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双语推荐:《离骚》

已故著名楚辞专家胡念贻和汤炳正教授生前分别用实例驳斥《离骚》作于顷襄王时代的三个论据。另外,从《离骚》表现的当时楚国形势和对楚怀王的感情考察,《离骚》也不可能作于顷襄王时代。
The deceased famous Chu Ci experts, Hu Nianyi and professor Tang Bingzheng used to refute the statement that "Li Sao" was created in Qingxiang King era before their death. In addition from the investigation of the situation and feelings for Chu that King Huai of Chu reflected from "Li Sao" "Li Sao" was not possible to be created in the time of King Qingxiang.

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《离骚》用大量文墨写了各类香草,并且还多次提到"美人"或"美女"。《离骚》中充满灵性的香草象征着诗人美好的品质及诗人对美好品质的追求,而"美人"意象,不仅比喻君臣关系,也用来象征诗人对理想的炽热追求和追求失败的痛苦。香草美人意象的运用,使《离骚》不仅内涵丰富,而且也极富浪漫色彩。"香草美人"意象是屈原的艺术创新,这种创新实际上与楚国地理环境、楚国巫文化,以及庄子浪漫主义有着密切的关系。
In Li Sao by Qu Yuan ,many kinds of vanillas were written ,the beauty was mentioned many times .Vanilla stood for the fine quality of the poet , and the beauty for the wise kings .The art images came from the geographical environment , the witchcraft of Chu culture and the romantic of Zhuangzi .

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《离骚》是我国古代最早的浪漫主义抒情诗,在典籍翻译中占有重要地位。风格标记对文学作品翻译过程中的风格重构与再现具有重要意义。根据风格标记,对《离骚》四种不同英译本风格进行比较分析,有利于探索典籍英译原作风格再现方面的技巧及方法。
Li Sao is an ancient romantic poem in China, embodying great value of culture and literature. A successful translation of it relies much on the stylistic reconstruction of the translated works. Form Markers are significant in the process of literature translation. A comparative study and analysis of the four translated versions of Qu Yuan ’s Li Sao in terms of Form Markers is helpful to explore the ways of stylistic reconstruction in translating Chinese classical poems into English.

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本文指明汉人对《离骚》的创作年代,均有作于怀王和顷襄王时期的自相矛盾之说,并无“均在怀王之世,决无作于顷襄王时期”的“宏观”定论;《离骚》所透露的诗人年岁及“椒、兰”喻指,应在诗人将及“老”年且子兰当政时期,而不能在子兰尚未当政的屈原早年“初疏”时期;以诗中浪漫想象所显示的诗人所在地点及诗中出现的“南楚”、“湘潭”一带土语,证明诗人创作《离骚》时不在汉北或郢中,而是在“南楚”沅湘之间;并引秦汉之际律法证明,屈原时代,实行的是有爵者以“年五十六”为“老”的“告老”退休制度,由此推测诗人之作《离骚》大抵在将临五十六岁老年,且齐相韩夤尚未受命赴楚为相的子兰当政时期,即顷襄王八九年间。
This paper indicated the time of the creation of "Li Sao" by Han raised controversial ideas of the periods of King Huai and King Qingxang. There is no decisive conclusion like "created in King Huai period and of no chance in King Qingxiang period".The poet used the metaphor "pepper, Lan" in "Li Sao " and indicated it should happen when Qu Yuan was nearly old but Zi Lan was ruling but not before Zi Lan was“too young to take the power". The locations in Qu Yuan''s romantic imagination and the terms of dialects of "South Chu" and "Xiangtan" proved that "Li Sao" wasn''t composed by Qu Yuan in the areas of north Han or Ying but between the "South Chu" and"Yuan Xiang". This paper also cited the law of Qin and Han Dynasty to prove that the retiring age in Qin was fifty-six for ranked people so Qu Yuan''s age when he composed"Li Sao" was about fifty-six. And then Han Yin had not been appointed to be the prime minister of Qi and Zi Lan went to Chu to be the prime minister. The time w

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运用奈达的功能对等理论,从语义对等、风格对等和读者反映三方面通过举例来逐一对许渊冲的《离骚》英译本和霍克斯的《离骚》英译本进行比较研究。通过比较研究可以发现各个译本的得失,领略两位译者不同的汉英翻译技巧,许译本更加注重形式对等,而霍译本更加注重语意对等和读者反映。对于《离骚》这样的典籍,两位译者的翻译都有不完美之处,只有肯定功能对等对汉英翻译实践的指导作用,同时在注重功能对等的同时更加注重形式对等,才能使译本得到更多读者的认同。
Li Sao written by Qu Yuan has many translated versions.With Eugene Nida′s function-al equivalence theory,this paper intends to compare Xu Yuanchong′s translated version of Li Sao and that of David Hawkes from the aspects of meaning equivalence,style equivalence and target readers′responses by virtue of citing examples.In this way,we could find individual advantages and disadvantages of the two translated versions and appreciate different translating techniques of the two translators.Xu Yuchong put much emphasis on formal equivalence,yet Hawkes set score on meaning equivalence and readers′responses.To make the translations of classical work Li Sao to be perfect and appeal to more readers,we advocate that functional equivalence theory should and must apply to Chinese to English translation;furthermore,formal equivalence should be val-ued as well as functional equivalence.

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屈原的诗歌杰作《离骚》营造出带有魔幻现实主义色彩的浪漫神奇世界,蕴涵着博大精深的生态意识。在自然生态方面,天时节序,风雨云雷,山水景观,万物滋生,为屈原的文思提供了丰富的养料。在人文生态方面,险恶的政治环境迫使他上下求索,追根溯源,正本清源,寻找崇高的精神力量。在生态象征方面,《离骚》广泛借芳草喻贤臣,借恶草喻佞臣,高度艺术性地沟通了生物属性与人类品性的联系。其大生态意识具有永恒的价值。
Qu Yuan’s poetic masterpiece Li Sao constructed a romantic miraculous world with flavor of magic realism,and contained extensive and profound ecological consciousness. On the facet of natural ecolo-gy,time,season,wind,rain,cloud,thunder,scenery with hills and waters,all things living in the world, supplied Quan Yuan’s train of thought in writing with rich nourishment. On the facet of humane ecology,vi-cious political environment spurred him to seek up and down,to get to the root of the matter,to straighten the stem and clear the source,and to find out lofty spiritual force. On the facet of ecological symbol,Li Sao widely took advantage of fragrant grasses to analogize virtuous and talented court officials,and made use of evil grasses to analogize treacherous court officials,thereby connected highly artistically the attributes of liv-ing things with the qualities of human beings. The macro-ecological consciousness in Li Sao has eternal val-ue.

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《离骚》是一首自叙式的政治抒情诗,是屈原生平思想最深刻的揭示,也是屈原心灵世界最生动的写照。本文对诗中"吾"的心路历程作了梳理和分析,从其心理活动过程来看,较大的波动有八次,内容顺序如下:条件优越,自负不凡;纯洁高尚,遭遇不公;回家遭训,被迫出走;虚设幻境,倾诉心声;"求女"为喻,以通君侧;占卜决断,指点迷津;昆仑寻根,往而复返;先贤召唤,舍生取义。将其全过程贯穿起来后就能看出:《离骚》是屈原悲剧性人生道路上心灵历程的吟唱。千载独步,无可比象!
"Li Sao" is an autobiographical political lyric poem, profoundly revealing Qu Yuan''s life and thoughts, and is the most vivid portrayal of Qu Yuan''s soul of the world. This paper reviews and analyzes on the mentality of "I" in the poem. From the perspective of psychological activity process, there are eight times comparatively great volatility as the sequence follows: superior condition and being conceited; pure and noble and encountering injustice; blame by families and having to leave; imaginary fairyland and pouring out his heart; "ser to make himself heard by the emperor; decision by divination and guide; seeking roots in Kun Lun back and forth; calls from the wise men in the past and laying down his life for justice. It is clear from the whole process "Li Sao" is Qu Yuan''s singing piece of his tragic life experiences. It''s incomparable through thousands of years!

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屈辞《离骚》与《天问》中多次出现“羲和”,但“羲和”到底指什么,历来岐说不断。《山海经》记载为帝俊妻并日母,《尚书》记载为尧臣天文历官。而在屈辞中,日神为东君,羲和显然为日御,这与《淮南子》记载同。另外,尚有楚辞注家释《离骚》、《天问》“羲和”为太阳或太阳神。通过文献梳理,羲和最初释义当为女性日神,后演变为日神帝俊之妻、后又为日御。此外,羲和与古希腊太阳神赫利俄斯亦似有密切关联。
Xihe is the term used repeatedly in Lisao and Tianwen by QU Yuan, however, its mean-ing is yet disagreed. Shanhaijing explained it as mother sun, the wife of Emperor Jun and Shangshu named it as the almanac officer. In QU Yuan’ s Ci, Dongjun is the sun-god and thus Xihe would be his driver. And QU’ s understanding coordinates with the record of Huainanzi. There are other explanations on Chuci which regard Xihe as sun or the sun-god. By the literary review, Xihe is interpreted as the sun-goddess, then as the wife of Emperor Jun and finally the driver of the sun-god. There is another explana-tion which believes that there exists some tight relationship between Xihe and helios, the ancient Greek sun-god.

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文章通过对《离骚》与《史记》进行比较,从屈原和司马迁的人生际遇和人物类型的选材两个方面,来探讨他们共同的批判精神,以求窥一斑而见全豹。
This paper, making a comparison between Li Sao and Shi Ji,is to discuss common critical spirits of Qu Yuan and Sima Qian from perspective of their life experiences and material selection of characters in order to seek the while picture.

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对于《楚辞·离骚》中的“薋菉葹”三字是恶草还是普通的草,诸家各有自己不同的说法,并未达成一致.今就从“薋菉葹”到底是什么以及女嬃劝说的人之常情上两个方面,尝试着探究“薋菉葹”三字.
For the words of “zi(薋)lu(菉)shi(葹)”in “chu li sao”are weeds or ordinary grass,Different scholars have different views on their own,they did not reach a consistent agreement.From the two aspects of what actually is “zi(薋) lu(菉)shi(葹)”and the human nature of Nu Xu’s(女嬃) persuasion,This paper attempts to research the words of “zi(薋)lu(菉) shi(葹)”.

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