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双语推荐：史诗

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东南亚的史诗表演艺术或称史诗戏剧艺术,其主要表演形式是以本土化的印度两大史诗为题材的影戏、偶戏和歌舞剧。东南亚的史诗戏剧源于史诗诵读,服务于宗教,既是东南亚民族传统表演艺术的源泉和基础,也是东南亚人民自我教育的重要手段。
The performing art of the two epics in Southeast Asia, namely the epic drama art, has its own performing forms:shadow play, puppet play and song-dance drama. The epic drama originated from recitation of the epics in the service of religions. It is the source and basis of the national performing arts in Southeast Asian nations, as well as an important method of self-education for the peoples of Southeast Asia.

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本文以史诗《格萨尔》的几个文本为研究对象，以史诗所蕴藏的授记思想为研究个例，分析了授记思想在史诗中的不同类型，即本尊神授记、梦境授记和幻变授记。同时指出了研究授记思想的重要意义，从更深层意义上体现了史诗的价值，也为史诗的研究提供了一个新的研究视角。
Based on the several texts ,epic Gesar contains different types of stratagem -confiding thought , namely ,god stratagem -confiding ,dreams stratagem -confiding and magic stratagem -confiding .At the same time the paper points out the significance of the research ,from deeper sense reflecting the value of it and providing a new research perspective .

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贵州麻山地区苗族的丧葬仪式围绕核心人物亚鲁王而展开,在开路仪式上唱诵的《开路经》、在砍马仪式上唱诵的《砍马经》构成史诗的主体内容,唱诵史诗《亚鲁王》是葬礼的灵魂。在苗族丧葬仪式上展演的活态史诗《亚鲁王》为我们探讨史诗的仪式起源问题提供了鲜活的例证。史诗的仪式发生说对于文艺起源的探究具有不可低估的价值和意义。
The funeral ceremony of Hmong in Mashan area, Guizhou, centers around the core figure, King YaLu. The Classics of Opening the Road sung in the ceremony of Opening the Road and The Classics of Chopping horse constitute the main content of the epic. Singing the epic King YaLu is the soul of the funeral. King YaLu, the living epic of Hmong performed in the funeral ceremony of Hmong provides a vivid example for us to explore the problems the ceremony origins of epic. The ceremony emgryology of epic is of very important value and significance to the inquiry of literary origins.

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文章利用语料库对格萨尔史诗中的人物、地点、宫殿城堡、武器铠甲、生活用具、氏族部落、诸神祇以及各种动物进行了统计分析。通过统计，一一剥离了史诗的构成要素，勾勒出一个较为清晰的格萨尔史诗的故事结构和生活场景。分析发现，《霍岭》分部的史诗人物超过了1000人，场景或故事地点达800多个，生活用具1000多种，武器铠甲等400多种，甚至战马名称也多达140多个，战神等神祇更是多达400多个，这样庞杂的故事却在史诗里显得那么自然流畅，也从侧面体现了史诗的非同凡响之处。
This article gives a statistical analysis on charaters, places, palaces, castles, weapons, armors, living appliances, tribals, various gods and animals appeared in the Epic King Gesar by using its corpus. Through the statistical analysis, we stripped out all elements of the epic, and sketched out a clearer structure and life scenes of the epic. It is found that in the epic there appeared more than a thousand of characters, and more than 800 sto-ry sites, 1064 kinds of living appliances, 400 kinds of weapons and armors, and more than 140 names of war hors-es, more than 400 gods. Even it is such a tremendous and complicated epic, it reads very natural and smooth. It also reflects the extraordinary aspect of the epic from an another angle.

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蒙古族史诗的禳灾功能是其多元价值中的一个重要组成。蒙古族史诗的文本就可以概括为对一个民族消除灾祸的诗意表达,包括英雄不败的母题,以及大量的祝赞词都对现实生活具有鲜明的禳灾意义。而讲唱史诗的过程则完成了一个禳灾仪式,但为了保持史诗消灾的神力也在讲唱过程中伴随着诸多的禁忌。
Calamity aversion is one of the main values of Mongolian epics .It is safe to say that the text of a Mongolian epic is the poetic expression of people’s wish to avert disasters .Not only epics with the theme of the unbeatable hero but also congratulatory and magnifying songs are of calamity-relief signifi-cance .Besides ,the process of reciting and singing an epic is also that of a calamity-adverting ritual .T here are many taboos during the process of saying and singing for the sake of the divine power of the epics .

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各民族的史诗创作往往体现出不同的民族审美倾向,要想了解一个民族的文学和文化特质,该民族的远古史诗为我们提供了最为明晰的透视视角。本文拟就从蒙古族史诗的二元特征入手,从原始宗教与人文宗教的共存、虚实结合的艺术描写手法、人物塑造上的二元特征入手,阐释与比较蒙古族史诗的文化特征和文学审美的独特走向。
Epic creations of different nationalities often show different national aesthetic inclinations . To know the literature and cultural quality of a nationality ,its ancient epics provide us with the clearest perspective .Starting with the binary features of Mongolian epics ,this article elaborates and compares the cultural features and special literary aesthetic inclinations of Mongolian epics from the perspective of the bi-nary features of primitive and humanistic religion coexistence ,the real and virtual artistic description and character creation .

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史诗《失乐园》的最后三卷是史诗不可分离的组成部分。史诗主人公亚当夏娃在前九卷里因屈服于撒旦的诱惑而堕落并失去伊甸园,但在最后三卷里获得以"谦卑""忍耐"和"信仰"为核心的"内在精神"之"英雄知识"的装备,成长为弥尔顿始终倡导的"基督式英雄",以怀着"心中远为快乐的乐园",迎向孤寂艰难的未来。由此,史诗的最后三卷为堕落世界里那些已经堕落或可能堕落的人树立了"英雄精神追寻"的范式。
The last three books of Paradise Lost are inalienable components of the epic. Epic heroes Adam and Eve, having yielded to Satan’s temptations, fallen and lost Eden in the previous books, yet in the last three books equip themselves with“heroic knowledge,”attain“the Spirit within”with humility, patience and faith as its core, and are thus regenerated into“the Christian Hero”advocated by John Milton. Hence, Adam and Eve, with“the far happier Paradise within,” head for their solitary and hard future. Besides, the last three books of the epic characterize a regenerated marriage pair of“the Christian Hero”type for people in the fallen world who have been fallen or who are to fall.

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随着读图时代的到来,大量的文学作品被改编成电影或是游戏搬上荧幕和电脑。本文将古英语史诗《贝奥武甫》的改编放在文学伦理学的视阈下来研究,考察当今电影和电子游戏在改编史诗时表现出的新特点,探寻导致这些新特点背后的深刻原因。在此基础上,分析史诗《贝奥武甫》与据此改编的电影、游戏在伦理价值方面的差异,探讨新媒介对传统伦理价值的颠覆。
with the arrival of picture era,many literary works have been adapted into movies or games on the screen and the computer.This paper makes a study of the film and video game adaption of the old English epic Beowulf from the perspective of literary ethics to find the characters displayed in the new forms and the profound causes behind them.Then,it analyzes the differences in the ethics value between the epic and the adaption to explore the new media subversion of the traditional ethical values.

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＂希腊小说＂与史诗和悲剧具有共同的叙事元矛盾：＂个体—命运＂,但其叙事却不具有后两者完整或相对完整的因果形式;小说中个体、主人公＂静止/完美＂的时间和道德形式,亦与史诗、悲剧中的个体存在形式迥异。从神话、史诗、悲剧至小说,命运的存在形式,由具象的变为了完全抽象的。＂希腊小说＂非因果的叙事形式,根自于命运存在形式的彻底抽象化;尽善、且非时间性的小说主人公,是抽象的命运的拟人形式。
The narrative meta-contradiction in the Greek Romance is “individual-destiny”, which is also composed of in the Greek epic and tragedy.However, compared with that of the epic and tragedy, the Greek Romance does not have a complete or relatively distinct “cause and effect” narrative form.Besides, the individual existential form in the Greek Romance, which means “static and perfect”, is also quite different from that in the epic and tragedy.From the Greek mythology, epic, tragedy to the Greek Romance, the destiny is no longer representational, but becomes entirely “abstract”.The complete abstraction of the existential form of the destiny is the root of the narrative, which goes against“cause and effect” in the Greek Romance.The“static and perfect” heroes of the Greek Romance are the personified form of the destiny.

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古希腊葬礼体育竞技活动思想是在荷马史诗描述与影响下建立起来的学术观念，存在多处疑点。仅从古希腊的米诺时代、迈锡尼时代与黑暗时代留下的考古信息，难以为证。荷马史诗中虽有描述，但因存在多处疑点，同样不能证明葬礼体育竞技活动的存在。
The ideas of Ancient Greek competitive sports activities for fete are the academic concepts based on the description in Homer''s Epic and there are many impeaches. However, the archaeological information from the Mino era in ancient Greece, Mycenaean Era and Dark Ages can not serve as convincing proof. Although there are some descrip-tions in Homer''s Epic, many doubts exist, so it is still impossible to prove the existence of funeral sports competitions.

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