20201019 trans - Revision history

Zhangqi: /* Zhou Shuyao 周书尧 */

2020-12-20T05:13:26Z

Zhou Shuyao 周书尧

Yang Ziling: /* Tang Ming 唐铭 */

2020-12-16T15:33:13Z

Tang Ming 唐铭

XieFan: /* Wu Qi 吴琪 */

2020-11-23T07:37:39Z

Wu Qi 吴琪

Tang Yiran1: /* Tao Ye 陶冶 */

2020-11-02T10:24:05Z

Tao Ye 陶冶

Zhangqi: /* Zhang Qi 张琪 */

2020-11-02T03:16:05Z

Zhang Qi 张琪

Pengjuan: /* Peng Juan 彭娟 */

2020-10-30T11:05:13Z

Peng Juan 彭娟

Yang Yue: /* Yang Yue 杨悦 */

2020-10-27T12:23:29Z

Yang Yue 杨悦

Tang Ming: /* Tang Ming 唐铭 */

2020-10-26T16:08:39Z

Tang Ming 唐铭

Jessie Chen: /* Gui Yizhi 桂一枝 */

2020-10-26T11:21:49Z

Gui Yizhi 桂一枝

Jessie Chen: /* Chen Jiaxin 陈佳欣 */

2020-10-26T11:02:00Z

Chen Jiaxin 陈佳欣

← Older revision		Revision as of 05:13, 20 December 2020
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	在这里，作者总共使用了七个“一”（yī，意为一个），每个“一”都描述了不同的图像。更重要的是，“一”代表了沈他忧郁的审美情怀和创作观。--[[User:ZHOUYUJUAN\|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN\|talk]]) 10:22, 25 October 2020 (UTC)		在这里，作者总共使用了七个“一”（yī，意为一个），每个“一”都描述了不同的图像。更重要的是，“一”代表了沈他忧郁的审美情怀和创作观。--[[User:ZHOUYUJUAN\|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN\|talk]]) 10:22, 25 October 2020 (UTC)
		+
		+	作者在这里总共使用了七个“一”（yī，意为一个），每个都描述了不同的图像。更重要的是，“一”代表了沈忧郁的审美观和创作观。

	==Zhou Siqing 周思庆==		==Zhou Siqing 周思庆==

@@ Line 738: / Line 738: @@
 第三，从译者的角度来说，解构主义的翻译观把译者置于与作者同等的地位，但同时又否定了译者的创造性和版权。德里达所做的就是完全忽略译者的主体性，而把关注点放在文本上。相反地，本杰明不仅强调了译者的地位，认为译者跟作者一样富有创造性，只是作用方式不同而已，他还指出，翻译的成功取决于译者的能力。
 --[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 16:08, 26 October 2020 (UTC)Tang Ming
 ==Tang Yiran 汤伊然==

← Older revision		Revision as of 07:37, 23 November 2020
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	审美对象（AO）是指人们在审美活动中所针对的客观事物。【3】然而，在客观世界里并非所有事物均是审美对象。比如，书架上的诗经只有在被译者买下并翻译之后才能称之为审美对象。在审美过程中，译者体会到了这本书的音美，形美和意美。--[[User:Wang Yuan\|Wang Yuan]] ([[User talk:Wang Yuan\|talk]]) 14:58, 21 October 2020 (UTC)		审美对象（AO）是指人们在审美活动中所针对的客观事物。【3】然而，在客观世界里并非所有事物均是审美对象。比如，书架上的诗经只有在被译者买下并翻译之后才能称之为审美对象。在审美过程中，译者体会到了这本书的音美，形美和意美。--[[User:Wang Yuan\|Wang Yuan]] ([[User talk:Wang Yuan\|talk]]) 14:58, 21 October 2020 (UTC)
		+
		+	审美对象（AO）指的是人们在审美活动中所针对的客观事物。【3】然而，并不是客观世界里的所有事物都能称之为审美对象。例如，书架上的《诗经》就不是审美对象，只有当译者买下并进行翻译时才能作为审美对象。在审美过程中，译者会欣赏书的音美，形美和意美。--[[User:XieFan\|XieFan]] ([[User talk:XieFan\|talk]]) 07:37, 23 November 2020 (UTC)

	==Wu Qiong 吴琼==		==Wu Qiong 吴琼==

@@ Line 749: / Line 749: @@
 ==Tao Ye 陶冶==
 Fifthly, on the aspect of translation criterion, translation view of deconstructivism has deconstructed the traditional translation view that seeks loyalty and equivalence and it has deconstructed the comprehension, extraction and transmission proposed by itself. '''(Wang Yingchong 18)''' As a result, it has treated the translatability and untranslatability in an equal way, indicating that any text can be translatable and untranslatable. Accordingly, the criterion of translation has been dissolved. Compared to Derrida, Benjamin prefers literal translation, advocating that we should promote the supplement of the referential modes of original work and translation work in the general purpose of realizing pure language.
 ==Wang Meiling 王美玲==

← Older revision		Revision as of 03:16, 2 November 2020
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	From the word of repetition, we know that the same word can be used several times in one sentence. The main function of this rhetoric is to emphasize some things or information. It may help to produce strong aesthetic effect. In The Border Town, Shen Congwen employs repetition deliberately to achieve his purpose of emotive intensification. The intensive repetition can be used as a powerful thematic device.		From the word of repetition, we know that the same word can be used several times in one sentence. The main function of this rhetoric is to emphasize some things or information. It may help to produce strong aesthetic effect. In The Border Town, Shen Congwen employs repetition deliberately to achieve his purpose of emotive intensification. The intensive repetition can be used as a powerful thematic device.
		+	从重复的单词中，我们知道一个单词可以在一个句子中多次使用。这种修辞的主要功能是强调某些事物或信息。它可能有助于产生强烈的美学效果。在边城中，沉从文故意运用重复来达到他的情感激化的目的。密集的重复可以用作功能强大的主题设备。--[[User:Zhangqi\|Zhangqi]] ([[User talk:Zhangqi\|talk]]) 03:16, 2 November 2020 (UTC)

	==Zhang Weihong 张维虹==		==Zhang Weihong 张维虹==

← Older revision		Revision as of 11:05, 30 October 2020
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	There will be no identity and everything is constantly reproducing and differentiating, so it presents nothing but difference. At any moment, it’s different from others as well as itself. In this way, the identity doesn’t exist. All we can observe is the dynamic stuff, which constantly changes.		There will be no identity and everything is constantly reproducing and differentiating, so it presents nothing but difference. At any moment, it’s different from others as well as itself. In this way, the identity doesn’t exist. All we can observe is the dynamic stuff, which constantly changes.
		+
		+	从此将没有身份，一切都在不断地复制和分化，所以它呈现的只是差异。在任何时候，它都不同于别人，也不同于它自己。这样，同一性就不存在了。我们所能观察到的是动态的东西，而这些动态的东西都在不断变化。--[[User:Pengjuan\|Pengjuan]] ([[User talk:Pengjuan\|talk]]) 11:05, 30 October 2020 (UTC)pengjuan

	==Peng Ruihong 彭锐宏==		==Peng Ruihong 彭锐宏==

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 This folk song sings Cuicui’s heart at that moment. The density of the rhythm contributes a lot to the reflection of Cuicui’s mood. Owing to the poor condition in her family, she could only admire the landlord's daughter's dress and ornaments. The sound / i / and / ai / repeat five times and emerge in different positions of the original text.
-那时，这首民歌唱出了翠翠的心声。紧密的节奏有助于反映翠翠的情绪。由于家庭条件恶劣，她只能羡慕地主家女儿的衣服和饰品呢。/ i / and / ai / 音重复了五次，并出现在了原始文本的不同位置。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:30, 22 October 2020 (UTC)
+这首民歌唱出了翠翠那时的心声。紧密的节奏有助于反映翠翠的情绪。由于家庭条件恶劣，她只能羡慕地主家女儿的衣服和饰品呢。/ i / and / ai / 音重复了五次，并出现在了原始文本的不同位置。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:30, 22 October 2020 (UTC)
 这首民歌唱出了翠翠那时的心声。紧密的节奏有助于反映翠翠的情绪。由于家庭条件差，她只能羡慕地主家女儿的衣服和饰品呢。/ i / and / ai / 音重复了五次，并出现在了原始文本的不同位置。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 13:07, 24 October 2020 (UTC)Chen Jingjing

← Older revision		Revision as of 16:08, 26 October 2020
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	Thirdly, on the aspect of translator, translation view of deconstructivism places the translator in the equal position of author, but at the meantime, it denies the creativity and copyright of translator. What Derrida does is to completely ignore the subjectivity of translator but focus on text. On the contrary, Benjamin does not only emphasize the position of translator and consider that translator contributes creativity as well as author, which just differs in the way of wok and he also points it out that the success of translation depends on the ability of translator.		Thirdly, on the aspect of translator, translation view of deconstructivism places the translator in the equal position of author, but at the meantime, it denies the creativity and copyright of translator. What Derrida does is to completely ignore the subjectivity of translator but focus on text. On the contrary, Benjamin does not only emphasize the position of translator and consider that translator contributes creativity as well as author, which just differs in the way of wok and he also points it out that the success of translation depends on the ability of translator.
		+	第三，从译者的角度来说，解构主义的翻译观把译者置于与作者同等的地位，但同时又否定了译者的创造性和版权。德里达所做的就是完全忽略译者的主体性，而把关注点放在文本上。相反地，本杰明不仅强调了译者的地位，认为译者跟作者一样富有创造性，只是作用方式不同而已，他还指出，翻译的成功取决于译者的能力。
		+	--[[User:Tang Ming\|Tang Ming]] ([[User talk:Tang Ming\|talk]]) 16:08, 26 October 2020 (UTC)Tang Ming

	==Tang Yiran 汤伊然==		==Tang Yiran 汤伊然==

← Older revision		Revision as of 11:21, 26 October 2020
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	在20世纪，我们有费道罗夫的理论，告诉人们应该先从语言学研究翻译理论，翻译理论分为翻译史，翻译导论和翻译争论；我们有罗曼·雅各布森的语际翻译，语内翻译和符际翻译的三种翻译分类；我们有利维的观点——“翻译应该使读者对原著产生错觉”，“翻译是一个下决定的过程”；我们有加切奇拉兹的文学翻译理论，即“翻译始终是对原著的艺术和现实反映”和“文艺翻译是艺术工作”；--[[User:Gui Yizhi\|Gui Yizhi]] ([[User talk:Gui Yizhi\|talk]]) 14:36, 25 October 2020 (UTC)		在20世纪，我们有费道罗夫的理论，告诉人们应该先从语言学研究翻译理论，翻译理论分为翻译史，翻译导论和翻译争论；我们有罗曼·雅各布森的语际翻译，语内翻译和符际翻译的三种翻译分类；我们有利维的观点——“翻译应该使读者对原著产生错觉”，“翻译是一个下决定的过程”；我们有加切奇拉兹的文学翻译理论，即“翻译始终是对原著的艺术和现实反映”和“文艺翻译是艺术工作”；--[[User:Gui Yizhi\|Gui Yizhi]] ([[User talk:Gui Yizhi\|talk]]) 14:36, 25 October 2020 (UTC)
		+
		+	在20世纪，费道罗夫的理论表明人们应该先语言学开始学习翻译理论，翻译理论分为翻译史，翻译导论，和翻译论证；罗曼•雅各布森讲翻译理论分为语际翻译，语内翻译，和符际翻译；利维认为“翻译应该使读者对原著产生幻觉”，“翻译是一个决定性的过程”；加切奇拉玆的文学翻译理论认为“翻译始终是原著的艺术和现实反应”，“文学翻译就是艺术工作”。 By Chen Jiaxin--[[User:Jessie Chen\|Jessie Chen]] ([[User talk:Jessie Chen\|talk]]) 11:21, 26 October 2020 (UTC)

	==Guo Lu 郭露==		==Guo Lu 郭露==

@@ Line 49: / Line 49: @@
 ==Chen Jiaxin 陈佳欣==
 In the west, studies on translation practices and theories have walked through the recorded history of over two thousand years, which is very close to the one in China. Nevertheless, China had made little progress with translation studies because of closed-door policy. Before years around 1980s, the systematic study on theories of western translation had been left incomplete in China, where few books and papers related were published. And even in the western countries, there existed similar situations. However, studies on theories of western translation has made appreciable development since 1980s, especially the books on history of western translation theory written by Rener, Robinson, etc.
-有历史记载以来，西方有关翻译实践和理论的研究已有2000多年的历史，中国也差不多。然而，由于闭关锁国政策，中国在翻译研究方向并没有取得什么进展。大约1980年代以前，中国有关西方翻译理论的系统性研究并不完整，只有少量的书和相关论文发表。甚至一些西方国家也有类似的情况。然而自1980年代起西方翻译理论的研究取得了良好的进展，尤其是Rener，Robinson等人有关西方翻译理论历史的书籍。
+有历史记载以来，西方有关翻译实践和理论的研究已有2000多年的历史，中国也差不多。然而，由于闭关锁国政策，中国在翻译研究方向并没有取得什么进展。大约1980年代以前，中国有关西方翻译理论的系统性研究并不完整，只有少量的书和相关论文发表。甚至一些西方国家也有类似的情况。然而自1980年代起西方翻译理论的研究取得了良好的进展，尤其是Rener，Robinson等人有关西方翻译理论历史的书籍。By Chenjiaxin--[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 11:01, 26 October 2020 (UTC)
 ==Chen Jingjing 陈静静==