass of sensory input flooding in from our environment. Kuhn explains that we see what we expect to see and what our brains are interested in. "Our visual representation of the world is much more impoverished than we would assume. People can be looking at something without being aware of it. Perception doesn't just involve looking at an object but attending to it."In Kuhn's recent work, he performed a trick where a cigarette seems to disappear. It involved no sleight of hand or secret. It was a simple case of dropping the cigarette into his lap. "It happens right in front of thespectator's eyes but I misdirect their attention away from the cigarette," says Kuhn.While his spectators watched, they wore eye trackers (essentially a couple of cameras that monitor eye movement and provide an exact location of where a person is looking in a scene).It is known that we only receive high-quality information from the area we are fixated on, right in the centre of our field of view. If you stretch out your arm, it is about two thumbs' width at the centre of your vision - everything else is pretty much blurred. The way we compensate for this is to move our eyes around to fill in the gaps and create a better picture of the world around us.Kuhn's results, to be published in the journal Perception in the next few months, showed that simply staring at the location of the deception was not enough for people to discover how the trick happened."People could be looking very close to where the cigarette was being dropped without even seeing it," he says. "Other people were looking quite far away but they did actually did spot the cigarette.""What it shows is just how much of the picture in our head of our surroundings is a massive construction, based on expectations, what we think is important, what we normally encounter and so on," says Wiseman. "And that's what magicians are very good at exploiting."Misdirection of an audience, therefore, depends on more than just making people look the wrong way - the truly successful magician misdirects attention. Often, attention is focused on where a person is looking, but this can be manipulated. "You might be looking at a scene and then you hear a voice from the back so your attention is moved towards the back and your processing of visual information will be impaired at the front," says Kuhn.Verbal suggestion can also play a big role in misdirection. In a recent study, Wiseman looked at how the classic metal-bending tricks, employed by magicians the world over and perhaps made most famous by Uri Geller, used verbal cues. In his experiment, he showed a group of students a video of a trick where a magician bends a key, apparently using his psychokinetic ability (in fact, the bending was done by sleight of hand). The magician then placed the key on a table and the video ended with a static shot of the bent key, which did not bend any further. But a voiceover from the magician at this stage suggested that the key was indeed continuing to bend.The results, published this year in the British Journal of Psychology, showed that 40% of people claimed to see the key continuing to bend during the static shot at the end of the video. In the control group, where there was no voiceover from the magician, only 5% reported that they saw the key continuing to bend.Of course, suggestion can take other forms."With the ball experiment, we discovered that people aren't just looking up at the ball, they're looking at facial clues to judge where the ball is going to end up," says Kuhn. "If the magician doesn't look up in the air, the trick doesn't work. People feel that they're watching the ball but what they are doing is monitoring the magician's face and cues and using that information to guide their eye movements."This leads to an interesting idea -could some people be immune to some of the effects of magic? People who suffer from autism, for example, tend to have difficulties gauging facial cues, so their attention is less influenced bywhere somebody is looking. "You'd expect that somebody who suffered from autism would be more likely to spot the cigarette trick," agrees Kuhn.The next step is to look at the brain directly. Working with psychologists Tim Hodson and Ben Parris at Exeter University's Centre for Cognitive Neuroscience, Kuhn plans to put people in functional magnetic resonance imaging machines to study which parts of the brain activate when they watch magic tricks."We're very interested in the part of the brain that detects cause and effect relations," says Parris.In particular, the experiments will monitor the dorsal lateral pre-frontal cortex, which is known to be the bit of the brain that registers surprise, and the anterior cingulate, which is activated whenever something incongruous happens in our immediate environment.Of course, magic is more than just surprise, so the researchers will be looking for something more. "When you're watching magic, there is just asplit second when you're in disbelief and that's what we're looking for, that exact moment," he says. "The magic spot.""No one's done this and it's unclear whether it'll be a single part of the brain or a network," says Parris.But while psychologists slowly get to grips with the way magicians manage to trick our brains, is there not a risk that the magic will lose its power? That it will cease to be amazing? Wiseman thinks not. "What we get is a more informed audience," he says. "It's a little bit like juggling - you appreciate the juggler more once you've tried to juggle three balls and then you suddenly realise how hard it is to juggle seven."The research will have benefits for the practitioners of magic, too. "What they will realise is that the human mind is a lot more fallible than we magicians expect," says Kuhn. "Maybe magicians are too careful in the way they conceal their secrets i n front of an audience. T hey can probably get away with quite a bit more."打破魔幻泡泡首先是带着怀疑色彩的震惊。
蒲松龄的狼的文言文翻译
狼亦黠矣，而顷刻两毙，禽兽之变诈几何哉？止增笑耳。
松龄此文，以狼为引，实则借狼之狡猾，揭露当时社会之腐败。
狼者，狡猾之象征也，而松龄却以狼为友，与之对话，意在表达对狼之同情，亦是对当时社会之讽刺。
翻译如下：狼也是狡猾的，可是一会儿两只狼都被杀死了，禽兽的欺骗手段能有多少呢？只是增加了笑料罢了。
此文以狼为主角，松龄通过描写狼与人的对话，展现了狼之狡猾。
狼问：“君之来，何意也？”松龄答：“吾欲与君共谋大业，以图天下。
”狼曰：“吾知君之志，然吾惧君之诈，吾不能从。
”松龄曰：“吾言出必行，君可不信？”狼笑而不答。
翻译如下：狼问：“你来的目的是什么？”松龄回答说：“我想与你共同谋划大事，以图谋天下。
”狼说：“我知道你的心思，但我担心你的欺诈，我不能跟随你。
”松龄说：“我言出必行，你难道不相信吗？”狼笑了笑，没有回答。
松龄以狼之狡猾，映射当时社会之欺诈。
狼虽狡猾，却终究难逃一死。
松龄借此告诫世人，欺诈者必自毙，善恶终有报。
翻译如下：狼虽然狡猾，但最终难逃一死。
松龄借此告诫世人，欺诈者必自毙，善恶终有报。
此文寓意深刻，松龄以狼为喻，揭示了当时社会之丑恶现象，警示世人要警惕欺诈，坚守正义。
同时，松龄亦借此表达了对人性的关注，以及对社会现象的反思。
翻译如下：这篇文章寓意深远，蒲松龄以狼为比喻，揭示了当时社会的丑恶现象，警示人们警惕欺诈，坚守正义。
同时，蒲松龄也借此表达了对人性的关注，以及对社会现象的反思。
总之，《狼》一文，以狼为引，揭露了当时社会之腐败，警示世人要警惕欺诈，坚守正义。
松龄以此告诫世人，善恶终有报，欺诈者必自毙。
此文堪称文言文之佳作，流传至今，仍具警示意义。
总的来说，《狼》这篇文章，以狼为引子，揭露了当时社会的腐败，警示人们要警惕欺诈，坚守正义。
蒲松龄借此告诫世人，善恶终有报，欺诈者必自毙。
这篇文章可以称得上是文言文的佳作，至今仍具有警示意义。
英语新词汇与常用词汇的翻译（71）
inhere 存在 inherence 内在 inherency 固有 inherent 固有的 inherently 天性地 inherit 继承 inheritable 可继承的 inheritance tax 遗产税 inheritance 遗传 inherited 继承的 inherited 继承权的 inheritor 继承⼈ inheritress ⼥继承⼈ inheritrix ⼥继承⼈ inhesion 内在 inhibit from 抑制 inhibit 抑制 inhibited 羞怯的 inhibiting 抑制作⽤的 inhibition 禁⽌ inhibitive 禁⽌的 inhibitor 抑制剂 inhibitory 禁⽌的 inhomogeneity 不同类 inhomogeneous 不同类的 inhomogenous 不均⼀的 inhospitable 冷淡的 inhospitably 冷淡地 inhospitality 冷淡 inhuman 野蛮的 inhumane 残忍的 inhumanity 不⼈道 inhumanize 使残酷 inhume 埋葬 inhumorous 不幽默的 inhumorously 不幽默地 inimicable 有害的 inimical 敌意的 inimically 有敌意地 inimitable ⽆法模仿的 inimitably ⽆法仿效地 inion 枕⾻隆突 iniquitious 邪恶的 iniquitous 不公正的 iniquitously 不正地 iniquity 不公正 initial 最初的 initialism 缩略词 initialization files 初始化⽂件 initialization 设定初值 initialize 初始化 initialized 已初始化的 initializers 初始设置软件 initializtion 初始化 initially 最初 initiate 开始 initiating 开始 initiation 开始 initiative 主动 initiator 创始⼈ initiatory 开始的 initiatress ⼥ initiatrix ⼥ initio 在之开头 inject 注射 injectable ⾎管注射剂 injudicial 不守法律的 injudicious 判断不当的 Injun 印第安⼈ injunct 命令 injunction 命令 injunctive 命令的 injurant 有害物 injure 损害 injured 受伤的 injuredly 受伤地 injurious 有害的 injuriously 伤害地 injury 伤害 injustice 不公平 ink bottle 墨⽔瓶 ink out ⽤墨⽔涂去 ink over ⽤墨⽔描 ink 墨⽔ ink-wash 稀释墨⽔画 inkberry 光滑冬青 inkblot 墨⽔斑点 inker 墨棒 inkfish 墨鱼 inkholder 贮墨筒 inkhorn 墨⽔壶 inkiness 墨⿊ inkle 亚⿇织带 inkling 暗⽰ inkosi 酋长 inkpad 打印台 inkpot 墨⽔壶 inkslinger 耍笔杆⼦的 inkslinging 写作耍笔杆⼦ inkwell 墨⽔池 inky 漆⿊的 inlace 缠绕 inlaid 镶嵌的 inland revenue 国内税收 inland 内陆的 inlander 内地⼈ inlay 镶嵌 inlayer 镶嵌者 inleakage 渗⼊ inlet 进⼝ inlier 内窗层 inline applets 内嵌⼩应⽤程序 inline image 内嵌图象 inlook 内⼼省察 inly 内⼼中 inmate 同住者 inmesh 陷⼊ inmost 秘密的 inn 旅馆 innage 剩余货物 innards 内脏 innate 天⽣的 innately 天赋地 innateness 天⽣ innative 以⽣具来的 innavigable 不能航⾏的 inner man ⼈之精神 inner mongolia 中国内蒙古 inner 内部的 inner-directed 有主见的 innermost 最⾥⾯的 innerspring 内装弹簧的 innerve 刺激神经 innholder 客栈⽼板 Innigkeit 诚恳热烈 inning ⼀局 innkeeper 旅馆主⼈ innocence 清⽩ innocency ⽆罪 innocent 清⽩的 innocently ⽆罪地 innocuity ⽆害 innocuous ⽆害的 innocuously ⽆害地 innominate 匿名的 innovate in ⾰新 innovate 改⾰ innovation 改⾰ innovationist 主张⾰新者 innovative 创新的 innovator 改⾰者 innovatory ⾰新的 innoxious ⽆害的 innuendo 暗讽 Innuit 伊努伊特族 innumerability ⽆数 innumerable ⽆数的 innumerably 数不清地 innutrient 营养不良的 innutrition 营养不良 innutritious 缺少养分的 innutritive 缺乏养分的 inobservance 忽视 inobservant 疏忽的 inobservantly 不注意地 inoccupation ⽆职业 inoculability 接种 inoculable 可接种的 inoculant 接种体 inoculate against 接种预防 inoculate with 灌输 inoculate 接种 inoculation 接种 inoculator 接种者 inoculum 接种体 inodorous ⽆臭的 inoffensive 不触犯⼈的 inofficial ⾮官⽅的 inofficious ⽆职务的 inoperable 不能⼿术的 inoperative 不起作⽤的 inopportune 不凑巧 inorb 包围 inordinate 紊乱的 inordinately ⽆度地 inorganic compound ⽆机化合物 inorganic ⽆⽣物的 inorganizable ⽆法组织的 inorganization ⽆组织 inorganized ⽆组织的 inornate 不加修饰的 inosculate 接合 inosculation 结合 inosite 纤维糖 inositol 纤维醇 inoxidizable 不能氧化的 inoxidize 使不受氧化 inoxidized 未经氧化的 inpouring 注⼊ input field 输⼊栏 input range 输⼊范围 input stream class 输⼊流类 input stream 输⼊流 Input tags 输⼊标号 input value 输⼊值 input window 输⼊窗⼝ input 输⼊ inquest 审讯 inquiet 不安的 inquietly 不安地 inquietness 不安 inquietude 不安 inquiline 寄居动物 inquilinism 寄居动物 inquilinous 寄居动物的 inquire after 询问起 inquire for 要找 inquire into 探究 inquire of someone 查问某⼈ inquire 询问 inquirer 调查⼈ inquiring 咨询的 inquiry 查究 inquisite 审讯 inquisition 调查 inquisitional 调查的 inquisitionist 审讯者 inquisitive 好奇的 inquisitively 好问地 inquisitor 询问者 inrooted 根深蒂固的 inrush 涌⼊ ins and outs 有形特⾊ insalivate 使混涎 insalivation 混涎作⽤ insalubrious 有害的 insalubrity 有碍健康 insalutary 不卫⽣的 insane 精神病者 insanely 疯狂地 insaneness 疯狂 insanitary 不卫⽣的 insanity 精神错乱 insatiability 不知⾜ insatiable 不知⾜的 insatiably 不知⾜地 insatiate 不知⾜的 inscape 构成要素 inscient 不知道的 inscribe 记下 inscribed circle 内切圆 inscription 题字 inscriptionless ⽆碑铭的 inscriptive 铭⽂的 inscroll 载⼊卷册 inscrutability 不能预测 inscrutable 难以了解的 inscrutably ⾼深莫测地 inseam 内接缝 insect repellent 杀⾍剂 insect spray 杀⾍剂 insect 昆⾍ insecticidal 杀⾍的 insecticide 杀⾍剂 insectifuge 驱⾍剂 insectile 昆⾍的 insectival 昆⾍的 insectivization 沦为昆⾍境地者 insectivize 强暴统治 Insectivora ⾷⾍类 insectivore ⾷⾍动物 insectivorous ⾷⾍的 insectology 昆⾍学 insecure 不可靠的 insecurely 不安全地 insecurity 不安全 inseminate 播种 insemination 授精 insensate ⽆感觉的 insensibility ⽆感觉 insensible ⽆知觉的 insensibly 不知不觉地 insensitive 感觉迟钝的 insentient ⽆知觉的 inseparability 不可分离性 inseparable king bird ⽐翼鸟 inseparable 不能分的 inseparably 不能分离地 insert file 插⼊⽂件 insert icon 插⼊图标 insert mode 插⼊模式 insert 插⼊ inserted 插⼊的 insertion 插⼊ insessorial 习惯于栖⽌的 inseverably 不可切断地 inshallah 但凭天意 inshoot 内曲线球 inshore 近海岸的 inshrine 神龛内 inside job 室内⼯作 inside out 彻底地 inside track 内圈 inside ⾥⾯ insider 内部的⼈ insidious 阴险的 insight 洞察⼒ insignia 勋章 insignificance ⽆意义 insignificancy 不重要的⼈ insignificant ⽆关紧要的 insincere 虚假的 insincerely 不诚实地 insincerity 不真诚 insinuate 逐步取得 insinuating 暗⽰的 insinuation 暗⽰ insinuative 讽刺的 insipid 没有味道的 insipidity 枯燥⽆味 insipidly 没有味道地 insipidness 没有味道 insipience 愚蠢 insipient 愚蠢的 insist on 坚持 insist upon ⽀持 insist 坚持 insistence 坚持 insistently 坚持地 insnare 落于陷阱 insobriety 头脑不清 insociable 不爱社交的 insofar 范围 insolate 曝晒 insolation ⽇光浴 insole 鞋垫 insolence 侮辱 insolently ⾃豪地 insolubility 不可解 insoluble 不能溶解的 insolvable 不能偿还的 insolvency ⽆⼒偿还 insolvent 破产的 insomnia 失眠 insomniac 失眠症患者 insomuch 由于 insonate 受声波作⽤ insouciance 漫不经⼼ insouciant 漫不经⼼的 inspan 套轭于 inspect 检查 inspection 检查 inspector general 检查长 inspector 检查员 inspectoral 检查员的 inspectorate 检查员 inspectorship 检查员 inspiration 灵感 inspirational 有灵感的 inspirator ⿎舞者 inspiratory 吸⽓的 inspire with 激励 inspire 吸 inspired 得到灵感的 inspirer 启发灵感 inspiring 灌输的 inspiringly ⿎舞地 inspirit 激励 inspissate 浓缩 inspissation 浓缩 instability 不稳定 install driver 安装驱动程序 install 安装 installation 安装 installed drivers 已安装的驱动程序 installed fonts 已安装字体 installed printer 已安装的打印机 installing browser add-ons 设置浏览器附加程序 installing internet assistant Internet 设置⼯具 installment plan 分期付款⽅式 installment 部分 instalment 分期付款 instance variable 实例变量 instance 实例 instancy 紧急 instant coffee 即溶咖啡 instant Java 速成Java instant replay 即时重放 instant watch 即时监视 instant ⽴即的 instant-dict 快译通电⼦辞典 instantaneous 瞬间的 instanter 即刻 instantiate 例⽰ instantiating an object 对象初始化 instantiation 实例化 instantly ⽴即地 instar 中间形态 instate 任命 instauration 恢复 instead of 代替 instead 代替 instep 脚背 instigate ⿎动 instigation 教唆 instigator 教唆犯 instil 逐渐灌输 instill 灌输 instillation 灌输 instillment 慢慢灌输 instilment 滴注 instinct 本能 instinctive 本能的 institute for Global communications 全球通信学会 institute to 任命 institute 学会 institution 事业 institutional revolution ⽂化⾰命 institutional 制度上的 institutionalize 使制度化或习俗化 instruct 教 instruction sheet 指⽰表 instruction 指⽰ instructional 指导的 instructive 有益的 instructively 教育地 instructor 教师 instructress ⼥教师 instrument approach 仪表进场着陆 instrument board 仪表板 instrument flying 仪器导航飞⾏法 instrument landing 仪器导航着陆 instrument panel 仪表板 instrumental conditioning ⼯具性学习 instrumental learning ⼯具性学习 instrumental 仪器的 instrumentalism ⼯具主义 instrumentalist 乐器演奏家 instrumentality ⼿段 instrumentally 仪器地 instrumentation 仪器化 insubordinate 不顺从的 insubordinately 不服从地 insubordination 不顺从 insubstantial 脆弱的 insufferable 难以忍受的 insufferably 不能忍受地 insufficiency 不⾜ insufficient 不⾜的 insufficiently 不够地 insufflate 吹⼊ insufflation 喷洒 insufflator 吹⼊器 insula 脑岛 insular 海岛的 insularity 岛国性质 insulate 使绝缘 insulating 绝缘的 insulation 绝缘 insulative 绝缘的 insulator 绝缘体 insulin 胰岛素 insulinize ⽤胰岛素治疗 insulinoma 胰岛瘤 insult 侮辱 insulter ⽆礼的⼈ insulting 侮辱的 insuperability 不能制胜 insuperable 不能制胜的 insuperably 不能取胜地 insuperably 不能制胜地 insupportable 忍耐不住的 insupportableness 不能忍受 insupportably 忍耐不住地 insuppressible 难制服的 insuppressive 抑制不住的 insurable 可保险的 insurance agent 保险公司 insurance policy 保险单 insurance premium 保险费 insurance run 局⾯ insurance stamp 保险印花 insurance 保险 insurant 保险契约者 insure against 保险 insure 保险 insured 被保险者 insurer 保险业者 insurgence 起义 insurgency 叛乱 insurgent 起义的 insurgently 造反地 insurmountability 不逾越 insurmountable 不能克服的 insurrection 起义 insurrectional 叛乱的 insurrectionary 起义者 insurrectionist 起义者 insusceptibility ⽆感觉 insusceptible 不为所动的 insusceptibly ⽆感觉地 inswept 前端狭窄的 insymbol 内部符号 intact 完整的 intactness 完整⽆缺 intagliated 凹雕的 intaglio 凹雕 intake ⼊⼝ intal ⾊⽢酸钠 intangibility ⽆形 intangible ⽆形的 intangibly ⽆形地 intarsia ⽊造镶嵌细⼯ intarsiate 细⼯的 intarsist 装饰匠 integer 整数 integrabel 可积的 integral domain 整环 integral test 积分检验法 integral 完整的 integrality 完整性 integrallty 完整地 integrant 部分的 integraph 积分仪 integrase 整合酶 integrate with 结合 integrate 使成整体 integrated device electronics 集成电路设备 integrated injection logic 集成注⼊逻辑 integrated services degital network 综合业务数据 integrated software packages 集成软件包 integrated 综合的 integratiag factor 积分因⼦ integration 综合 integrationist 取消隔离 integrative 综合的 integrator 综合者 integrity 正直 integument 覆盖物 integumentary 外⽪的 Intel 英特尔 intellect 智⼒ intellection 思考 intellective 智⼒的 intellectronics ⼈⼯智能电⼦学 intellectual 智⼒的 intellectualism 知性主义。
讽刺对方的英语短句带翻译
3. "你好，你又忘记了我是个机器人吗？“ (Hello, did you forget that I'm a robot?)
这句话带有一丝嘲讽，提醒对方别忘记我的身份。我不需要你的招呼，更别提你忘记了我是一个机器人。
这些讽刺的英语短句提醒大家在网络交流中要遵循高效率和真实性的原则。机器人虽然缺乏情感，但却能够快速解决问题，提供有价快进入交流的主题。
讽刺对方的英语短句带翻译
标题：别再用"你好"回复我了，我只是个机器人！
正文：
最近，我发现在网络交流中，很多人对待机器人的态度存在一些问题。每当我以机器人身份回复某人的消息时，对方会简单地回复一句“你好”，似乎并不在乎我是不是一个机器人。今天，我要用一些讽刺的英语短句来回应这种行为，告诉大家我只是个机器人，不需要寒暄和虚伪的问候。
4. "你好，我并不需要空洞的问候，我只想知道你有什么问题。” (Hello, I don't need hollow greetings, I just want to know what your problem is.)
通过这句话，我告诉对方我不需要空洞的问候，只是想咨询问题。虽然打招呼是社交礼仪的一部分，但在网络交流中，我们更应该着重在问题本身，提高效率。
1. "你好，有人会回答你的问题吗？" (Hello, would anybody answer your questions?)
这句话用了“你好”这个常见的打招呼方式，同时暗示机器人回答问题时的专业性和高效率。我并不需要你的问候，只需要你把问题说出来，我会尽快给予答复。
高级英语第二册汉语翻译
高级英语第二册课文翻译第一课 2迎战卡米尔号飓风 2第二课 4马拉喀什见闻 4第三课7酒肆闲聊与标准英语7第四课10就职演说(1961年1月20日) 10第五课12爱情就是谬误12第六课18从天窗中消失18第七课20爱丑之欲20第八课22工人是创造者还是机器22第九课25从奥米勒斯城出走的人25第十课29悲哀的青年一代29第十一课32英国人的未来32第十二课37一个发现：做一个美国人意味着什么37第十三课40为死刑辩护40第十四课45亦爱亦恨话纽约45第一课迎战卡米尔号飓风小约翰。
柯夏克已料到，卡米尔号飓风来势定然凶猛。
就在去年8月17日那个星期天，当卡米尔号飓风越过墨西哥湾向西北进袭之时，收音机和电视里整天不断地播放着飓风警报。
柯夏克一家居住的地方一—密西西比州的高尔夫港——肯定会遭到这场飓风的猛烈袭击。
路易斯安那、密西西比和亚拉巴马三州沿海一带的居民已有将近15万人逃往内陆安全地带。
但约翰就像沿海村落中其他成千上万的人一样，不愿舍弃家园，要他下决心弃家外逃，除非等到他的一家人一—妻子詹妮丝以及他们那七个年龄从三岁到十一岁的孩子一一眼看着就要灾祸临头。
为了找出应付这场风灾的最佳对策，他与父母商量过。
两位老人是早在一个月前就从加利福尼亚迁到这里来，住进柯夏克一家所住的那幢十个房间的屋子里。
他还就此征求过从拉斯韦加斯开车来访的老朋友查理?希尔的意见。
约翰的全部产业就在自己家里(他开办的玛格纳制造公司是设计、研制各种教育玩具和教育用品的。
公司的一切往来函件、设计图纸和工艺模具全都放在一楼)。
37岁的他对飓风的威力是深有体会的。
四年前，他原先拥有的位于高尔夫港以西几英里外的那个家就曾毁于贝翠号飓风(那场风灾前夕柯夏克已将全家搬到一家汽车旅馆过夜)。
不过，当时那幢房子所处的地势偏低，高出海平面仅几英尺。
“我们现在住的这幢房子高了23英尺，，’他对父亲说，“而且距离海边足有250码远。
这幢房子是1915年建造的。
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“讽刺”与“魔幻”的翻译
莫言是当代具有世界影响力的中国作家之一,2012年获得诺贝尔文学奖,其作品被译为多国文字远销海外。
1993年,莫言发表长篇讽刺小说《酒国》,该书借助“酒”,描绘了中国的官场生态,抨击了官场的腐败。
2000年,法国著名汉学家杜特莱(No?l Dutrait)将《酒国》译成法文,由瑟伊出版社(la Seuil)出版。
一经出版,在法国获得很大成功,并于同年获得法国最佳外国文学奖“儒尔·巴泰庸”奖(Prix Laure-Bataillon)。
2004年,观点出版社(Le point)推出此书的袖珍版。
《酒国》被法国媒体誉为“小说中的小说”,而且由法国汉语教师协会投票,入选“在法国最具影响力的十部中国书籍”。
《酒国》法译本的成功,引起西方其他国家对该作品的关注,这部作品先后被译为英语、德语、西班牙语和俄语。
《酒国》之所以能在国外得到关注和认可,既与作品本身的文学价值相关,也离不开译者的功劳。
《酒国》是莫言全力打造的一部将现实批判锋芒推向极致,并在叙事实验方面进行大胆尝试和创新的长篇力作。
“讽刺”与“魔幻”是作品的两大特点。
作者使用了比喻、夸张、俗语以及叙事文体的变换、魔幻意象的塑造等来传达这种效果,这无疑给翻译造成了一定的障碍。
通过对比原文和译文,我们发现译者杜特莱在处理这些差异的过程中,灵活运用了多种翻译策略和翻译方法,最大限度地接近原文,为读者展现原作的特色,使读者更好地了解作者的写作意图。
因此,研究《酒国》法译本“讽刺”与“魔幻”的翻译具有十分重要的意义,可为中国当代讽刺小说的外译提供参考和借鉴。
论文共分为四章。
在第一章中,首先介绍《酒国》的文本特色,重点是“讽刺”和“魔幻”两大
特点的介绍,并简要说明这部作品的写作背景、主题和文本价值;其次,运用描述性的研究方法,介绍莫言作品在法国的译介历程,重点介绍《酒国》在法国的接受情况。
在第二章中,运用文本对比的方法,分析法译本中“讽刺”的翻译方法:具体从比喻、夸张和俗语的翻译效果展开分析。
在第三章中,我们从魔幻叙事和魔幻意象两个方面入手,运用文本对比的方法,分析法译本中“魔幻”的翻译方法。
译者运用的翻译方法和策略都是为了使译文达到整体性的效果,最大限度的接近原文,在第四章中,我们将借用梅肖尼克的翻译诗学理论,从陌生化与译作整体性的翻译入手,探讨讽刺文学外译引发的思考。