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Style1. Definition of styleStyle: the way language is used by a given person, for a given purpose, in a given context. In a broad sense, style is the “specific or characteristic manner of expression, execution, construction, or design in any art, period, work, employment, etc. When applied to literature, style suggests the result of a successful blending of form with content. Here form refers to the language a writer uses, and content the theme or ideology of the writer or his/her work.Three grades/domains of style in translation concerning language:1)levels of speech: such as formal or informal, familiar or polite, spoken or written（语体）2)literary forms: such as poetry, drama and novel（文体）3)manner of expression, characteristic of a particular writer, or the way in which languageis used in a particular school or period（风格）Style in the last sense can be viewed as literary style., which is the essential characteristics of every piece of writing, the outcome of the writer‟s personality and his/her emotions at the moment.2. Stylistic Markers2.1 Formal markers1) Phonological markers2) Register markersRegister refers to the scope to which a word is applicable, such as spoken language and written language, dialect and standard speech, male speech and female speech, etc.Another way of classification is to classify register into five categories: (a) the frozen, (b) the formal, (c) the consultative, (d) the casual, (e) the intimate.3) Lexical markersLexical markers indicate the author‟s inclination to the choice of words, e.g. the personal preference of plain and simple words, particular adjectives, adverbs, etc..4) Syntactic markersSentences can be examined in terms of their length (short, economical / long, involved), form (simple / compound / complex), construction (loose / periodic / balanced). In a broad sense, any employment of a particular sentence structure which forms a linguistic feature(e.g. coordination, subordination, parallelism, antithesis对偶, omission, etc.) can beregarded as a syntactic marker.5) Textual markersTextual markers refer to the striking features revealed in the organization of a piece of writing, in which the writer‟s style is mainly revealed. They are revealed in the following aspects: (1) omission of some parts to cause staccato断音in context; (2) recurrence or alternation of long or short sentences; (3) flashback or cutback in temporal sequence in narration; (4) overuse of direct speech or indirect speech; (5) explicitness or implicitness.6) Markers of figures of speech（修辞格）e.g. Charles Dickens: irony and exaggeration2.2 Non-Formal Markers1) Ways of expressionEvery writer has his / her own way of expressing and processing what he / she writes about, even if they are of the same literary school.e.g. symbolic undertones象征性潜隐叙事法“Near the curb of the crowded sidewalk, pigeons were tossing around a bread crust that someone had dropped or thrown them. They couldn’t cope with it or let it be. These creatures filled me with both compassion for them and rage against their Creator. Where did they spend the nights in this severe weather? They must be cold and hungry. They might die this very night.”It seems that the writer is describing the phenomena in pigeons‟ world, but in fact he refers to the reality of human society. The symbolic meanings exist between and behind the lines, leaving much room for readers‟ exploration.2) Subject mattere.g. Hemingway‟s subject matter is always about death, violence, danger and the like. His preoccupation with individual courage, will and power is unique and characteristic of Hemingway style.3) Ideological Contents3. The difficulty in reproducing the original styleStyle is usually part of the original literary works‟ textual meaning; therefore harm will be done, to a great extent, to the textual meaning of the original, if the translator fails to pay enough attention to the style of the SLT in translation.Owing to the different natures of language, however, which may differ in word formation, syntactic structure, figure of speech, etc., there do exist some linguistic difficulties in stylistic transference. Those who believe style cannot be reproduced insist that style belongs to the category of linguistic form, not content. Form cannot be independent of the concrete mode of expression in the literary text, which has to be changed in the translating process, thus the style is changed accordingly. For example:1）此木为柴山山出，因火成烟夕夕多。
文学翻译的三大原则
1．译文应完全复写出原作的思想。
A translation should give a complete transcript of the ideas of the original work.
2．译文的风格和笔调应与原文的性质相同。
The style and manner of writing should be of the same character as that of the original.
3．译文与原作同样流畅。
A translation should have all the ease of the original composition.
《论翻译的原理》内容简介：1791年，英国爱丁堡大学历史学教授亚历山大·弗雷泽·泰特勒(AIexarlder Fraser Tytler，1747—1814)在其所著的《论翻译的原则》(Essay on the Principles
0fTranslation)一书中提出了著名的“翻译三原则”，标志着西方译学研究从此走上了从理论推证理论的道路。
故而，将《论翻译的原则》誉为西方现代译学研究的开山之作并不为过。
在国内学界，“翻译三原则”几乎人人耳熟能详，正如严复的“信、达、雅”一样如雷贯耳。
寄微之三首其三翻译解析一、任务概述在这篇文章中，将对《寄微之三首其三》进行翻译解析。
该篇诗作是中国古代文学的经典之一，具有深厚的文化内涵。
本文将以翻译解析的方式，逐步探究《寄微之三首其三》的含义、修辞手法以及诗人的意图。
二、原文赏析《寄微之三首其三》原文如下：不负青春曰少年，机心故爱长安天。
长安天上家何在，可上昔时寻北辕。
三、翻译解析1. 翻译诗中第一句”不负青春曰少年，机心故爱长安天”的翻译为：“Do not disappoint your youth, called young, with a heart full of longing for the sky of Chang’an.”第二句“长安天上家何在，可上昔时寻北辕”的翻译为：“Where is home in the sky of Chang’an? Can one find the North Pole of the past?”2. 解析这首诗是对长安的怀念和对过去岁月的追忆之作。
通过对诗句的解析，可以看出诗人对长安这座城市的深情怀念，以及对过去岁月的追忆之情。
第一句“不负青春曰少年，机心故爱长安天”，可以理解为诗人不愿辜负自己的青春，所以怀念长安的岁月。
“青春曰少年”表达了青春的意义，“机心”则表示内心深处的向往和渴望，“长安天”则代表着长安这个城市的美好之处。
第二句”长安天上家何在，可上昔时寻北辕”则表达了诗人对长安的思念之情。
“长安天上家何在”指的是诗人多年离开长安，不再拥有家的归属感，“可上昔时寻北辕”则表示诗人想象着重返过去的岁月，重回到长安。
“寻北辕”是一个比喻性的说法，表示寻找那个再也无法回到的时光。
通过这样的翻译解析，可以更好地理解诗歌的意境，感受诗人的情感和意境。
四、诗歌分析1. 音韵格律这首诗为五言绝句，每一句都是七个字，符合五言绝句的格式。
同时，诗中运用了平仄押韵，使整首诗在音韵上显得流畅而和谐。
2. 主题与意境诗人通过对长安这座城市的怀念，表达了对逝去岁月的追忆之情。
翻译知识试题及答案解析一、选择题1. 翻译理论中的“直译”和“意译”分别指的是什么？A. 直接翻译和间接翻译B. 逐字翻译和随文翻译C. 逐句翻译和整体翻译D. 逐词翻译和自由翻译答案：B解析：直译指的是尽可能保持原文的字面意思，而意译则是根据目标语言的表达习惯来传达原文的意思。
2. 在翻译过程中，如何处理专有名词？A. 直接音译B. 根据目标语言习惯进行翻译C. 保持原文不变D. 以上都是答案：D解析：处理专有名词时，可以根据具体情况选择音译、意译或者保持原文不变，没有固定的规则。
二、填空题3. 翻译中的“信、达、雅”原则是由________提出的。
答案：严复解析：严复是中国近代翻译理论的奠基人，他提出的“信、达、雅”原则强调翻译要忠实原文、通顺易懂、文雅得体。
4. 在翻译文学作品时，译者需要考虑的一个重要因素是________。
答案：文化差异解析：文学作品中往往蕴含丰富的文化内涵，译者在翻译时需要充分考虑文化差异，以确保译文能够传达原作的文化内涵和艺术魅力。
三、简答题5. 简述翻译中“忠实性”的重要性。
答案：忠实性是指翻译时要尽可能保持原文的意思和风格。
忠实性是翻译的基本原则之一，它确保了翻译作品的准确性和可靠性。
在翻译过程中，译者需要忠实于原文的内容、风格和作者的意图，同时也要考虑到目标语言的表达习惯，做到既忠实又通顺。
四、论述题6. 论述翻译中如何处理语言的模糊性和多义性。
答案：语言的模糊性和多义性是翻译中的常见问题。
处理这些问题时，译者首先需要准确理解原文的意图和上下文，然后根据目标语言的表达习惯和文化背景，选择最合适的译文。
在必要时，译者可以采用注释、脚注或者附加解释的方式来帮助读者理解。
此外，译者还应该具备一定的语言敏感性和文化素养，以便更好地处理语言的模糊性和多义性。
五、翻译实践题7. 将以下中文句子翻译成英文，并简要说明翻译策略。
中文句子：他的话让人深思。
英文翻译：His words are thought-provoking.翻译策略：在翻译这句话时，采用了意译的方法。
第二部分翻译方法第三章如何正确选择词义在文学翻译过程中，针对原文的词义正确地选择汉语词义，是保证译文质量的根本一环。
首先一个词在不同的句子中有不同的含义。
1)T h i s g e n e r a l w a s c h a r g e d w i t h t r e a s o n.这个将军被指控犯了叛国罪。
2)T h e C o m m i t t e e d e c i d e d t o p u t P r o f e s s o r H e n r y i n c h a r g e o f t h e r e s e a r c h w o r k.委员会决定让亨利教授负责这项研究工作。
类似短语有t a k e c h a r g e o f,t a k e c h a r g e译为“负责”3)A s s o o n a s t h e m o m e n t f o r t h e g e n e r a l o f f e n s i v e a r r i v e d,t h e s o l d i e r s c h a r g e d t h e e n e m y p o s i t i o n b r a v e l y.总攻时间一到，战士们勇猛地向敌人的阵地冲去。
4)S h e c o m p l a i n e d t h a t s h e h a d b e e n c h a r g e d t o o m u c h.她抱怨说，向她收的费太高了。
5)T h e p o w d e r i n p l a c e,h e r a m m e d i n a l o n g i r o n r o d t o t a m p d o w n t h e c h a r g e..火药装好后，他伸进去一根长铁钎以便把炸药捣实。
6)T h i s s t o r e w i l l c h a r g e t h i n g s y o u b u y,a n d l e t y o u p a y f o r t h e m l a t e r.这家商店将你所买的东西记入账内，让你以后付款。
1.Those visitors wander into the church and look around aimlessly. They come out onto the village green and photograph each other in a stone armchair said to be the throne of Attila. They relentlessly tear at the wild roses which one has seen in bud and longed to see in bloom and which, for a day have scented the whole island. As soon as they are picked the roses fade and are thrown into the canal. (excerpt from Nancy Mitford’s The Water Beetle)游客们在教堂里尽情畅游，漫无目的地四处张望。
他们来到村中草地，在石扶手椅上互相拍照留影，据说这石椅曾专属于一位匈奴国王。
游客们无情地撕扯那些野玫瑰花，殊不知它们有的正含苞待放，有的正等待在未来的某一天芳香整片小岛。
这些花儿一被摘下就都枯萎了，接着又被扔进运河之中。
2.Ralph was a small man with wispy white hair and a baby-pink complexion. Behind the enormous oak desk of his library he looked like a midget. The dictionaries and thesauri stacked on either side of him added the effect of framing his face, so that he looked like a midget peering over a window sill. His usually vacant eyes were clouded with resentment. (excerpt from Leonard F. Hilts’ Murder at the Crosswords)拉尔夫是这样一位小老头：他有着稀疏的白头发，面容却似婴儿一般粉嫩可爱。
