外国语言文化传播研究丛书心田的音乐:翻译家黎翠珍的英译世界/张旭 本书特色
黎翠珍是当代香港非常活跃的一位翻译家。她长期从事英汉双语写作，又有众多英汉和汉英翻译作品，且其译文颇具特色。本书尝试在现代翻译理论的观照下，结合她翻译的小说、诗歌、戏剧、散文、外宣文本等不同文类作品，通过文本细读，考察她是如何发挥自己的双语特长、注重香港元素的传译以及营构言语的音乐效果的。这些无疑是她近年来努力摆脱后殖民影响、重塑香港地方文化、建构香港文化身份等学术活动的一部分。
外国语言文化传播研究丛书心田的音乐:翻译家黎翠珍的英译世界/张旭 内容简介
黎翠珍是当代香港很好活跃的一位翻译家。她长期从事英汉双语写作，又有众多英汉和汉英翻译作品，且其译文颇具特色。本书尝试在现代翻译理论的观照下，结合她翻译的小说、诗歌、戏剧、散文、外宣文本等不同文类作品，通过文本细读，考察她是如何发挥自己的双语特长、注重香港元素的传译以及营构言语的音乐效果的。这些无疑是她近年来努力摆脱后殖民影响、重塑香港地方文化、建构香港文化身份等学术活动的一部分。
外国语言文化传播研究丛书心田的音乐:翻译家黎翠珍的英译世界/张旭 目录
绪论 ················································································································1
第1 章 表演性文本之翻译——以黎翠珍英译《原野》
第二幕为例·················································································· 21
**节 黎译《原野》之源起 ········································································· 22
第二节 声音节奏的传递 ·················································································· 23
第三节 通俗话语风格的传译 ········································································· 30
第四节 人物个性化语言的重铸 ····································································· 39
第五节 反思与启示 ··························································································· 45
第2 章 乡土气息的再现——细读黎翠珍英译《一把酒壶》······ 49
**节 风格与风格翻译说略 ········································································· 49
第二节 整体风貌的把握和再现 ····································································· 53
第三节 粗俗语体风格之传译 ········································································· 57
第四节 形象化描写风格的传译 ····································································· 64
第五节 启示与结语 ··························································································· 66
第3 章 异样的视角——细读黎翠珍英译《禅宗语录一百则》···· 69
**节 选材与策略 ··························································································· 69
第二节 析字：辨析禅意 ·················································································· 73
第三节 择体：传递禅“风” ··········································································· 80
第四节 传意：在“说破”与“不说破”之间 ·········································· 87
第4 章 言语的音乐美——黎翠珍英译现代汉语诗歌研究········· 95
**节 翻译选材与译者翻译诗学观 ···························································· 96
第二节 传言：声音效果的营构 ····································································· 99
第三节 绎象：文化意象的重构 ··································································· 107
第四节 达意：现代新诗精神的再现 ·························································· 114
xviii
心田的音乐：翻译家黎翠珍的英译世界
第５章 从“通事”到“通心”——细读黎翠珍英译
《香港礼宾府1997— 2005》··················································· 119
**节 源语文本和规范概念说略 ······························································ 120
第二节 充分性原则观照下的复现策略 ····················································· 122
第三节 接受性原则观照下的变通策略 ····················································· 128
第四节 外宣文本风格之传译 ······································································· 135
第6 章 文本的快乐——细读黎翠珍英译《鸟人》······················· 143
**节 作者审美情趣和原作风格说略 ····················································· 143
第二节 话语杂糅与翻译 ················································································ 145
第三节 民间语言风格的传译 ······································································· 161
第四节 京剧唱段之传译 ················································································ 172
第五节 反思与启示 ························································································· 175
参考文献······································································································· 179
附录1 黎翠珍已刊与未刊译著目录················································· 187
附录2 女拔萃书院西蒙斯校长致黎翠珍····················································197
附录3 从失语到对话——兼评张佩瑶、黎翠珍等编译
《中国翻译话语英译选集（上册）》····································· 199
附录4 黎翠珍教授近影········································································· 207
后记················································································································· 209
作者简介······································································································· 215
