前言：想要寫出一篇令人眼前一亮的文章嗎？我們特意為您整理了5篇雨霖鈴翻譯范文，相信會(huì)為您的寫作帶來(lái)幫助，發(fā)現(xiàn)更多的寫作思路和靈感。

雨霖鈴翻譯范文第1篇

[KeyWords]Chinesepoetry;artisticconception;BellsRingingintheRain;solution

【摘要】漢詩(shī)英譯是否成功就在于能否成功的傳達(dá)意境。要成功的傳達(dá)意境是不容易的，許多好的漢語(yǔ)詩(shī)歌翻譯成英語(yǔ)后總是會(huì)失去原作的藝術(shù)魅力、本文首先指出：意境是通過(guò)形象化的情景交融的藝術(shù)描寫，能夠把讀者引入到一個(gè)想象的空間的藝術(shù)境界，意境傳達(dá)的困難在于中西方存在著諸多差異，不同的歷史文化，風(fēng)俗習(xí)慣和思維定勢(shì)都使?jié)h語(yǔ)詩(shī)歌的意境傳達(dá)成為一個(gè)難題，本文以《雨霖鈴》的譯文為例，分析了這首詩(shī)歌意境傳達(dá)的困難，接著通過(guò)《雨霖鈴》的兩種譯文對(duì)比提出了意境傳達(dá)的三種有效方式：傳情達(dá)意，挖掘意象，激發(fā)聯(lián)想。最后作者提出，這只是三種有效的方式，而不是絕對(duì)的方式。

【關(guān)鍵詞】漢詩(shī)英譯；意境；《雨霖鈴》；方式

1.Introduction

"Poetryisasuperartoflanguage.”[1]Awell-knownstatementismadebyRobertFrost“Poetryiswhatgetslostintranslation”.[2]PoetrytranslationisadifficulttaskanditisespeciallytrueintheChinesepoetrytranslation.“Indeed,poetrytranslationisacreativetask.”[3]BurtonRaffelsays,“Thetranslatedpoemshouldfirstbeanewpoem,agoodone,andshouldbethefavoroflife,insteadoflifelessacademicaccuracy.”[4]TheEnglishversionsofmanyoutstandingChineseclassicalpoemswhicharegentlybeautiful,vigorousanddeepusuallycannotpresenttheoriginaltasteandflavorofthepoetry.Manyfamoussayingsandbeautifullines,whichenjoygreatpopularityduringhundredsofyears,maketheChinesereadershaveadeepsympatheticchord.Butforeignreaderscannotunderstandthemactually,ortheymayevenfeelbewilderedandthemostimportantreasonisthatthetranslationofChinesepoetryislackoftheconveyanceofartisticconception.ThesuccessoftranslationofChinesepoemsdependsonwhetheritcanapproximatelytransmitartisticconceptionofChinesepoemsandleadthereadersintoaspaceofimagination.China’spoetaswellasliteraryandtheoreticiansmostlythinkthatthegreatestachievementofpoetrycreationliesinartisticconception.Itisthesoulofpoetry.Thenwhatonearthisartisticconceptionofpoetry?

1.1Thedefinitionofartisticconception

Artisticconceptionisakindofidealartisticstate,whichcanleadreadersintothesituationandemotionofapoem.Theblendofsituationandemotionisthebasiccomponentofartisticconception,whichisinvolvedintwoaspects,oneistheobjectiveofimagesinlife,theotheristheidealsubjectivecreationofthepoet,wecalltheformeroneas“jing”,andthelateroneas“yi”.Therefore,artisticconceptionistheunifiedentityofthetwoaspects.[5]

ArtisticconceptionisoneofthemostimportantaestheticconceptionsinancientChina,whichcanbetracedbacktoTangDynasty.InhisTheStyleofPoetrypoetWangChanglinfirstlyputforwardartisticconceptiontogetherwith“物境”“情境”(twoofthreelevelslikeartisticconceptionusedtodescriberespectivelytheobjectandthecircumstancesofapoem).[6]Althoughheproposedthethreelevelstogether,hedidn’tpointouttherelationship.Jiaoran,apoetandamonkaswell,oncepointedouttherelationsbetweenYi(image)andJing(situation).Hethoughtthatthefeelingsofareadertoapoemstartfromitssituation.[7]LiuYuxiwhocarriedonJiaoran’stheoryadvancedthatwecansayinTangDynasty,theAestheticSchool---theleadingschoolofpoetrywhichanalyzespoemwithartisticconception,wasformed.[8]AndinQingDynasty,WangGuoweigaveadeeperresearchontheconnotationandcreationofartisticconception.Ashesaysinhis“CommentsonciPoetry”,“Notonlycanliteraturemotivatethewriterhimself,butalsoitcantouchtheheartsofothers.”[9]MaoDunthenthoughttheconnotationoftheliteraturetranslationisthetransmissionoftheidealcondition.Hesaid"theliteraturetranslationistotransmittheartisticidealconditionoftheoriginalworkinanotherlanguageandmakereaderbeinspiredequally,affectedandgetthebeautifulfeelingwhentheyreadtheoriginalwork.[10]

1.2.Thedifficultiesoftheconveyanceofartisticconception

Formanyyears,lotsofChinesescholarsaswellasforeignresearchersputtheirefforttodothearduousworktotranslateclassicalChinesepoemsintoEnglish.Andamongtheirworks,thereisnolackofexcellenttranslation.Asamatteroffact,justthroughthewonderfultranslationofsomeexcellenttranslator,alotoffamousclassicalChinesepoemshavewontheirworldreputation.However,asakindofartisticappreciation,weusuallyhavealittlepitythatthetranslationofChinesepoetrystillcannotexpressartisticconceptionwhenwereadastheChinesereaders,lotsofChineseclassicalpoemshavelosttheiroriginalromanticcharm,completeinformation,three-dimensionaleffect,andthestatethatcanleadthereadersintoaindefiniteimagination.ItisnotsurprisedtoseethatmanyscholarsconsiderthetranslationofChineseancientstyledpoetrytobeanunsuccessfulfieldsofar.Wecanseethatevenifsometranslationsdisplaythecontentofpoetry,theyfailtotransmit,interpretthemood,theimage,andthesituationofpoetry.BecauseofthehugedivergencebetweentheEastandtheWest,itisimpossibletoexpresscompletelytheprimarytasteandartisticconceptionofChinesepoetrytoeveryreader.

Thereasonisthatthedifferenthistoricalcultureconnotationsanddifferenthabitsandcustomsaswellasdifferentthinkingmethodsareformedintheaspectofwordsandexpressions.

TherenownedtranslatorMr.YangXianyihassaid:"Therearemanyotherfactorsconstitutingcertainmeaningsinoriginaltext.Itissimplynotimpossibletotransmitthesemeaningsforthepersonsunderdifferentcultures.[11]Forexample:theChinesereadershavesomeassociationspontaneouslywithweepingwillowinaChinesepoetry,itisimpossibletocausethiskindofassociationnaturallyifitistranslatedintoanotherlanguage.Inmanypoemstheterminology(poemlanguage)oftenhastheirculturalhistoricalbackgroundcausingthereadertoassociatesufficiently.[12]Thereisnofinaltranslationforanytranslationispartialsinceitishardlypossibleforanytranslatortoseekbalancebetweenvariousrequirement.[13]Ofcourseitcontainstheconveyanceofartisticconception.

2.TheanalysisofBellsRingingintheRain

Here,theauthorwillprobehowtotransmitartisticconceptioninthetranslationofChinesepoetrybytheEnglishversionofBellsRingingInTheRain.

2.1ThecommentofBellsRingingInTheRain

LiuYong’poemsaregoodatdescriptionofdetails,andwritteninapithystyle.Thispoemexpressesthepartingfeelingsanddescribesthesceneofpartingandthepainfulmood.Theemotionisalsoverysentimental.ThispoemisofLiuYong’srepresentativeworks.Thefirststanzadescribesthepartingscene,theauthordescribesthecicadachillily,andtwoloveswerepartingintheroadsideshelter.Theboatwasurging.Theywerereluctanttopart,handinhandwithtearfuleyes,sobbingwithoutaword.Themistywavesinthegreatdistanceandthedistantskyalsoappearedsoheavy.Inthesecondstanza,theauthorsighedwoefully:partingletsthehumanbesadsincetheoldtimes.Thelongertheypart,thesaddertheyfeel.Evenifthereisbrightdaysandbeautifulscenery,thepoetstillcannotcheerup.

“Thecicada”,“theroadsideshelter”,“thesuddendownpour”,“thenationalcapital”“theboat”,“themistywave”and“thesouthernsky”-----theseimagescomposedthedeparturepictureofgloomycolor,brimwiththethickdeepsorrow.TheChinesereadercanfeeltheauthor''''ssadmoodaftertheyreadandproducethesympatheticchord,butasaresultoftheculturalenvironmentandthebackgrounddifference,foreignreadersmaynothavesimilarfeeling,norcantheyinducetothisdignifiedatmosphere.theChinesereadercouldcarryontheverynaturalassociationtoabovetheseimages,formaseriesofpicturesinthebrains,buttheforeignreaderpossiblycannotbeabletounderstandthiscompletely.Inthesecondstanza,whatistherelationbetween“多情”and“自古”?Howtotranslate“曉風(fēng)殘?jiān)隆?whatis“良辰好景虛設(shè)”onearth?Itisverydifficulttodescribethepainfulmoodandthedeepsorrowfaithfullytotheforeigners.

2.2ThedifficultiesoftheconveyanceofartisticconceptionofBellsRingingintheRain

Itisnotcompletelypossibletotranslatetheoriginalpoem,themoodandtheatmosphere，whichisalsoanextremelybigdifficultproblem,suchas:

Firstly,Itisdifficulttoconveytheemotioninthepoem:theemotionhereisnotpresentedexplicitlybutimpliedinthedescriptionoftheimages.Itishardtoconveytheconnotationandassociationsignificanceofimagestotheforeigners.Inaddition,theChinesepoemsusuallyconsistofseveralimages,thepoetcandisplaysomepicturesinfrontofthereadersthroughthedepictionoftheimages.InBellsRingingintheRain,“thepavilion”“eveningclouds”“willowtrees”“waningmoon”---theseimagesconstituteasceneofsorrowdepartureindrearyAutumn.Itisnoteasytoselectproperwordstoconveytheimagesaswellassuitablewordstoconnectthemintheprocessoftranslation.Finally,InBellsRingingintheRain,Chinesereaderscanassociatethewavingwillowtreesandwaningmoontothereluctanceofdeparture.ItishardtobringthesimilarfantasytoreadersinEnglishversion,becausesomeimagecannotarousethesameassociationtotheforeigners.Thereisalsoonepointthatweshouldnotice:theconveyanceofartisticconceptionisacommonproblem,sometimeseveniftheversionembodiesthecharmoftheoriginalpoem,theforeignersmaynotunderstanditcompletelybecauseoftheculturaldifferences.JustastheforeignerscannotunderstandtheloveofLiangShanboandZhuYingtai,Here,theauthoronlywouldliketodiscussthewaystoconveyartisticconception.

3.Threestrategiestoconveyartisticconception

Tobeexact,ZhaoZecheng’sartisticconceptionincludesthreeaspects:Qing(emotion),Jing(situation),andimagination.Tocounterthesethreeaspects,artisticconceptioncanbeeffectivelytransmittedtoreadersbythefollowingthreemeans:first,toexpressamorousfeelingsandideas;second,tounearthimages;finally,tostimulateimagination.[14]

3.1Expressfeelingsandideas

WhendoingthetranslationofChinesepoems,weshouldfirstlymakeclearthemainideaoftheoriginalpoem,thesituationsetinthepoemandideasandfeelingsthattheauthorwantstoexpress,otherwise,wedonottranslatebutcreatepoetry.

InancientChina,therearethesayingslike“idealcanbeconveyedbypoetry,and‘poetryisstemmedfromemotions.”[15]WangGuowei,anaestheteinmoderntimes,indicatesthat‘onlywhenapoetisabletoreflectthereallifeandexpresshisrealfeelingsbyhispoemhashereachedahigherlevelofpoetrycreation.’[16]Inhisopinion,thesimplenaturalscenery,suchasbirds’singing,flowingwater,flowers’blossomanddriftingcloudscannotconsistof‘Artisticconception’bytheirpoems.ThefamousliterarytheoreticianinQingDynasty,YeXiethoughtthatemotionfromthebottomofheartisoneoftheindispensableconditionsinthecreationofartisticconception,andwhetherartisticconceptioncanbeconveyedsuccessfullybythetranslationsornotdependsonwhetherthetranslatorisabletotransmitthefeelingsbetweenthelines,andunderstandpoet’mind.[17]AsEveingsaysinhis‘TranslationandSentiment’,translatorshouldnotonlytranslatethe‘tears’,the‘laughter’,the‘a(chǎn)nger’,thereadinesstogivelifeonthebattlefieldandthevisiblethings,butalsothegrief,thehappiness,theindignation,theutterdevotionandtheinvisiblesentiment.[18]Forinstance,hereisseveralversesofBellsRingingInTheRain.AistranslatedbyRewiAlley,andBistranslatedbyXuYuanchong.

“都門帳飲無(wú)緒”

AWedrinktoeachother

BCanwecarefordrinkingbeforewepart

“飲”“無(wú)緒”thetwowordsaddanxietytotheparting,peopleusuallywoulddrinkwinewhenpartinginancienttime.Thepoetwassosadthathewouldnotliketodrinkatall.‘Drinktoeachother’inAlley’stranslationsdoesnotshowthiskindofmood.XuYuanchongtranslatesthewordsinto‘Canwecarefordrinkingbeforewepart’reflectakindofdisconsolateness，So,XuYuangchong’stranslationisbetter.Ifthepoemembodiesthepoet’emotion,theversionshouldindicateit.Letuslookatanotherverse:

執(zhí)手相看淚眼，竟無(wú)語(yǔ)凝噎

Aweclasphands,faceswet

withtears;unabletosayanything

BHandinhandwegazeateachother’stearfuleyes

Andburstintosobswithwordscongealedonourlip

Totranslatetheemotioninthesetwoverses，wemustgraspthepsychologicalconditionofthepoet.Lookingateachother‘stearfuleyeswithhandconnecting,theywouldliketosaysomething,yetspeechlessforsobbingfinally.“執(zhí)手”“相看”“淚眼”“無(wú)語(yǔ)凝噎”areasuccessionofwordsdescribingthehero’ssorrowandthegrief,XuYuanchonguses‘gazeat’and‘tearfuleyes’todescribethemood,andtransmittheemotion,‘burstinto’indicatestheeruptionofhispreservedsentiment,‘congealed’vividlymanifestthesadness.Obviously,inversionA‘wetwithtears’greatlyweakenstheemotionandcannottransmitartisticconceptionoftheoriginalpoem.Obviously,itisinadequatetoonlydisplaythecontent,wealsoshouldexpressthefeelingsbetweenthelinesproperly.Forexample:

多情自古傷離別，更那堪、冷落清秋節(jié)

Thatistosay,peoplealwaysfeelsadwhenpartingsincetheancienttimes.Howdoesalonelypersonliveinthischillyautumn?Herethepoetisdisplayingakindofdisconsolatemood.

Aeverhavepeoplehated

leavingtherefriends,andnow

thecoldautumnwithitssadness

ontopofitall;

BLoverswouldgrieveatpartingasofold.

Howcouldyoustandthisclearautumndaysocold

Comparedwith‘hated’,‘grieve’inBindicatesthatthepoetfeelsbrokenhearted,therhetoricalquestioncorrespondstheoriginalpoemexpressingthepsychologyofsadfeelinginthelonelyautumn,whichconformedtotheartisticconceptionoftheoriginalpoem.Obviously,Bismoresuccessfulintransmittingartisticconception.

Adoesnotdisplaytheemotion,thereforeitfailsinthetransmissionofartisticconception,but,XuYuanchongfullycomprehendsthepoet’semotionofBellsRingingInTheRain,andcarriesonthepoet’ssorrowbychoosingthewords.Finallyhesucceedsinthetransmissionofartisticconception.Transmissionofartisticconceptioniscloselylinkedwiththeemotiontransmission.Sowecanmakeconclusionfromtheexamplesabove,thetransferenceofartisticconceptionisincomplete,ifthereisemotioninanoriginalpoem,butthetranslationfailstomanifestthefeelingsintheverses,.Inordertofurthertheunderstandingtheimportanceofemotionexpressionintranslation,theauthorwouldliketogivemoreexamples:“曉鏡但愁云鬢改，夜吟應(yīng)覺(jué)月光寒。”（ToOneUnnamed）byLiShangyin）Thepoemdescribestheimmortallove:hecannothelpthinkingofhisbelovedforhisdeeplovetohersothathedoesnotseehisimagebutthatofhisbelovedwhilelookingintothemirror.Thetwolinesselectedinthepoemdescribethefeeling:thepoetworriesabouthisbeloved’sgrayhaironheadbutnothisownwhenheislookingintothemirror,hedoesnotfeelthechillofmoonlight,butheworriesthatshewillfeelcoldwhenheiscrooningverseatnight.ThefollowingaretwokindsoftranslationsofInnesHerdan(A)andXuYuanchong(B)

AGriefatthemorningmirror---

Cloud–like-hairmustchange;

Verseshummedatnight,

Feelingthechillofmoonlight…

BAtdawnI’mgrievedtothinkyourmirroredhairturnsgrey;

AtnightyouwouldfeelcoldwhileIcroonbymoonlight.

Adescribesthepoet’sworriesabouthisowngrayhair,andhefeelschill,whichistheliteraltranslationwithoutunderstandingthefeelingofthepoettohisbeloved.Soitfailstotransmitthatkindofsentimentinthepoemandrevealtheimmorallove.Xuyuanchongaddspersontodescribetheimmorallove,thusthereadersaremovedbythepoet’sfeelings,andgetthedeepcomprehensionofartisticconception.

Hereisanotherexample:“思君如滿月，夜夜減清輝?！?SinceMyLordFromMyPartedbyZhangJiuling)Thepoetusesthemoontodescribethefeelingsofthewifethatsheisdullerdaybydaybymissingherhusband.LetusseethetranslationbyHerbertA.Giles:

Myheartislikethefullmoon,fullofpains,

Savethat’tisalwaysfullandneverwanes.

“Gilescomparesthewife’shearttothepainfulmoonthatneverwane,succeedsinconveyingtheessentialideaofhersorrow.”[19]Inthispoem,thekeypointoftheunderstandingofartisticconceptionistocomprehendthewife’semotion.SinceGilesconveythedistressofthewife’smissingvividlyandincisively,thereaderscanfeelthiskindofpains,thereforeGilessucceedsintheconveyanceofartisticconception.

Theanalysisabovesuggeststhatthetransmissionofemotionisimportanttothetransferenceofartisticconception.Ifthepoemembodiespoet’semotion,thetranslatedversionshouldindicateit,thusthereaderscangetadeepcomprehensionofartisticconception.

3.2Unearthimage.

Besidestheconveyanceofemotionsandideas,atranslatorshouldalsopayattentiontotheimages.Theimagereferstotheobjectinthepoetry,whichreceivesubjectivesentimentoftheauthor.Settingsun,fragrantgrass,weepingwillow,songofthebirds,cicadachirpingandsoonarethecommonlyemployedimagesinancientChinesepoems.Usually,apoetdoesnotrevealthesentimentstraightlybutawakenourmemorybythedescriptionoftheimageandstimulateourfeelingandcauseoursympatheticchord.[20]Preciselytheauthorrevealsubjectivesentimentbytakinganddescribingtheimage,thereadercanentertheartisticconceptionofpoetry.

Theimageistheessenceoflanguageofpoem.“Imagemodelcapturestheessenceofpictureinproseorinpoetry.”[21]Thepoetsalwaysutilizesthevisualizedlanguagewhichcanstimulatethereader’simaginationandtheassociationtodescribetheimageintheliteraryworks,iftheliteraryfigureisfresh,thentheexquisiteartisticconceptionwillappear.Thetranslatorshouldpayattentiontothetransplantationoftheliteraryfigureandvisualizationofthelanguageintheprocessoftranslation.Thereforetheycanfullymanifestthebeautyofartisticconception.Weshouldtransmittheimagestotranslatethepoem.Imageisthebasicelementofpoems.Thebasicfeatureisthatreaderscanexperiencethefeelingsofpoetsthroughthedescriptionoftheimage.“Wemeantodefineimageastheattributeforthewholementalconceptionofaliterarywork.Insomesense,‘image’hereiscountableaseyeablelinguisticpoint,andalltheimagesinaworkformintoameaningfulwhole,whichisoftencalleditsimagery.So‘imagery’isuncountableasaninseparableentitythatcanonlybeperceivedfromtheentirework”.[22]

Thereareseveralimagesinthispoetryasfollows:cicadas,showers,heavycloud,southernsky,willowtrees,waningmoon.“Theseobjectstobedescribedareneverselectedatrandom,butarethemanifestationofthepoet’sshrewdpowerofobservationanduniqueartisticview”[23]Theseimagesareobjects,butthepoetrendershisemotiontothemthathasbeenthesymbolofdepartureanddistress.Hesetoffthepartingatmospherebythedescriptionofobjects,thusthereaderswillportrayachillanddrearypictureasiftheyhearthesingingofthecicadasandseethepartingscene.Thenhowdothetranslationsgivethereadersthesameexpressionbyunearthingimages?Itisrareforustofeelcoldanddrearywhenhearingthesingingofcicadas,whilethepoetuse"寒"and"凄"todescribeit,forthepainfromthebottomofhisheart."寒"and"凄"uncoverdirectlythepoet’smood,thepersonhavetopartwithhisbelovedandfeelsthecoldnessoftheoutsideworld,whichishisinnermostfeelings.ThefollowingtranslationsarealsopresentedbyRewiAlley(A)andXuYuanchong(B):

ANowcomesthenoteofthecicada，mournfully;

BCicadaschill

Drearilyshrill

ComparedwithRewiAlley’s‘mournfully’XuYuanchong’s‘Cicadaschill’describesthecicada''''scondition,"drearilyshrill"corresponds"凄切"theyestablishedabasicmainkeyfortheentirepoem----cloudyandcold,"drearilyshrill"furtherexaggeratedthisatmosphere.So,“chill”“drearily”describetheprocessofpsychologyandtransmit‘a(chǎn)rtisticconception’of“寒蟬凄切”.Pavilionisconsideredasasymbolofparting,suddenshowermaybeconsideredasasymbolofthetearsfallingfromtheireyes.Lookattheverses:

對(duì)長(zhǎng)亭晚，驟雨初歇

Aatourpaceforparting

eveningfalls;therainstormthatbroke

hasclearedaway;

BWestandfacetofaceataneveninghour

Beforethepavilion,afterasuddenshower

WecanseeRewiAlleyomitstheimageofpavilion,whichisveryimportanttotheconveyanceofartisticconceptionasasymbolofparting.InancientChina,peopleusuallypartinpavilion,soChinesereaderscanassociatethepavilionwithdeparture.AndXuYuanchongreservestheimageofpavilionandshowerusing“before”and“after”toconnectthetwosentences,sothatweseethenaturalsceneryandhumanfeelingswellblendedinthebeginningofthepoem.[24]So,Itdoeswellatthetransitionoftheartisticconception.Inthispoem,theimageoftheboatwaitingforthepersondescribesapictureofalonelysail.Theverse:

方留戀處、蘭舟催發(fā)

Atheboatmanurgesdeparture

Bwearelingeringlate,buttheboatiswaitingforyoutodepart

RewiAlleyonlyuses“boatman”omittingtheimageofboat,andXuYuanchong’stranslationdescribesapicture:twopeopleareloathingtopart,theboatisurgingapersontoembarkquickly,wecanguessthattheboathasbeenwaitingforalongtime.Thepictureofalonelysailisthesymbolofthepartinglover,carryingthevisualfeeling.AndBisbetteratthetransitionofartisticconceptioncomparedtoRewiAlleythatisonlynarrating.Inthispoem,cloudandskyalsoaresymbolical,theheavycloudisthesymbolofhisheavyheart,andtheboundlessskyisthesymboloflongdistance.[25]Theoriginalversesandtranslationsareasfollows:

念去去千里煙波，暮靄沉沉楚天闊。

AandIknowthatsoonIshallbefar

fromhere,overthehills;

atnightamistwillcome

downfromheavens,andsoon

IwillbeinHupeh,where

skiesarehigh,andgroundlow;

BYou‘llgoyourwayfar,faraway,onmilesandmilesofmistywaves

wheresailtheships,andeveningcloudshanglowinboundlesssouthern

skies

Thetwoimages“暮靄”and“楚天”shouldbetranslated.RewiAlleydoesnottransmittheimage:cloud,and“skiesarehigh”doesnotdescribetheboundlessoftheskies.Thereforehistranslationweakenedtheeffectofthetransitionofartisticconceptionoforiginalpoemgreatly.Intheoriginalpoemthefirststanzabeginswithanimageandendswithanother,bothrevealthegriefofparting.[26]Thereforeintranslationthereshouldbethetransferenceofthevividimagetoletthereaderfeelthepoet''''semotionthroughtheimagestounderstandtheartisticconceptionofthepoem.

Asweknow,InaChinesepoem,therearealwaysmanyimages;thesevividimagesbringthebeautytopeople.Inordertoachievethesimilareffect,thetranslatorshouldcarryontheappropriatedescriptiontotheimages.Forexample,“小樓西角斷虹明，欄桿私倚處，遙見(jiàn)月華生”（ImmortalAttheriverbyOuYangxiu）portrayabeautifulscene：thebrokenrainbowappearsafteraheavyrain，twopersonsareleaningonrailswatchingtherisingmoon.TeresaYee-whaYutranslatesthelinesinthisway：

Acrossthewesterncornerofthe

Smallhouse,abrokenrainbowhangs

brightly,asIrestonthebalcony,

awaitingmoonrise.

Theimageoftheoriginalpoemisbrokenrainbow，whyistherainbowbroken？TeresaYee-whaYuonlyuses‘brokenrainbow’，whichfailstomanifesttheestheticsenseofthemoonraisesslowly,thereforethebeautyisinferiorthantheoneoftheoriginalpoem.ThetranslationbyXuYuanchongis:

Animperfectrainbowisseen,

ShutoutofviewbyWesternTower.

Weleanonrailsalone

Towatchtherisingmoon.

XuYuanchonguses‘shutoutofviewbywesterntower’，givingpeopleamorevividpicture:Abovethesmallbuilding,abrokenrainbowappears,--twopeoplearecloselyleaningintherail,watchingtheslowingrisingmoon,thephraseshutoutdescribesthebrokenrainbow,thetypicalimagematchestheimageverb,hasexaggeratedtheoriginalpoemmainkeyoftheoriginalpoem,so,comparedtoTeresaYee-wha’sYu.XuYuanchong’sisbetterintransmittingartisticconception.

Theanalysisabovesuggeststhatunearthingimagesisoneofeffectivewaystoconveyartisticconception,ofcourse,inthetranslationtechniquesofimage,apartingfromunearthingimages,thereareotherwaystoconveytheartisticconception,suchasfootnotingandparaphrasing,whichthisarticleonlydiscussesoneofeffectiveways.

3.3Stimulateimagination

Intheauthor’sview,theconnotationofstimulatingimaginationisthatifthepoetleavesagreatspaceofimaginationtothereaders,soshouldthetranslator.Itisofgreatimportanceforthetranslationstostimulatethereaders’imagination.JustasXuYuanchongpointsoutinhisNewConceptofTranslationinNewCenturythelowstandardofliterarytranslationistoresembleorreflectthetruthoftheoriginalpoems,whilethehighstandardistokeepthebeautyofpoemsinsourcelanguage[27]Thetranslatorshouldtryhisbesttobringtheadvantageoftargetlanguagesintofullplay,whichmeansmakingfulluseofthebestformofexpressionoftargetlanguageaswell,andtomakepoemsunderstoodfinally.Thetranslationsofliteraryworksshouldbewonderfulandsplendid.Althoughwecanreadorlistentotheliteraryworks,wecannotvisualizethemlikewatchingpicturesorgetauditoryimageslikelisteningtothemusic.Therefore,iftheliterarylanguageisdull,tediousandinsipid,itcannotstimulatetheimaginationofreaders,thuscannotconveyartisticconceptiontoreaders,letaloneletthemgrasptheartisticimagesintheoriginalworks.Itisthetranslators’responsibilitytotakeadvantageoftargetlanguagetoreachthetranslationtostimulatereaders’imaginationfinally.

ThefollowingisanotherexamplefromBellsRingingInTheRain:“今宵酒醒何處？楊柳岸曉風(fēng)殘?jiān)隆uYuanchong‘stranslationis

Wherewillyoubefoundatdaybreak

Fromwineawake?

Mooredbyariverbankplantedwithwillowtrees

Beneaththewaningmoonandinthemorningbreeze.

Thepoemaskswherehewillbewhenhewakesuptomorrowmorning.“willowtrees”and“Beneaththewaningmoonandinthemorningbreeze.”stimulatethereaders’imagination,andmakethereadersimaginethescenebythemselves.Forexample:howisthepoet’sconditionwhenheawake?Andwhatwillhebethink?Differentpeoplehavedifferentimages.Peoplecanimagethesceneofthepoetawakinginthemorningaccordingtotheirownunderstandingofthepoem.“Moored”givethereaderslargespaceofimaginationthatistheneedtotransmitartisticconceptiontoreaders.

Fromtheauthor’spointofview,stimulatingimaginationplaysaquiteimportantroleintransmissionofartisticconception.Manytranslatorsnoticethepointintheprocessoftranslation.Forinstance,therearetwoversesintherenownedpoem"SongofaPipaPlayer"(琵琶行)byBaiJuyi：“大弦嘈嘈如急雨，小弦切切如私語(yǔ)；嘈嘈切切錯(cuò)雜談，大珠小珠落玉盤?！盩hetwoversesdescribethemusicbythePipa.“Itisdifficulttodescribeabstractmusicinwords,butBaiJuyicomparesitinturntoapatterningrain,topearlsdroppingonaplateofjade”[28]whichgreatlystimulatethereaders’imagination,“sothatyoucannotonlyhearitbutsometimesevenseeitbeforeyoureyes”.[29]HerearetwoversionsrespectivelytranslatedbyC.Gaunt(A)andXuYuanchong(B)

AThegreatstringswithacrashresound,

Aswhentherain-stormstrikestheground;

Thesmallstringswhispermanifold,

Likesecretconfidencestold;

Andthenthevibrantchordsoutfling

Amingledcrashandwhispering,

Likeshowerofpearls,somelargesomesmall,thatonajade-dishpatteringfall.

BThethickstringsloudlythrummedlikethepatteringrain;

Thefinestringssoftlytinkledinamurmuringstrain

Whenminglingloudandsoftnotesweretogetherplayed

‘Twaslikelargeandsmallpearlsdroppingonplateofjade

C.Gaunt’s‘therain-stormstrikestheground’;‘whisper’‘likeshowerofpearls,somelargesomesmall,’andXuYuanchong’s‘patteringrain’‘murmuringstrain’‘murmuringstrain’allstimulatethereaders’imaginationandconveyartisticconceptionofthepoeminsourcelanguageaswell.Theoriginalpoemdoeswellinstimulatingimagination,sodoesthetranslation.

Stimulatingimaginationisapartoftheconveyanceofartisticconception,wegetartistictreatthroughabundantassociationandfantasy,whichachievetheeffectofartisticconception.Asweanalyzeabove,thetranslationthatarousetheimaginationofreadersconveyartisticconceptioneffectively.Thereisapointwearesurethatevenifthetranslationscannotachievethecharmofthepoemperfectly,weshouldexertourgreateffortstoresembletheeffect.

4.Conclusion

Wecanfindthattheconveyanceofartisticconceptionisnoteasy.However,throughthethreemeans,westillcaneffectivelytransmitartisticconceptionbyexperiencingtheemotionandimagingtheimageoforiginalpoems.Theauthordiscussesthreestrategies:expressingfeelingsandideas;unearthingimages;stimulatingimagination.Theyarethreeeffectivewaysbutnottheabsolutemeans.Inaddition,thereisonepointthatweshouldnotice:whenweproposedrequesttothetranslators,weshouldpayattentiontothefactthatthereadersshouldbequalifiedtocomprehendthepoems’artisticconception.

References

[1]溫輝.意象和意境：英譯唐人絕句[D].西安：陜西師范大學(xué),2000(04).P4

[2]閆軍利．詩(shī)歌翻譯的美學(xué)途徑[D].西安：陜西師范大學(xué),2003(04).P7

[3]戴偉平．詩(shī)歌翻譯與現(xiàn)代性[D].重慶：西南師范大學(xué),2004(04).P38

[4]藺麗．中國(guó)古詩(shī)英譯意境傳達(dá)的探索[D].天津：天津師范大學(xué),2005(04).P17

[5]姜莉．論唐詩(shī)英譯的意境傳達(dá)[J]．沈陽(yáng)師范大學(xué)學(xué)報(bào)（社科），2005(01).P112

[6]同[4].P112

[7]同[4].P112

[8]同[4].P112

[9]同[4].P112

[10]同[4].P112

[11]水小重．從東西方文化的差異看漢詩(shī)英譯的困難性[J].西北師大學(xué)報(bào)（社科）,1998(03).P98

[12]同[10].P98

[13]同[3].P17

[14]同[4].P112

[15]同[4].P112

[16]同[4].P112

[17]同[4].P112

[18]同[4].P113

[19]許淵沖.中詩(shī)英韻探勝[M].北京：北京大學(xué)出版社，1992.P204

[20]同[4].P113

[21]袁哲.文學(xué)翻譯中審美再現(xiàn)的三個(gè)層面[D].長(zhǎng)沙：湖南師范大學(xué)，2004(05).P27

[22]劉建華.古詩(shī)意境英譯分析[D].長(zhǎng)春：吉林大學(xué),2004(05).P26-27

[23]陳月紅.中國(guó)古典詩(shī)詞翻譯中的意境問(wèn)題芻議[D].武漢：華中師范大學(xué),2002(04).P32

[24]同[18].P370

[25]同[18].P370

[26]同[18].P370

[27]同[4].P114

雨霖鈴翻譯范文第2篇

一、運(yùn)用信息技術(shù)創(chuàng)設(shè)教學(xué)情境，激發(fā)學(xué)生古詩(shī)詞興趣

運(yùn)用傳統(tǒng)的教學(xué)方法，進(jìn)行古詩(shī)詞的教學(xué)，學(xué)生常會(huì)感到枯燥無(wú)味。傳統(tǒng)教學(xué)主要由教師將作者的生活或者寫作背景向?qū)W生介紹，學(xué)生根據(jù)教師的介紹，一知半解地讀懂古詩(shī)詞的大致內(nèi)容。或者教師直接將古詩(shī)詞的翻譯抄寫到黑板上，讓學(xué)生背誦。這樣的教學(xué)方法，已經(jīng)遠(yuǎn)遠(yuǎn)不能適應(yīng)現(xiàn)代教育了。如果運(yùn)用信息技術(shù)，創(chuàng)設(shè)一定的情境，讓學(xué)生走進(jìn)情境，在情境中感悟古詩(shī)詞深刻的內(nèi)涵，可使學(xué)生產(chǎn)生對(duì)古詩(shī)詞的興趣，從而加深對(duì)古詩(shī)詞的理解。

如教學(xué)柳永的《雨霖鈴（寒蟬凄切）》時(shí)，我播放歌曲《雨霖鈴》，同時(shí)視頻展示歌詞，也就是全詞的內(nèi)容。學(xué)生被優(yōu)美的音樂(lè)深深陶醉，沉浸在優(yōu)美的情境中，自然而然地就感受到了詞的魅力，從而急切地想要進(jìn)入詞的學(xué)習(xí)中，理解詞的內(nèi)涵，領(lǐng)悟詞的情感，了解詞人的生活背景、身世，總之，學(xué)生對(duì)詞的學(xué)習(xí)產(chǎn)生了濃厚的興趣，整個(gè)課堂教學(xué)，學(xué)生學(xué)得輕松、愉快，課堂氣氛很活躍。

二、運(yùn)用信息技術(shù)再現(xiàn)古人生活，感悟作者的思想感情

古詩(shī)詞有許多內(nèi)容，被拍成了電影、電視片或者短劇，如果能夠利用這些教學(xué)資源，為教學(xué)服務(wù)，那將會(huì)大大提高教學(xué)效率，有利于學(xué)生理解古詩(shī)詞。如教學(xué)《短歌行》時(shí)，為了讓學(xué)生加深對(duì)曹操的認(rèn)識(shí)，感悟其豐富的精神世界，加深對(duì)詞的理解，我用視頻展播電視短劇《三國(guó)演義》中的曹操吟誦《短歌行》的片段，讓學(xué)生進(jìn)行交流、誦讀，從而讓學(xué)生了解了曹操的文才武略，知道曹操不僅是一個(gè)政治家、軍事家，更是一個(gè)文學(xué)家。

三、運(yùn)用信息技術(shù)進(jìn)行配音朗誦，促進(jìn)古詩(shī)詞的理解

配音朗誦是古詩(shī)詞教學(xué)中常用的方法，配音朗誦往往有現(xiàn)成的錄音，標(biāo)準(zhǔn)的朗誦，不僅讓學(xué)生學(xué)會(huì)朗誦，更重要的是從朗誦中，感悟出古詩(shī)詞的韻律美、音樂(lè)美、節(jié)奏美，也便于學(xué)生對(duì)整個(gè)古詩(shī)詞的理解，而且也能夠提高學(xué)生欣賞美、鑒賞美的能力，使學(xué)生學(xué)會(huì)有感情的朗誦，學(xué)會(huì)斷詞、斷句的方法，深入理解古詩(shī)詞的深刻內(nèi)涵，培養(yǎng)想象力，產(chǎn)生創(chuàng)新的思維。如教學(xué)陶淵明的《歸園田居（其一）》時(shí)，我播放配樂(lè)誦讀，要求學(xué)生在聆聽(tīng)的過(guò)程中給生字詞注音，同時(shí)想象詩(shī)歌所描繪的景象；接著要求學(xué)生跟著音樂(lè)讀，要求學(xué)生在模仿中，體會(huì)詩(shī)人樸素、平淡、自然的語(yǔ)言風(fēng)格。

四、運(yùn)用信息技術(shù)拓寬師生視野，學(xué)會(huì)鑒賞古詩(shī)詞

以網(wǎng)絡(luò)為核心的信息技術(shù)飛速發(fā)展和進(jìn)步，網(wǎng)絡(luò)上有豐富的教學(xué)資源，平時(shí)教學(xué)中，教師要有意識(shí)地瀏覽網(wǎng)絡(luò)，經(jīng)常瀏覽網(wǎng)絡(luò)世界，拓寬教師的視野，學(xué)生也應(yīng)該經(jīng)常上網(wǎng)查閱資料，學(xué)會(huì)收集資料，自主獲取知識(shí)。教師可以將自己在網(wǎng)絡(luò)上收集到的有用的教學(xué)資源，告訴學(xué)生，讓學(xué)生在網(wǎng)絡(luò)上進(jìn)行學(xué)習(xí)，讓學(xué)生少走彎路，使學(xué)生欣賞古詩(shī)詞的能力得到訓(xùn)練和提高。學(xué)生可以根據(jù)自己的喜好，通過(guò)網(wǎng)絡(luò)自主學(xué)習(xí)，選擇高效學(xué)習(xí)古詩(shī)詞的方法，然后歸類整理，為將來(lái)更好地學(xué)習(xí)古詩(shī)詞打下厚實(shí)的基礎(chǔ)。運(yùn)用網(wǎng)絡(luò)進(jìn)行教學(xué)，可以讓學(xué)生平等地參與到學(xué)習(xí)過(guò)程中，在學(xué)習(xí)中獲得知識(shí)，培養(yǎng)自學(xué)能力。運(yùn)用網(wǎng)絡(luò)進(jìn)行學(xué)習(xí)，也使得課堂更加開(kāi)放和靈活，教師要敢于放手讓學(xué)生在網(wǎng)絡(luò)上進(jìn)行學(xué)習(xí)，給予學(xué)生網(wǎng)絡(luò)學(xué)習(xí)的機(jī)會(huì)，發(fā)揮信息技術(shù)的網(wǎng)絡(luò)優(yōu)勢(shì)，互動(dòng)學(xué)習(xí)，從而提高教學(xué)效率，使得學(xué)生在自學(xué)中，獲得了自信，體驗(yàn)到成功的喜悅，身心得到全面的發(fā)展，個(gè)性得到張揚(yáng)。

雨霖鈴翻譯范文第3篇

一個(gè)文學(xué)家、詩(shī)人、藝術(shù)家，對(duì)于生活的認(rèn)識(shí)往往是多角度、多層次的，而且還帶著濃厚的主觀感情，以至于對(duì)同一事物，不同的作者站在不同的角度，用不同的方法表現(xiàn)出來(lái)則有不同的特點(diǎn)：或豪放，或抑郁；或雷霆萬(wàn)鈞，或幽咽流泉；或悲壯蒼涼，或凄婉含蓄；或雄奇俊逸，或翩若驚鴻、矯若游龍；或靜若處子，嬌羞內(nèi)蘊(yùn)……過(guò)去在初中語(yǔ)文教學(xué)中，我們常常對(duì)作品缺乏必要的賞析，一般停留在讀幾遍，了解大意，泛泛然地分析一下中心思想、寫作特點(diǎn)上。教學(xué)古詩(shī)詞，有些教師還要把它翻譯成白話，這樣做，讓那些優(yōu)秀的作品變得味同嚼蠟。

像一束花，有人只看到它紅紅綠綠的顏色，有人卻能嗅到它濃郁的芳香，還有人能夠由一束花看到百花齊放的花園，看到五彩繽紛的春天。鑒賞文學(xué)作品，要借助讀者的想象思維，對(duì)作品進(jìn)行主觀的藝術(shù)加工，或者憑借自己對(duì)作品的理解，借鑒前人的觀點(diǎn)對(duì)所讀作品作出一定評(píng)價(jià)。通過(guò)對(duì)相同主題或題材而不同作者的作品進(jìn)行比照賞析，或者把相同作者的不同題材的作品進(jìn)行比照賞析，就可以發(fā)現(xiàn)不同作者或不同作品的風(fēng)格了。

人們常常把柳永的《雨霖鈴?寒蟬凄切》和蘇軾的《念奴嬌?赤壁懷古》進(jìn)行比照，前者稱為“婉約”派代表作，后者稱為“豪放”派代表作。作品的豪放或者婉約和作者的性格、經(jīng)歷、處境及創(chuàng)作時(shí)的心境、情感都有一定關(guān)系。如，李白的作品絕大多數(shù)表現(xiàn)為豪放、浪漫，而與之同時(shí)的另一位大詩(shī)人杜甫的作品則表現(xiàn)出深沉、抑郁。李白一生狂放不羈，蔑視權(quán)貴，常常借酒述志，借酒抒懷，他的詩(shī)歌就運(yùn)用大膽想象、無(wú)限夸張的筆調(diào)，寫出了大量瑰麗的詩(shī)篇?！熬銘岩菖d壯思飛，欲上青天攬明月”《宣州謝I樓餞別校書叔云》；“白發(fā)三千丈，緣愁似個(gè)長(zhǎng)”《秋浦歌》；“斗雞金宮里，蹴鞠瑤臺(tái)邊。舉動(dòng)搖白日，指揮回青天”《古詩(shī)五十九首之四十六》；“倚劍登高臺(tái)，悠悠送春目，蒼榛蔽層丘，瓊草隱深谷”《古詩(shī)五十九首之五十四》；“飛流直下三千尺，疑是銀河落九天”《望廬山瀑布》；“人生得意須盡歡，莫使金樽空對(duì)月”《將盡酒》等等。從以上作品可以看出李白豪爽奔放的性格。而杜甫一生坎坷，精神壓抑。在安史之亂中，他顛沛流離，親身經(jīng)歷和親眼目睹了戰(zhàn)亂帶給老百姓的痛苦，在他的詩(shī)里，表現(xiàn)了他憂國(guó)憂民的感情，其作品風(fēng)格被稱為現(xiàn)實(shí)主義。如，“爺娘妻子走相送，塵埃不見(jiàn)咸陽(yáng)橋。牽衣頓足攔道哭，哭聲直上干云霄……”《兵車行》；“乾坤含瘡痍，憂虞何時(shí)畢”《北征》；“關(guān)中昔喪亂，兄弟遭殺戮。官吏何足論，不及收骨肉”《佳人》。同樣是送別，在不同的詩(shī)人筆下，有的顯得豪放灑脫，有的就顯得憂傷哀愁，我們熟悉的王維《送元二使安西》，“勸君更盡一杯酒，西出陽(yáng)關(guān)無(wú)故人”就顯得那么悲涼。對(duì)友人那么關(guān)切，那么留戀！而另一位詩(shī)人在送別朋友時(shí)，就顯得特別灑脫豪邁：“千里黃云白日曛，北風(fēng)吹雁雪紛紛。莫愁前路無(wú)知己，天下誰(shuí)人不識(shí)君。”《別董大》（高適）；“執(zhí)手相看淚眼，竟無(wú)語(yǔ)凝噎”《雨霖鈴》（柳永），這就表現(xiàn)得很凄婉、很憂傷。但是豪放的李白還寫過(guò)“孤帆遠(yuǎn)影碧空盡，唯見(jiàn)長(zhǎng)江天際流”《送孟浩然之廣陵》，“浮云游子意，落日故人情。揮手從茲去，蕭蕭班馬鳴”《別友人》；“泣與親友別，欲語(yǔ)再三咽”《古詩(shī)五十九首之二十》等這些纏綿的詩(shī)句。判斷一個(gè)表達(dá)同一主題的作品的風(fēng)格相對(duì)容易，比如上面列舉的送別詩(shī)，王維的婉約，高適的豪放，李白的纏綿，都是出于送別當(dāng)時(shí)的情景和心情、被送的對(duì)象的情況等。王維送的朋友元二是從長(zhǎng)安到西北邊陲去，出陽(yáng)關(guān)后就是一片荒涼的情景，再?zèng)]有往日的歡樂(lè)，沒(méi)有和那么多朋友在一起飲酒賦詩(shī)的愜意，被送人心情悲傷，也會(huì)感染送別者的；而高適送別的朋友董大是從邊陲到內(nèi)地，到生活條件好的地方去，朋友們自然要為他感到高興的。

要分析一個(gè)作者的作品的總的風(fēng)格，需要全方位考察、閱讀、賞析他大量的作品?，F(xiàn)在中學(xué)生閱讀面比較狹窄（特別是農(nóng)村學(xué)生），在教學(xué)中，教師要有目的地給學(xué)生推薦一些作品，提供一些有助于他們擴(kuò)大閱讀的資料、信息，比如要教學(xué)某個(gè)作者的某篇作品，應(yīng)該先給學(xué)生布置閱讀該作者的其他相關(guān)作品，或者其他作者同類型的作品，這樣有比較才能鑒別。在中學(xué)語(yǔ)文課本中，還選了許多現(xiàn)、當(dāng)代名家的作品和外國(guó)著名作家的作品。由于涉及面太寬，每位作者的作品入選的文章有限，在分析他們的作品風(fēng)格的時(shí)候，老師需要注意進(jìn)行橫向和縱向的比較，把某個(gè)作家的許多作品前后縱向比較去判斷他的風(fēng)格，或者把他的作品跟同時(shí)代的其他作家的作品進(jìn)行橫向比較分析，就能判斷出這個(gè)作者的風(fēng)格了?；蛘呦冉榻B某個(gè)作家的風(fēng)格，再用一些相關(guān)的作品進(jìn)行證明。

比如，魯迅的風(fēng)格是深刻、內(nèi)蘊(yùn)。常常以非常簡(jiǎn)潔的描寫、點(diǎn)睛似的評(píng)論、平淡的敘述，就可以揭示一個(gè)非常深刻的社會(huì)問(wèn)題，可以用《孔乙己》中“孔乙己是站著喝酒而穿長(zhǎng)衫的唯一的人”“聽(tīng)人家背地里說(shuō)，孔乙己也讀過(guò)書……”就這么一句介紹和側(cè)面敘述，一個(gè)深受迫害的封建知識(shí)分子的形象就躍然紙上；再如，《故鄉(xiāng)》中對(duì)中年閏土“木偶人”式形態(tài)的描寫和“豆腐西施”楊二嫂“圓規(guī)”式的體形、尖利的語(yǔ)言的描寫，簡(jiǎn)直入木三分！而且這些人物不是簡(jiǎn)單的個(gè)體，而是代表社會(huì)的某一個(gè)階層?？v觀選入初中語(yǔ)文課本的魯迅的許多作品，無(wú)不深刻、發(fā)人深省?！稄陌俨輬@到三味書屋》里寫美女蛇的故事，《社戲》中在平橋村的孩子們的介紹時(shí)很自然地介紹鄉(xiāng)下的風(fēng)俗，《藤野先生》中則處處都有深刻的文字，如“中國(guó)是弱國(guó)，中國(guó)人當(dāng)然是低能兒……”這樣看似簡(jiǎn)單的內(nèi)心獨(dú)白，卻深刻地揭示了弱國(guó)公民受辱時(shí)內(nèi)心的憤怒。

再說(shuō)還有冰心作品體現(xiàn)的母性、茅盾的博大、老舍的平易、郭沫若的浪漫。還有當(dāng)代作家畢淑敏的敏銳、張曉風(fēng)的純真……還有外國(guó)作家的作品所反映的時(shí)代特征和他們自身作品的風(fēng)格。也可以由老師提示，學(xué)生在自己的課外閱讀中去體會(huì)。

作品的風(fēng)格一般都可以從入選到課本里的作品里分析體會(huì)到，因?yàn)檎n本的編者在選文章的時(shí)候，是充分考慮作品的代表性的。

初中語(yǔ)文教學(xué)中，根據(jù)新課標(biāo)的要求，對(duì)學(xué)生賞析式的閱讀也提高了標(biāo)準(zhǔn)，教師在教學(xué)過(guò)程中要培養(yǎng)學(xué)生分析作品風(fēng)格的習(xí)慣。由淺入深，細(xì)細(xì)體會(huì)。學(xué)會(huì)分享作家寫作時(shí)的那種情感體念，分享作者用浪漫、豪放或者委婉、輕柔或者熱烈的風(fēng)格所抒發(fā)的感情，也可以在自己的寫作中展示自己的風(fēng)格。

雨霖鈴翻譯范文第4篇

【關(guān)鍵詞】讀詩(shī)；大膽質(zhì)疑；創(chuàng)造力

中國(guó)是詩(shī)之國(guó)，詩(shī)是中國(guó)文化瑰寶，也是中華民族精髓。特別是古詩(shī)詞，千百年來(lái)，中國(guó)人在它寬廣的胸懷里陶冶情操、感悟世界、了解民族歷史。因此，詩(shī)歌在教材中的比重也越來(lái)越大，作為教育者，我們應(yīng)當(dāng)教育我們的下一代了解古詩(shī)、解讀古詩(shī)，熱愛(ài)中國(guó)文化。

在傳統(tǒng)詩(shī)歌教學(xué)中，我們通常都是讀古詩(shī)、翻譯詩(shī)句、體會(huì)感情、背誦古詩(shī)，幾個(gè)回合下來(lái)，學(xué)生讀詩(shī)的興趣全無(wú)。要知道，只是記些注釋，背誦詩(shī)句，并不是讀詩(shī)的根本目的，我們教給學(xué)生的不該只是“標(biāo)準(zhǔn)答案”，我們應(yīng)當(dāng)引導(dǎo)學(xué)生以新的視角、新的思維閱讀古詩(shī)，從而品出詩(shī)中的韻味、讀出詩(shī)中的生活、感悟詩(shī)中的生命，不拘泥于課本及參考書，甚至對(duì)傳統(tǒng)結(jié)論大膽提出質(zhì)疑。愛(ài)因斯坦有句名言：“提出一個(gè)問(wèn)題比解決一個(gè)問(wèn)題更為重要”。

《敕勒歌》（敕勒川，陰山下，天似穹廬，籠蓋四野。天蒼蒼，野茫茫，風(fēng)吹草低見(jiàn)牛羊）被稱為我國(guó)古代民歌杰出代表作品，也被納入了九年義務(wù)教材。大部分參考書注釋如下：遼闊的敕勒川在陰山腳下，天空像一座巨大的帳篷，籠蓋了整個(gè)原野。蒼天遼遠(yuǎn)空曠，草原一望無(wú)際，微風(fēng)吹倒了牧草，露出了藏在草中的牛羊。我沒(méi)到過(guò)草原，但在電視和電影中看到過(guò)牛羊在草原吃草的場(chǎng)景，對(duì)于這樣的解釋總有個(gè)不明白的地方，草原的草怎能長(zhǎng)得比牛羊高？怎能掩沒(méi)牛羊呢？讀了張港的《經(jīng)典古詩(shī)詞另類“悅讀”》后才知道：草原的草本身不能掩沒(méi)牛羊，能掩沒(méi)牛羊的應(yīng)該是些蘆葦、蒿草之類植物。如果真是那些草，又長(zhǎng)那么高，馬就不能跑起來(lái)，牛羊恐怕也要常丟失。那為何詩(shī)中作者說(shuō)是“風(fēng)吹草低見(jiàn)牛羊”？我們?cè)僬f(shuō)說(shuō)“天似穹廬，籠蓋四野”。一個(gè)人若著目視前方，能看到的只能是視角前方一百多度，如何能看到像個(gè)巨大帳篷的天空籠蓋著原野呢？所以我們可以推測(cè)，詩(shī)人寫詩(shī)的時(shí)候，應(yīng)該是躺在草地上，悠閑地啃著草根，仰望著天空，若有所思，此時(shí)正看到了半球狀的天空，才有了“天似穹廬，籠蓋四野”。也正是因?yàn)樗稍诘厣希恢玫?，才有了“風(fēng)吹草低見(jiàn)牛羊”——牲畜在草地上時(shí)隱時(shí)現(xiàn)的一幕?？偹闩辶嗽?，詩(shī)人正是設(shè)了一個(gè)迷讓后人去猜。

王之渙的《登鸛雀樓》（白日依山盡，黃河入海流。欲窮千里目，更上一層樓）僅僅20個(gè)字的不朽之作千古流傳，作為激勵(lì)詩(shī)，它激勵(lì)了一代又一代奮發(fā)向上的有志之士。宋人沈括《夢(mèng)溪筆談》記載：“河中府鸛雀樓三層，前瞻中條，下瞰大河?！痹S多人認(rèn)為，作者寫詩(shī)時(shí)在第二層，也有人認(rèn)為詩(shī)人應(yīng)該是在第三層，到底在哪一層？我們可以透過(guò)字眼探個(gè)究竟?！坝F千里目”“欲”是想要，并非現(xiàn)實(shí)，而“欲”字也告訴我們作者登樓的目的是想看得更遠(yuǎn)，若是作者明知樓有三層卻只登到二樓便寫下“欲窮千里目，更上一層樓”，不太合邏輯，想要看得更遠(yuǎn)，直接上三樓不得了，還用得著在樓下猜想。所以，我認(rèn)為作者應(yīng)該是已經(jīng)登到了頂樓，但還不滿足，覺(jué)得看得還是不夠高遠(yuǎn)，心想著要是還能再上一層樓甚至更高就好了，這才合乎邏輯。而這里的“一層樓”并非實(shí)指“一層”，而應(yīng)是無(wú)數(shù)個(gè)“一層”，或是超越新的高度。這也才符合作者當(dāng)時(shí)意氣風(fēng)發(fā)、躊躇滿志的心志。

《春曉》（春眠不覺(jué)曉，處處聞啼鳥(niǎo)。夜來(lái)風(fēng)雨聲，花落知多少？）作者如此的聰明睿智，同樣用20個(gè)字就道出了一個(gè)大自然蘊(yùn)藏的奧秘。查看了不少參考書都將詩(shī)中“處處聞啼鳥(niǎo)”的“處處”注釋為“到處”，若是這樣，此句便譯為“到處都能聽(tīng)到鳥(niǎo)兒明快的叫聲”。真是這樣的嗎？我們可先從字里行間來(lái)捕捉一些關(guān)于作者的信息?！奥劇笔亲髡呗?tīng)到的，“花落知多少”則是作者的推測(cè)，這些說(shuō)明作者已經(jīng)醒了，但并沒(méi)有馬上起床出門，因此外面的世界并不是通過(guò)視覺(jué)看到的。李白的“不知明鏡里，何處是秋霜”，“何處”指“何時(shí)”，譯為“不知從什么時(shí)候有了白發(fā)”；柳永的《雨霖鈴》“方留戀處，蘭舟催發(fā)”，“方留戀處”指難舍難分的時(shí)候，“處”指時(shí)候；韓愈《早春》“最是一年春好處”顯然說(shuō)的也是時(shí)間?？梢?jiàn)在古詩(shī)中“處”可指“地方”也可指“時(shí)間”。而“處處聞啼鳥(niǎo)”中，作者未出門，解釋為“時(shí)時(shí)都能聽(tīng)到鳥(niǎo)兒的啼叫聲”應(yīng)該更符合作者的處境。

可見(jiàn)，讀詩(shī)不需要多大的智慧，但不能沒(méi)有自己的見(jiàn)解，在讀詩(shī)的過(guò)程當(dāng)中應(yīng)當(dāng)學(xué)會(huì)借鑒別人的觀點(diǎn)，揉和自己的見(jiàn)解，發(fā)揮自己的創(chuàng)造力，因?yàn)樽x詩(shī)同樣需要想象的翅膀。美國(guó)著名學(xué)者布魯巴克也很精辟地指出：“最精湛的教學(xué)藝術(shù)，遵循的最高準(zhǔn)則就是讓學(xué)生自己提問(wèn)題。”在詩(shī)歌的教學(xué)中，教師應(yīng)鼓勵(lì)學(xué)生多讀詩(shī)，以創(chuàng)新的視角讀詩(shī)，教師還應(yīng)當(dāng)有效地引導(dǎo)學(xué)生結(jié)合自己的經(jīng)驗(yàn)大膽質(zhì)疑，不可人云亦云。

詩(shī)的靈魂在于它的生活性，詩(shī)的魅力在于它的創(chuàng)造力。詩(shī)人同樣是生活中活生生的人，我們只有用生活的眼光去讀詩(shī)，用創(chuàng)造的想象力去讀詩(shī)，才能讀出詩(shī)的韻味，才能體會(huì)到中國(guó)文化的博大精深，才能達(dá)到讀詩(shī)的最終目地。

雨霖鈴翻譯范文第5篇

關(guān)鍵詞：預(yù)設(shè)；生成；課堂

高三語(yǔ)文教學(xué)主要就是復(fù)習(xí)，加之其知識(shí)面涉及廣，知識(shí)點(diǎn)又較為零散，高考的考查方式又靈活多變，故整個(gè)復(fù)習(xí)過(guò)程對(duì)于學(xué)生來(lái)說(shuō)，既乏味還不易把握。如何才能有效地開(kāi)展高三語(yǔ)文復(fù)習(xí)，是身處高三的語(yǔ)文老師必須面對(duì)的難題。而我認(rèn)為，解決這一難題的關(guān)鍵就是要提高高三語(yǔ)文課堂教學(xué)的有效性。

一、精心預(yù)設(shè)

精心預(yù)設(shè)是高中語(yǔ)文課堂生成的前提，也是提高高三語(yǔ)文課堂教學(xué)有效性的先決條件。具體體現(xiàn)在：

1.掌握學(xué)情，提前備課

語(yǔ)文教學(xué)的一貫宗旨都是圍繞如何全面地提升學(xué)生的語(yǔ)文素養(yǎng)而展開(kāi)的?；诖耍咧姓Z(yǔ)文教學(xué)的起點(diǎn)應(yīng)是在掌握學(xué)生學(xué)情的基礎(chǔ)上進(jìn)行的。而身為高三的語(yǔ)文教師，也只有在掌握了學(xué)生的基本學(xué)情后，才能對(duì)癥下藥，并做好相關(guān)癥結(jié)的提前備課工作。要提高高三語(yǔ)文課堂教學(xué)的有效性，就必須要做到提前備課。按照學(xué)期初制訂的教學(xué)計(jì)劃，有章有序地進(jìn)行不同模塊的復(fù)習(xí)，更有利于知識(shí)點(diǎn)的系統(tǒng)化。這一點(diǎn)，在文言文專題復(fù)習(xí)時(shí)尤其突出和重要。如，一輪復(fù)習(xí)時(shí)，梳理《種樹(shù)郭橐駝傳》一文的知識(shí)點(diǎn)，學(xué)生對(duì)倒裝句“凡長(zhǎng)安豪富人為觀游及賣果者”翻譯不好，了解之后，得知學(xué)生是對(duì)定語(yǔ)的概念比較模糊，難以劃清句子成分。因而，在復(fù)習(xí)《廉頗藺相如列傳》《石鐘山記》《勸學(xué)》三課時(shí)，就結(jié)合三課中“求人可使報(bào)秦者”“石之鏗然有聲者”“蚓無(wú)爪牙之利，筋骨之強(qiáng)”的定語(yǔ)后置句，提前備好定語(yǔ)后置的幾種常見(jiàn)類型，讓學(xué)生從中鑒別、分析，最終找出規(guī)律，使之趨于系統(tǒng)化，從而促進(jìn)教學(xué)實(shí)效。

2.整合資源，明確導(dǎo)向

在高三語(yǔ)文復(fù)習(xí)課中，精心預(yù)設(shè)還體現(xiàn)在對(duì)教材的整合和運(yùn)用上，正如在文言專題復(fù)習(xí)時(shí)，根據(jù)復(fù)習(xí)需要，對(duì)教材中的重要文言篇目進(jìn)行知識(shí)點(diǎn)的系統(tǒng)梳理和鞏固，有時(shí)可能只是借用某個(gè)實(shí)詞的特殊用法，以喚醒學(xué)生對(duì)已學(xué)知識(shí)的記憶；或是借用某個(gè)特殊類型的倒裝句式，以輔助學(xué)生對(duì)陌生文段的理解和翻譯。而在進(jìn)行古代詩(shī)歌專題的復(fù)習(xí)時(shí)，對(duì)教材的整合就體現(xiàn)得更加明顯了。在這個(gè)模塊中，我們不能僅僅教給學(xué)生單一的解題技巧和固定的答題模式，還要引導(dǎo)學(xué)生嘗試著自己去歸納、整理。例如，可以讓學(xué)生將其在課本中所學(xué)的詩(shī)歌，根據(jù)詩(shī)歌的內(nèi)容予以歸類整理，可分為：詠史懷古類有《登金陵鳳凰臺(tái)》《登樓》《登快閣》等，行旅閨怨詩(shī)有《雨霖鈴》《聲聲慢》《夜雨寄北》等。讓學(xué)生在歸納中明確并掌握各類型的出題類型和常用的手法，使之形成一個(gè)知識(shí)系統(tǒng)，再結(jié)合已掌握的解題技巧，將其內(nèi)化吸收，形成能力，提高教學(xué)實(shí)效。

二、巧妙生成

提高高三語(yǔ)文課堂教學(xué)的有效性，還取決于課堂上的巧妙生成，同時(shí)，它也是精心預(yù)設(shè)的延伸和提高。我們的授課群體是思維活躍的學(xué)生，這就注定了我們的語(yǔ)文課堂教學(xué)必定是一個(gè)動(dòng)態(tài)的過(guò)程，它不可能按著我們預(yù)設(shè)的軌跡來(lái)運(yùn)行，相反，還總是會(huì)有很多意料之外的問(wèn)題出現(xiàn)，因此，身為執(zhí)教者要善于抓住這些契機(jī)，并結(jié)合學(xué)生的不同學(xué)習(xí)需求，將之前的精心預(yù)設(shè)和當(dāng)前的意外生成有機(jī)地融合在一起，使語(yǔ)文課更具靈活性，從而打造精彩且高效的高三語(yǔ)文課堂。

1.營(yíng)造氛圍，巧妙生成

語(yǔ)文課堂是一個(gè)動(dòng)態(tài)的過(guò)程，就決定了其是復(fù)雜、多變的。加之又有諸種不定性因素，再精心的預(yù)設(shè)也不可能，也不必要面面俱到。因此，在學(xué)生有了不同的看法和疑問(wèn)時(shí)，教師要采用賞識(shí)教育的理念，尊重學(xué)生，肯定其表現(xiàn)的同時(shí)，作適當(dāng)?shù)卣{(diào)整，富有創(chuàng)造性地繼續(xù)組織我們的課堂教學(xué)，順著學(xué)生的思維角度，再創(chuàng)新生成與之相關(guān)聯(lián)的問(wèn)題，給學(xué)生一個(gè)支點(diǎn)，引導(dǎo)和幫助其理解。

2.開(kāi)放問(wèn)題，巧妙生成

愛(ài)因斯坦說(shuō)：“有時(shí)候提出一個(gè)問(wèn)題比解決一個(gè)問(wèn)題更有價(jià)值?！币虼?，身為高三的語(yǔ)文教師要善于在語(yǔ)文課堂上創(chuàng)設(shè)出易讓學(xué)生去探究、討論的問(wèn)題，盡量用最精練且靈活的問(wèn)題，來(lái)激發(fā)學(xué)生的學(xué)習(xí)興趣，使之不由自主地參與到課堂教學(xué)中來(lái)，從而使學(xué)生研習(xí)問(wèn)題、討論問(wèn)題的熱情高漲起來(lái)，在溝通交流中巧妙生成，從而提高教學(xué)的有效性。

總之，語(yǔ)文是一門主觀性較強(qiáng)的學(xué)科，教師可以在每節(jié)課結(jié)束后，多與學(xué)生溝通交流，多聽(tīng)聽(tīng)不同學(xué)生的聲音，將這些反饋信息整理好，再結(jié)合自己授完課后的感受，認(rèn)真反思自己課堂教學(xué)中的亮點(diǎn)和不足之處。在反思的過(guò)程中，還要反思自己在備課時(shí)的預(yù)設(shè)哪些取得了預(yù)期的教學(xué)效果，并生成了“師生”“生生”的共鳴，教師要將這些亮點(diǎn)總結(jié)并記錄下來(lái)，在以后的教學(xué)中繼承并發(fā)揚(yáng)。還要反思有哪些不足之處，是源于什么造成的，如果再講一次，應(yīng)該如何完善，并做好相關(guān)解決方案。事實(shí)證明，成功的教案不在課前，而在課后。相信只要堅(jiān)持下去，執(zhí)教者駕馭課堂將游刃有余，而且也能提高高三語(yǔ)文課堂教學(xué)有效性。

參考文獻(xiàn)：

[1]高文.現(xiàn)代教學(xué)的模式化研究.山東教學(xué)出版社，2000.