石紅梅

(吉首大學(xué)外國(guó)語(yǔ)學(xué)院,湖南張家界427000)

英漢互譯中直譯與意譯的美感體現(xiàn)

石紅梅

(吉首大學(xué)外國(guó)語(yǔ)學(xué)院,湖南張家界427000)

直譯和意譯是翻譯的兩種最根本的策略與方法,各自的魅力在譯文中交相輝映。文章從理論和實(shí)踐兩方面分析各自的特點(diǎn),論述直譯之美在于流暢,而意譯之美在于形式、意象、意境和修辭上的創(chuàng)新。

直譯;流暢;意譯;創(chuàng)新

在翻譯界,直譯與意譯一直被看作是翻譯的兩種最根本的策略和方法,然而兩者還是各有其特點(diǎn)和魅力的。論文將從理論和實(shí)踐兩方面分析兩者各自的特點(diǎn),探討其魅力所在。

一、直譯之美在于流暢

美國(guó)翻譯學(xué)家韋努蒂(Venuti)說(shuō)得好,翻譯的倫理就是差異的倫理,翻譯就是要保持原文的語(yǔ)言和文化差異,不要用本土的語(yǔ)言文化和價(jià)值觀去壓制原文的他性話語(yǔ)[1](P74-75)。他所倡導(dǎo)的就是反歸化式譯論。本雅明(Benjamin)也認(rèn)為“只有直譯才是真實(shí)的保證”[2](P35-38)。美國(guó)翻譯理論家奈達(dá)對(duì)翻譯提出了“三字方針”——closest,natural,equivalent(Nida,1997)[3](P55-61)。這些應(yīng)該說(shuō)對(duì)直譯而言更為貼切。因?yàn)橹挥兄弊g才有可能真正做到在風(fēng)格上最貼近,在表述上最自然,在風(fēng)格、形式諸方面最對(duì)等。

(一)形式對(duì)等

這種流暢之美是靠形式上對(duì)等達(dá)到的,而這種遣詞造句上的對(duì)等在英漢互譯中又是不勝枚舉,足可效法的。

1.雪萊“Mutability”中的首章如下翻譯就是用詞對(duì)等:

Theflowerthatsmilestoday/Tomorrow dies;/All that we wish to stay,/Tempts and then flies./What is this world's delight?/Lightning that mocks the night,/Brief even as bright

今天還微笑的花朵,/明天就會(huì)凋謝,/我們希望留下的一切/誘一誘人就飛,/什么是這世間的歡樂(lè)?/(那是)嘲笑黑夜的閃電,/雖明亮,卻短暫。(查良錚)

2.形式上的對(duì)等還表現(xiàn)在句式上的對(duì)等,如圣經(jīng)中這一段關(guān)于愛(ài)的語(yǔ)錄就是很好的例子:

Love is patient,love is kind,it does not envy,it does not boast.It is not proud,it is not rude,it is not self-seeking,it is not easily angered.It keeps no record of wrongs.Love does not delight in evil but rejoices with the truth.It always protects,always trusts,always hopes,always perseveres.

愛(ài)是恒久忍耐,又有恩慈;愛(ài)是不嫉妒;愛(ài)是不自夸,不張狂,不作害羞的事,不求自己的益處,不輕易發(fā)怒;不計(jì)算人的惡,不喜歡不義,只喜歡真理;凡事寬容,凡事相信,凡事盼望,凡事忍耐。其中尤以4個(gè)“凡事”譯得惟妙惟肖,神形兼?zhèn)洹?/p>

3.王佐良教授所譯培根散文“Of Love”中的警句,也是典型的例子:

Nuptial love maketh mankind;friendly love perfecteth;but wanton love corrupteth,and embaseth it.

夫妻的愛(ài),使人類(lèi)繁衍。朋友的愛(ài),致人以完善。但那荒淫縱欲的愛(ài),卻只會(huì)使人墮落毀滅。

4.趙甑陶教授所譯李白《靜夜思》堪稱(chēng)佳例:

床前明月光,疑是地上霜,舉頭望明月,低頭思故鄉(xiāng)。

Moonlight before my bed/Could it be frost(instead)?/Heading up I watch the moon,/Heading down I think of my home.

5.英國(guó)翻譯家Maude所譯托爾斯泰《復(fù)活》第一章第一段與中文譯本比較,也是直譯的典型佳品:

Though hundreds of thousands had done their very best to disfigure the small piece of land on which they were crowded together,paving the ground with stones,scraping away every sprouting blade of grass,lopping off the branches of trees,driving away birds and beasts,filling the air with the smoke of coal and oil still spring was spring,even in the town.(Resurrection by Lev Tolstov)

雖說(shuō)成千上萬(wàn)的人拼命糟蹋他們所集居的那塊小小的土地,在地面鋪上石塊,拔除每一片剛萌發(fā)的草葉,砍伐樹(shù)枝,趕走一切飛禽走獸,讓空氣中充滿煤和油煙的氣味,春天還是春天——即使在這個(gè)小鎮(zhèn)上。

(二)風(fēng)格貼近

直譯的流暢美還表現(xiàn)在風(fēng)格上的貼近。

1.修辭格對(duì)等

保持原作的風(fēng)格,重點(diǎn)在于保持原有的修辭格。例如,下面的廣告詞就在修辭上各具特色,直譯時(shí)可力求形似、對(duì)等,譯出特色:

原文:

a.One of the greatest pleasures in life is simply to be treated as an individual.To speak and be heard.To ask and be helped.(parallelism)

b.No problems too large;No business too small.(parallelism and omission)

c.Unlike me,my Rolex never needs a rest.(personification)

d.Double delicious;Double your pleasure.(parallelism)

e.We have hidden a garden full of vegetables where you never expect.In a pie.(hyperbole)

f.The choice is yours.The honour is ours.(parallelism)

譯文:

a.人生最大的樂(lè)趣無(wú)過(guò)于受到尊重,說(shuō)話有人聽(tīng),求助有人幫。

b.沒(méi)有不做的小生意,沒(méi)有解決不了的大問(wèn)題。(IBM公司)

c.不像我,我的勞力士表永遠(yuǎn)不要休息。

d.口味多多,快樂(lè)多多。

e.我們把滿園蔬菜藏在一個(gè)你意想不到的地方——一塊餡餅里。

f.任君選擇,不勝榮幸。詩(shī)的翻譯也是如此,例如,彭斯的“一朵紅紅的玫瑰花”中第一章:

A Red,Red Rose by Robert Burns:O my luve is like a red,red rose,/That's never sprung in June;/O my luve is like the melodie/That's sweetly played in tune.

啊,我的愛(ài)人像一朵紅紅的玫瑰花,/它在六月里初開(kāi);/啊,我的愛(ài)人像一支美麗的樂(lè)曲,/它美妙地演奏起來(lái)。(袁可嘉譯)

2.句子長(zhǎng)短與行文節(jié)奏恰當(dāng)

這種流暢美還表現(xiàn)在對(duì)原文句子長(zhǎng)短與行文節(jié)奏的考慮。詩(shī)人卞之琳在譯莎翁的劇本時(shí)就特別注意這一點(diǎn),用翻譯家和譯評(píng)家江楓先生的話來(lái)說(shuō),就是“以頓代步,一步一趨”[4](P84-85)。卞老所譯“哈姆雷特”中那段膾炙人口的獨(dú)白就是雄辯的說(shuō)明:

To be or not to be:that is the question:/Whether it is nobler in mind to suffer,/The slings and the arrows of outrageous fortune,/Or to take arms against a sea of troubles,/And by apposing end them…

活下去還是不活,這是問(wèn)題:/要做到高貴,究竟該忍氣吞聲/來(lái)容受這狂暴的命運(yùn)的矢交呢/還是挺身反抗這無(wú)邊的苦惱/掃它個(gè)干凈?……

3.風(fēng)格相同

這種流暢美還應(yīng)表現(xiàn)在風(fēng)格上相同。美國(guó)人Edward Connynham翻譯的詩(shī)人徐志摩的《再別康橋》和作家梁實(shí)秋翻譯的John Suckling的“A Ballad upon a Wedding”《婚禮曲》,均可謂達(dá)到了惟妙惟肖、淋漓盡致的地步[5](P125-127)。首先,來(lái)欣賞一下《再別康橋》中的三章:

原文:

那河畔的金柳,/是夕陽(yáng)中的新娘;/波光里的艷影,/在我的心頭蕩漾。

軟泥上的青草,/綠油油的在水底招搖,/在康河的柔波里,/我甘心作一條水草。

那榆蔭下的一潭,/不是清泉,是天上虹,/揉碎在浮藻間,/沉淀著彩虹似的夢(mèng)。

譯文:

The river bank golden willows/Like brides in a setting sun./Beautiful shadows in bright waves/Waving in my heart.

The soft mud's green grass,/Bright green,waving on the river bottom./Would I were a blade of water grass,/In the river Cam's gentle waves.

That lake under the Elm shadow,/Not a clear fountain but a rainbow in heaven/Twisted into floating weeds./Precipitating rainbow dreams.

接著,來(lái)品味一下《婚禮曲》的譯文:原文:

A Ballad upon a Wedding

The maid——and thereby hangs a tale;/For such a maid no Whitsun-ale/Could ever yet produce;/No grape,that's kindly ripe,could be/So sound,so plump,so soft as she,/Nor half s full of juice.

Her finger was so small and the ring/Would not stay on,which they did bring;/It was so too wide a peck;/And to say truth(for it out must),/It looked like the great collar(just)/About our young colt's neck.

Her feet beneath her petticoat,/Like little mice stole in and out,/As if they fear the light;/But oh,she dances such a way/No sun upon Easter day/Is half so fine a light.

Her cheeks so rare as white was on,/No daisy makes comparison/(Who sees them is undone)./For streaks of red were mingled there/Such as are on Katherine pear/(The tide that's next to sun.)

Her lips were red,and one was thin/Compared to that was next her chin/(Some bee had stung it newly);/But,Dick,her eyes so guard her face/I dar'st no more upon them gaze/Than on the sun in July.

Her mouth so small,when she does speak,/Thou'dst swear her teeth her words did break,/That they might passage get;/But she so handled still the matter,/They came as good as ours,or better,/And are not spent a whit.

(by Sir.John Suckling)

譯文:

婚 禮 曲

講到新娘(說(shuō)來(lái)話長(zhǎng))/像她那樣的姑娘,/圣靈降臨慶祝會(huì)上也未見(jiàn)過(guò);/沒(méi)有成熟的葡萄像她那樣紅潤(rùn),/那樣圓實(shí),那樣豐滿,那樣細(xì)嫩,/漿汁有一半那樣多。

她的手指又細(xì)又長(zhǎng),/戒指戴上去就要溜掉,/因?yàn)樘闪艘稽c(diǎn);/老實(shí)說(shuō)(非說(shuō)不可)/恰似小馬駒頸上套著/一只大項(xiàng)圈。

她裙下露出的兩只腳/老鼠似的出出進(jìn)進(jìn)地跑/像是怕外面的光亮/但是她的舞步翩翩/太陽(yáng)在復(fù)活節(jié)那一天,/也沒(méi)有那樣美麗的景象。

她的兩頰白得出奇,/沒(méi)有雛菊能和她相比;/令人一看魂兒飛上了天;/因?yàn)槟前桌镞€帶著紅色/活像枝頭小梨一個(gè)朝著太陽(yáng)那一邊。

她的唇是紅的,一片很薄,/挨近下巴那片就厚得多/(必是才被蜜蜂蜇傷);/但是,狄克,她的兩眼保護(hù)著臉,/我不敢多看一眼/有如對(duì)著七月的太陽(yáng)。

她的嘴好小,說(shuō)起話來(lái)/她的牙齒要把字兒咬碎/以便從嘴里擠送出去;/但是她處理得很得體,/談吐不比我們差,/而且一點(diǎn)也不吃力。

黃雨石先生曾經(jīng)說(shuō),“詩(shī)不可譯”,因?yàn)椤耙饩畴y描”,“再現(xiàn)無(wú)方”,“韻律各異”,翻譯詩(shī)歌就是“知其不可譯而譯之”[6](P414)。對(duì)于一般的譯者而言,由于缺少了對(duì)詩(shī)、對(duì)自然的領(lǐng)悟,又囿于英漢理解和表達(dá)能力的限制,翻譯詩(shī)歌確實(shí)是很難的事情。詩(shī)人聞一多在20世紀(jì)20年代曾提倡現(xiàn)代詩(shī)歌應(yīng)有“音樂(lè)的美”、“繪畫(huà)的美”和“建筑的美”,而《再別康橋》一詩(shī),可以說(shuō)是“三美”具備,堪稱(chēng)徐志摩詩(shī)作中的絕唱。原詩(shī)描繪了一幅幅流動(dòng)的畫(huà)面,構(gòu)成了一處處美妙的意境,融氣氛、感情、景象于一體,景中有情,情中有景,細(xì)致入微地將詩(shī)人對(duì)康橋的愛(ài)戀,對(duì)往昔生活的憧憬表現(xiàn)得真摯、濃郁、雋永,表現(xiàn)出詩(shī)人高度的藝術(shù)技巧。Edward Connynham的譯詩(shī)有著同樣的風(fēng)格,語(yǔ)言清新秀麗,節(jié)奏輕柔委婉,和諧自然,伴隨著情感的起伏跳躍,猶如一曲悅耳徐緩的散板,輕盈婉轉(zhuǎn),撥動(dòng)著讀者的心弦。康橋可以說(shuō)是詩(shī)人徐志摩“最心愛(ài)的對(duì)象”,而Edward Connynham在譯詩(shī)中對(duì)它的描繪是成功的,沒(méi)有描壞它,沒(méi)有說(shuō)過(guò)分。通過(guò)動(dòng)靜結(jié)合、虛實(shí)相間的幾個(gè)意象(“willow”、“shadow”、“rainbow”等)及通篇的音韻(“setting sun”、“bottom”、“heaven”等)和節(jié)奏的運(yùn)用,再加上美麗逼真的描繪,把詩(shī)人的感情表達(dá)得淋漓盡致。

John Suckling原作多取主從結(jié)構(gòu),語(yǔ)法、邏輯嚴(yán)密,猶如一顆大樹(shù),主干粗壯明顯,枝條交錯(cuò)蔓生,而梁實(shí)秋的譯文則多取平行結(jié)構(gòu),猶如從泉眼奔涌而出的流水,節(jié)奏感強(qiáng),層次分明。梁實(shí)秋掌握了原文的內(nèi)涵,對(duì)詞的色彩情狀(如“Who sees them is undone”譯為“令人一看魂兒飛上了天”等)的分寸掌握得好,詞義延伸十分得當(dāng),其譯文既不違背原文的本意,與原文的形式和內(nèi)涵基本對(duì)應(yīng),又流暢、可讀,體現(xiàn)了原文的優(yōu)雅與細(xì)膩的風(fēng)格,同時(shí)充分展現(xiàn)了譯者深厚的母語(yǔ)素養(yǎng)和極強(qiáng)的表達(dá)能力。由此可見(jiàn),上面兩位學(xué)者確實(shí)將直譯的流暢美升華到了近乎完美的境界。

威斯利(Samuel Wesley)說(shuō)得好:“Style is the dress of thought;a modest dress,Neat,but not gaudy,will true critics please.”(風(fēng)格是思想的外衣;合身的衣裳整潔而不花俏,深受行家好評(píng)。)

西亞多·沙瓦利說(shuō)得更明確:Style is the essential characteristic of every piece of writing,the outcome of the writer's personality,and his emotion at the moment,and nosingle paragraph can be put together without revealing in some degree of the nature of its author.(風(fēng)格是作品的本質(zhì)特征,作家個(gè)性的體現(xiàn),和感情的流露,任何一篇作品無(wú)不在一定程度上揭示出作家的天性。)[7](P201-203)

徐志摩的恬淡與深沉,薩克林(Suckling)的細(xì)膩與優(yōu)雅給譯者帶來(lái)了困難。奈達(dá)說(shuō)得好:Source texts also differ greatly in the excellence of style.Generally,an excellent style also means greater problem for translation in doing justice to the associative meanings.[8](P131)(原文的風(fēng)格美是大相徑庭的。一般來(lái)說(shuō),越是優(yōu)雅的文體,要公正譯出原義,難度就會(huì)越大。)

上述選詩(shī)非得由這些高手來(lái)轉(zhuǎn)譯,他們用地道的譯語(yǔ)和優(yōu)雅的風(fēng)格,將原詩(shī)演繹得酣暢淋漓,讀起來(lái)朗朗上口,韻味十足。

二、意譯之美在于創(chuàng)新

選擇意譯是因?yàn)椤白g入語(yǔ)”與“目的語(yǔ)”之間在遣詞造句、語(yǔ)法修辭和寫(xiě)作風(fēng)格上差異明顯,在形式上無(wú)法對(duì)等,在風(fēng)格上難以貼近,在表達(dá)上難以自然流暢等原因。意譯之美在于創(chuàng)新(recreation)。不言而喻,這種創(chuàng)新是多方面的,用許鈞教授的話來(lái)說(shuō),就是“去字梏,重組句,建空間”。而用呂俊先生的話來(lái)說(shuō),就是“一種文化、思想、意識(shí)形態(tài)在另一種文化、思想、意識(shí)形態(tài)環(huán)境里的改造、變形或再創(chuàng)作”。[9](P59)筆者認(rèn)為,概括起來(lái),這種創(chuàng)新主要表現(xiàn)在下述方面:

(一)形式創(chuàng)新

美國(guó)20世紀(jì)女詩(shī)人Lowell翻譯的張貴妃《贈(zèng)張?jiān)迫菸琛肪褪呛芎玫睦?原文:

羅袖動(dòng)香香不已,紅蕖裊裊秋煙里,輕云嶺上乍搖風(fēng),嫩柳池邊初拂水。譯文:

Dancing

Wide sleeves sway./Scents,/Sweet scents/Incessant coming.

It is red lilies,/Lotus lilies,/Floating up,/Out of autumn mist.

Thin clouds/Puffed,/Fluttered,/Blown on a rippling wind/Through a mountain pass.

Young willow shoots/Touching,/Brushing,/The water/Of the garden pool.

由格律詩(shī)到自由體(free verse),由四行一句變四節(jié)(stanza)五句,遣詞(puffed,fluttered,touching,brushing)造句(每stanza各為一句,第一節(jié)除外)、修辭(重復(fù),利用節(jié)奏分行,用分詞保持原詩(shī)動(dòng)感)與原文相比毫無(wú)遜色之處。

(二)意象和意境創(chuàng)新

意境,簡(jiǎn)而言之,“乃謂意中之境”。最早見(jiàn)于王昌齡的《詩(shī)格》,把“境”分三種,“一曰物境……二曰情境……三曰意境。亦張之于意,而思之于心,則得其真也”[10](P43)。王佐良先生在其《英詩(shī)的境界》一書(shū)中開(kāi)宗明義,指出:“所謂境界,是指作品所展示的情感和精神世界。”[11](P12-13)應(yīng)該說(shuō)也就是我們所說(shuō)的意境?！耙庀蟆迸c“意境”是有區(qū)別的?！耙庀蟆笔侵妇唧w的事物(image)在特定的環(huán)境中在人的頭腦(意)產(chǎn)生的印象,所以意隨象生,“境生意外”。故真正有意境的詩(shī),得意(義)忘象(表言)。賴(lài)力行教授在其《中國(guó)古代文論史》中寫(xiě)到:“詩(shī)歌的意境產(chǎn)生自意象又超于意象,所以詩(shī)可意會(huì)而不可言傳,不免曲高和寡?！盵12](P161-162)

Bynner在翻譯唐詩(shī)《楓橋夜泊》(張繼)時(shí),在意境的再造上就很成功:

月落烏啼霜滿天,江楓漁火對(duì)愁眠。姑蘇城外寒山寺,夜半鐘聲到客船。

While I watch the moon go down,/a crow caws through the frost;/Under the shadows of maple-trees a/fisherman moves with his/torch;/And I hear from beyond Suzhou from/the temple on cold/Mountain,/Ringing for me here in my boat/the midnight bell.

“對(duì)愁眠”譯成“moves with his torch”,動(dòng)靜相映,意境更美。(呂叔湘)

(三)修辭創(chuàng)新

1.轉(zhuǎn)換增添修辭格

李發(fā)全在英譯李白《春思》第一二行時(shí),就省去原詩(shī)的比喻,改成補(bǔ)語(yǔ)形式:

燕草碧如詩(shī),秦桑低綠枝。

In north,Yan,silky grass grows blue and rank;

In south,Qin,green mulberries shoot long and lank.

英諺的翻譯有時(shí)也需要作修辭格的轉(zhuǎn)換:

The web of our life is of a mingled yarn,good and ill together.

生活就像一團(tuán)亂麻,有苦也有樂(lè)。

在譯文中,英語(yǔ)中的暗喻轉(zhuǎn)換成漢語(yǔ)中的明喻。

2.轉(zhuǎn)換標(biāo)題

初大告教授在英譯101《中華雋詞》時(shí)別出心裁,根據(jù)其不同內(nèi)容,將全部詞牌另?yè)Q標(biāo)題,如李煜的《虞美人》(春花秋月何時(shí)了)譯成了“The Everlasting Sorrow”;蘇軾的《水調(diào)歌頭》(明月幾時(shí)有)譯成了“Drinking in the Mid-Autumn Night,and thinking of my younger brother,Su Zhe”(中秋夜飲——兼懷子由)[13](P38-39)。其他,如“Uncle Tom's Cabin”譯成“紅菱艷”;“G one with the wind”譯成“飄”;這些都是根據(jù)中西文化特點(diǎn)而意譯的,具有畫(huà)龍點(diǎn)睛,言簡(jiǎn)意賅的創(chuàng)新美。

3.變換句讀

漢語(yǔ)言學(xué)家王力先生說(shuō)得好“:西洋語(yǔ)法是硬的,沒(méi)有彈性;中國(guó)語(yǔ)法是軟的,富于彈性……唯其中文是軟的,所以中國(guó)語(yǔ)法以達(dá)意為主,如初序的目的格可以做次序的主格,又如不相關(guān)的兩件事可以硬湊在一起,不用任何連詞……所以英國(guó)人寫(xiě)文章時(shí),往往化零為整。而中國(guó)人則化整為零。”[14](P8-10)

英籍華裔女作家韓素音女士在“The Morning Deluge”《(黎明的洪濤》)一書(shū)中英譯毛澤東《沁園春·長(zhǎng)沙》一詞時(shí),就對(duì)原詞變換句讀,大加合并。上半闕中第一至四行就合并成一個(gè)長(zhǎng)句:

原文:

獨(dú)立寒秋,/湘江北去,/橘子洲頭,/看萬(wàn)山紅遍。譯文:

Alone,standing in autumn's chill/Asthe Hsiang River/Flows north past Orange Island,/I see the red-stained thousand hills/with crimson forests trooping.

這樣改寫(xiě)能使譯文更加流暢,渾然一體,毫無(wú)凝滯之處。反之,也是一樣,在翻譯下面這個(gè)英文長(zhǎng)句時(shí),要“化零為整”,拆譯成多句:

原文:

The contrast between this knowledge and understanding of Kissinger's tactics and this uncertainty about his strategy is characteristic of most of what is written and said,not just about his role in Middle East but about a whole range of Kissinger's ventures,including the most important he has undertaken.

譯文:

基辛格不僅在中東起了作用,而且還從事了一系列的冒險(xiǎn)活動(dòng),還包括一些重要的冒險(xiǎn)活動(dòng)。

(第一層意思譯成第一句)對(duì)此人們?cè)?jīng)寫(xiě)過(guò)不少文章。發(fā)表過(guò)不少言論。(第二層意思譯成第二句)。但這些文章和言論大部分都有一個(gè)特點(diǎn),就是既反映出對(duì)他的策略有所認(rèn)識(shí)和了解,又表現(xiàn)出對(duì)他的策略捉摸不透。

顯然,這個(gè)長(zhǎng)句變成了4個(gè)漢語(yǔ)分句,讀起來(lái)十分順暢。

在翻譯實(shí)踐中,直譯與意譯并行不悖,常常彼此交織,各自的魅力交相輝映。直譯會(huì)散發(fā)出自然、流暢和恬淡的陣陣清香;意譯可閃爍出別出心裁和創(chuàng)新的光環(huán)。因此,在翻譯過(guò)程中,不可以說(shuō)此處只能直譯,彼處只可意譯。關(guān)鍵在于將原文反復(fù)咀嚼,融會(huì)于心,心領(lǐng)神會(huì),自然而然地將原文譯成地道的譯文。

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Abstract:Literal and liberal translations are the most essential strategies and methods in translation,with their artistic charm adding radiance and beauty to each other.Based on both theory and practice,this paper analyses their characteristics respectively and expounds that literal translation is good at ease and grace,while the aesthetic feeling of liberal translation lies in the recreation of form,artistic conception,image and rhetoric.

Key words:literal translation;ease and grace;liberal translation;recreation

(責(zé)任編輯 白 晨)

Preservation of Beauty in Both Literal and Liberal English-Chinese T ranslation

SHI Hong-mei
(College of Foreign Languages,Jishou University,Zhangjiajie,Hunan 427000,China)

H 315.9

A

1672-9951(2010)05-0028-05

2010-04-27

湖南省2009年哲學(xué)社會(huì)科學(xué)基金課題階段性研究成果(09YBB336)

石紅梅(1970-),女,湖南吉首人,吉首大學(xué)外國(guó)語(yǔ)學(xué)院副教授,碩士。