GWeek5我有一个志愿.ppt

我有一个志愿,我是个没有什么大志愿的人。我向来没说过自己有如何了不起的学问和天才，也没觉得谁的职业比我自己的高贵或低贱。我只希望吃得饱，穿得暖，而尽心尽力地写些文章。,I Have a Dream I am not an ambitious person and never claim to be learned or gifted, nor do I consider anyone elses profession as superior or inferior or anything for that matter. I merely wish to have enough to eat and enough to wear so that I can devote myself to writing.,在写文章中我可是有个志愿希望能写出一本好的剧本来。虽然我是没有什么远大志愿的人，这个志愿写个好剧本可的确不算很小。要达到这个志愿，我须第一，去读很多的书顶好是能上外国去读几年书。第二，我须有戏必看，去“养”我的眼睛。,Talking about writing, however, I have a dream to realize I wish to write a play, a good play, some day. Though I am not an ambitious person, this dream of mine is by no means a small one. To realize this dream, I need to read a lot in the first place or, better still, spend a couple of years studying abroad. Secondly, I must go to the theater and see as many plays as possible just to cultivate my mind.,第三，我想我应当到什么剧团中作二年职员，天天和导演、演员、与其他的专门的技术人员有亲密的接触。第四，或者我还应当学学演戏，常扮个什么不重要的角色。把上述四项都作到，我还不知道我是否有写剧的天才。假若没有，我的工夫虽然下到了，可还是难以如愿。这个志愿真的不算小！,Thirdly, I should get a job at the theater and work there for a year or two to be in daily contact with directors, actors and technical staff. Fourthly, perhaps, I should also learn some acting, with some minor role to play from time to time. But even given all these prerequisites, I am still not sure that I have the aptitude of a playwright. If that is the case, my dream cannot come true even if I have worked every hard. So you see, in this sense, my dream is really not a small one.,恐怕有人以为我不很实诚吧写个剧本也值得发这么大的愿？好，让咱们往远里说说吧。第一，即使在没有用文字写出来的小说的民族中，他们也必定有口传的诗歌与故事，人，从一个意义来说，是活在记忆中的。,You might think I am not telling the truth, making such a fuss over the business of writing a play. Very well. Let us look at the matter in a broader perspective. Even in a nation without written fiction, there must be ballads and folk-tales passed down orally. Man, in a sense, lives in memory.,他记得过去，才关切将来。否则他们活在虚无飘渺中，不知自己从何而来，和要往哪里去。因此，文艺不管是写出来的还是口传的老不会死亡。文艺出丧的日子，也就是文化死亡的时候。,As he remembers the past, he cares for the future. Otherwise he loses his sense of continuity, not knowing where he comes from and where he is going. Therefore, literature and arts, either in written form or oral, will never die. Should they do, culture would die too.,郭沫若（1892-1978）,1914年留日学医，后弃医从文。 精通日、德、英等语言，1917年前后，从英文译泰戈尔、海涅等人的诗歌。 20年代的译论强调“唤醒译书家的责任心”，创造性提出“风韵译”的说法： “诗的生命，全在它那种不可把捉之风韵，所以我想译诗的手腕于直译意译之外，当得有种风韵译”； “字面，意义，风韵，三者均能兼顾，自是上乘。即使字义有失而风韵能传，尚不失为佳品。若是纯粹的直译死译，那只好屏诸译坛之外了。”,主张发挥译者主观能动性，强调译者的主观感情投入： “译雪莱的诗，是要使我成为雪莱，是要使雪莱成为我自己。译诗不是鹦鹉学舌，不是沐猴而冠。” “翻译是一种创造性的工作，好的翻译等于创作，甚至还可能超过创作。”,重视翻译对语言文学的