山西大学2003届硕士研究生学位论文

A Stylistic Study of Narrative Point of View

and Its Pedagogical Implications in the

Interpretation of Literary Discourses

June 2003

山西大学2003届硕士研究生学位论文

对叙述视角的文体分析及其在文学语篇

教学中的启示

二零零三年六月

ABSTRACT

Point of view, as a commonly-used technique of story telling, plays an important part in narration. Since Henry James, an American writer and Flaubert, a French novelist, first manipulated it in their literary works to achieve various rhetorical distances, more and more writers have paid their attention to its application with novel ideas in practice. Now the relevant studies on it have long been a concern in the field of narratology. In recent years, it has also received much attention from stylisticians who have argued that linguistic features contribute a lot to the comprehension of point of view. However, these two schools of scholars have different research emphases. In the former case, point of view is frequently studied in terms of its classification, whereas in the latter, it is explored mainly through the analyses of linguistic features, such as lexis, sentence patterns, persons and tenses.

In the perspective of narratology, point of view functions as an adjustment to narrated information and rhetorical distances; while from a stylistic viewpoint, it is embodied by the stances and tones implied by the wording. The former exerts its influence directly on narrative structure and yet the latter indirectly through linguistic features. The current study, taking both cases into consideration, carries out a tentative analysis of Faulkner’s The Sound and the Fury to show how these two analytical orientations are combined and reinforced in the revelation of the thematic value and the role of point of view in such an interpretation. It begins with an introduction of a new taxonomy of point of view in the light of Fillmore’s pragmatic contextulization, which draws on the comprehensive and critical studies of other influential scholars’ similar efforts. Then it goes on to examine the stylistic analytic tools: formal properties, both on inter sentential and extra sentential levels. Based on these discussions, certain linguistic features are chosen for the major case study. Furthermore, whether statistical data is useful for the analysis or not is also discussed. With all the premises done, a practical case study is presented and the further implications for literature and language teaching are put forward for consideration as well.

Key words: stylistics; narratology; point of view

内容摘要

视角是小说叙述技巧的一种惯用形式。自美国作家亨利∙詹姆斯与法国作家福楼拜首先注重其在小说中的运用并以此作为调节叙述距离的重要工具，越来越多的作家在这方面不断创新、实践、发展、运用并成为了叙述学领域的研究热点。随着文体学的兴起，小说的叙述视角也受到了文体学家的关注，成为叙述学和文体学两个领域的研究重合点。但是在这两个学科中的研究方向颇为不同。叙述学者着重分析不同视角本质性的特征及其对视角的分类；而文体学家则对语言选择感兴趣，注重语言表达形式的特征，其中主要包括词汇、句型、标点、人称、时态等。

从叙事学角度来看，视角起着调节叙述信息和距离的作用；从文体学角度来看，视角体现叙述者在叙事时通过文字表达流露出的立场观点、语气口吻等。前者直接作用于叙述结构，后者通过语言特色间接作用于叙述事件。本文旨在兼采两家之长，试对福克纳的名作《喧嚣与骚动》一文做出分析。文章首先批判地回顾了不同叙述学者对叙述视角的分类，在此基础上借用Fillmore的语境化假说提出一种新的划分方法。然后结合不同的语言特征，选择恰当案例进行叙事文体分析。最后，理论结合实践，提出了改进叙事文体教学的初步设想。

关键词：文体学、叙述学、视角

Abstract

The discussion of the Europeanization in English-Chinese translation has to be traced back to the Opium War in the middle of the 19^th Century because before that, the Chinese language, as part of the Chinese culture, has never experienced so remarkable a change as it did after the War. Under the challenge of western languages and cultures, this almost ‘self-sufficient’ system of Chinese was broken apart one level after another. Therefore, the Europeanization of Chinese does not stem from an internal force, but rather originates from an external pressure. The entry of western languages into the Chinese language is the greatest change in the Chinese language history since the Qin Dynasty.

The successful Europeanization of the Chinese language is accomplished with the aid of modern translation. As it carried out on the platform of language, translation in a large scale will inevitably influence the target language. In China, translation plays a significant role in the extensive spread of the vernacular Chinese in the early 20^th Century and consequently in the development of the Chinese language. The influence exerted by modern translation on the Chinese language comes mainly from literal translation, which results in the phenomenon of imitating the forms of western languages by the Chinese language. Therefore, Europeanization is closely related with literal translation. However, in modern translation, the choice of literal translation method is deeply rooted in its time and cultural background.

First of all this thesis analyzes the contributing factors for the Europeanization of Chinese and comes to the conclusion that the Europeanization is an inevitable event in its development. In the process of Europeanization, the historical factor is the most remarkable. In this section, the author employs the ‘Polysystem Theory’ developed by Israeli scholar Even-Zohar to analyze the important role of Europeanization in the New Culture Movement at that time.

Although Europeanization is an undisputable fact and is still continuing in the contemporary language, we cannot accept it altogether without discrimination. At present, many over-Europeanized translations appear in the practice, which produces a malign influence on the Chinese language. Over-Europeanization is both damage to our national language and irresponsibility to our readers.

In view of the negative influence of over-Europeanization, there is a necessity to put forward the criterion and requirement for the entry of Europeanization. Aiming at over-Europeanization, translators should develop the appropriate philosophy towards translating. And consequently under its guidance the appropriate translating strategy will be adopted to avoid the over-Europeanization.

Key words: Europeanization, foreignization, domestication, Polysystem Theory, normativity

摘 要

翻译的“欧化”现象必须追溯到19世纪中叶的鸦片战争，因为在此以前，汉语作为中国文化的一部分，在过去的2000多年里从未发生过显著的变化。然而鸦片战争以后，这种近乎“自给自足的系统”却被西方的语言及文化一层层地打破了。因而，汉语的“欧化”不是起因于一种“内在的力量”，而是源自一种“外在的压力”。汉语的“欧化”是两千年来汉语的一大变化，是秦以来所未有过的变化。

“欧化”的成功主要借助近代翻译。翻译是在语言平台上进行的，大量的翻译必然带来对语言的冲击和改造。在中国，翻译对20世纪初白话文的普及和汉语的发展起到了推波助澜的作用，而近代翻译对汉语的影响主要源自直译，直译导致汉语出现仿西方语言的句式。受“向西方学习”思潮的影响，在近代翻译中，直译方法的选择有其深层次的时代——文化背景。而直译与“欧化”正相辅相成。在此条件下，翻译西方作品自然容易“欧化”，大量的新名词、新概念进入汉语之后，大量的“欧化”句法、“欧化”文体现象随之涌入。

本文首先分析了促成汉语“欧化”的语言、历史和社会因素，并由此得出，汉语的“欧化”是不可避免的。特定的历史文化条件在“欧化”过程中的作用十分突出。在汉语的“欧化”过程中，“五四”时期的社会条件为“欧化”的渗透起到了铺垫的作用。在这一节里，作者借用以色列学者伊文•佐哈的多元系统理论来分析“欧化”语言在当时社会人们心目中的地位。

汉语的“欧化”是一个不争的事实，而且“欧化”现象在当代，乃至将来仍会继续，这是由于语言是开放的动态系统这一性质决定的。然而，任何事物都具有两面性。“欧化”也有善恶之分。我们不能因为它无可避免就听之任之。目前，在翻译实践中出现了很多过分“欧化”的现象，给汉语带来了不良的影响。这些过分“欧化”的现象包括滥用被动语态，滥用名词，介词的过分“欧化”等等。过分“欧化”的语言是对我们的民族语言极大的损害，是对译入语读者的不负责任。

鉴于恶性“欧化”的负面影响，因此有必要对“欧化”的吸收采纳提出恰当合理的标准和要求。这就是在易懂、简洁、必需的原则下，符合汉语的个性和使用习惯，恰当的吸取外语中有益的成分，并将其融入我们的民族语言。翻译过程中要避免过分“欧化”，首先要具备正确的翻译观。针对“欧化”，本文建议译者采取“释意性”的翻译思想。即通过在译入语中选择与原文大致对等的语法形式、句法结构以及习惯表达来传译原文的意义、精神和风格。这样的翻译观一方面有利于译者在翻译过程对译入语语言的锤炼，避免对原文采取亦步亦趋的态度；另一方面有利于维护我们汉语语言的民族性。这样的翻译思想引导译者采取相应的翻译策略。由于译文是给译入语读者看的，这就要求在语言层面上译文的语言必须符合译入语习惯，否则译文会晦涩难懂，让读者有深陷泥泞，举步为艰的感觉。那样效果就会大打折扣。因此在具体翻译操作中应以归化法为主。异化法作为归化法的一个有益的补充，其作用也是不可忽视的。

关键字：欧化，归化，异化，多元系统理论，规范化

Abstract

Henry David Thoreau, American famous essayist and thinker of the nineteenth century, is Emerson’s sincere friend and disciple. His masterpiece Walden is a collection of 18 essays with an elegant and delicate style. Thoreau thinks urban life is disgusting, where people work all the day and chase material enjoyment crazily. As a result, their life becomes less and less meaningful. The society is filled with intolerable noise. Tired of this social condition and discontent with this kind of life, Thoreau went to Walden Pond and lived there from 1845 to 1847. There he lived by growing crops and vegetables. He strolled in woods and explored the true meaning of life. Walden is the real record of his life during this period.

This thesis studies Thoreau’s Walden in detail and expounds his main purpose to write this works. The author analyses Walden from three aspects:

Firstly, by analysing the chapter of “Brute Neighbours” mainly, the author examines the relationship among human beings, nature and animals conveyed in Walden. In “Brute Neighbours”, Thoreau shows us the double aspects of animal world: peaceful and cruel, just like the world we human beings live in. After some vivid descriptions of the diving of the loon and his pursuit of the loon, Thoreau means to tell us that it is the performances between the pursuer and the “pursuee” that constitute the world. From the author’s viewpoint, the relationship presented by Thoreau is the harmonious dance between human beings and animals on the stage of nature and their interactions facilitate the formation of world.

Secondly, the author digs the similarities among the philosophies on life in Walden, Buddhism and Hinduism. They advocate that man must simplify his life, must abandon the pursuit of substance and participate in the activities in nature alone in order to achieve self-perfection and enjoy happiness from nature. After simplification and austerity, the narrator realizes his dream and meets with God at last. At the end of this thesis, the author expounds again Thoreau’s thought that if one wants to be free completely, he must give up his sensuous pursuit, must return to nature. Thus he can explore the true meaning of life.

Last, the author explores the writing style of Walden trying to elucidate Thoreau’s thoughts pervaded in his humorous, ironic and paradoxical language. The author analyses the structure of Walden by studying Thoreau’s words, puns, sentences, paragraphs and points out that just like the words and puns are of two kinds, simple and difficult, and just like the sentences and paragraphs are of two kinds, short and long, the whole book has a pervasive contrast. On the one hand, Thoreau is practical and down to earth. On the other hand, he is philosophical and difficult to understand.

In the end, Walden does not ask us to submit to nature, nor is it an effort to praise the individual above the community. Nature teaches us to learn to reach beyond nature. The conclusion of Walden is a call to everyone, whatever their present position, whether living alone or in crowds, in the woods or in the city, to have the courage to live a life according to the dictates of the imagination, to live the life one has dreamed.

Key words: Walden; nature; human being; spirit

内 容 摘 要

作为十九世纪美国著名的思想家和散文家，亨利∙梭罗是美国超验主义运动旗手爱默生的忠实的信徒、朋友。他的代表作《瓦尔登湖》（或《林中的生活》）是一部文笔细腻优美、风格清新流畅的散文随笔。在梭罗看来，城市生活是令人厌恶的，在那里人的生命被物质享受消磨掉了。为了物质生活的享乐，人们终日疲于奔命，生活失去了它应有的意义。社会整日充满无限的喧嚣，人们不得安宁。由于厌倦了当时美国资本主义物质文明上升时期那种物质至上、金钱万能的社会状态，痛恨商业文明对人们思想的毒害和对人们过着那种“非生活的生活”的不满，梭罗于1845年7月4日至1847年9月6日独自在康考德附近的瓦尔登湖畔筑屋隐居。他躬耕垄亩，自食其力；林中漫步，探求人生真谛。《瓦尔登湖》便是他这段生活与思想的真实记录。

本文试图通过对《瓦尔登湖》这一散文集的研究来探明梭罗的写作意图。作者从三个方面对《瓦尔登湖》进行了分析：

首先,作者主要通过“野蛮邻居”一章的分析，对作品中人、动物、自然之间的关系进行了研究。在 “野蛮邻居”一章中梭罗指出：与人类世界一样，动物世界也有其两面性,即和平友善的一面和残酷竞争的一面。作者在对潜鸟的一躲一藏与叙述者的穷追不舍进行详细分析后指出，梭罗所指的这种关系其实是人与动物在自然这一舞台上的表演，而这一表演恰恰促成了这个世界的形成。

其次，作者研究了《瓦尔登湖》所体现的人生哲学与佛教和印度教的相似之处：人类要想获得自我的完美，享受自然赋予的幸福，必须使自己的生活简单再简单，必须全身心地投入到自然活动中去。在经历了苦行僧般简朴的生活后，梭罗最终实现了自己的梦想，达到了与上帝相互交流的完美境界。在本章的最后，作者再次阐明了梭罗的人生哲理：人类要想获得自我的彻底解放,必须放弃对物质享受的追求,回归自然,才能探求人生的真谛。

最后，作者从作品所体现出的梭罗本人的艺术才能与写作风格入手,欲深入透彻地了解梭罗幽默、讽刺、似非而是矛盾语言背后所要表达的思想。作者通过对这一作品中的文字、句式、段落及双关语的研究指出：正如作品中的文字与双关语有易有难，段落句子有长有短，这一作品处处弥漫着对比。在这一作品中，一个讲求实际的梭罗和一个哲学家似的、极度难懂的梭罗来来回回交换着角色。

《瓦尔登湖》提倡人类放弃对物质生活的享受,顺乎天性,回归自然,不是要人类服从自然,而是要认识自然，超越自然。在这部散文集的最后一章中,梭罗向人类提出了号召：每个人不论他现在处境如何,不论处于偏僻的乡村还是处于繁华的闹市,都应有足够的勇气按照自己的想象去生活,过一种自己所梦想的生活。

关键词：瓦尔登湖；自然；人类；精神

山西大学2003届硕士研究生学位论文

on the convergency of Textualist and Contextualist Stylistics: theoretical TREND in Literature Teaching

POSTGRADUATE Xie Hong

SUPERVISOR Professor Liu Hailiang

MAJOR Linguistics and Applied

Linguistics

RESEARCH DIRECTION Applied Linguistics and

English Teaching

Methodology

DEPARTMENT School of Foreign

Languages

WRITING PERIOD Jan. 2003—May 2003

June of 2003

山西大学2003届硕士研究生学位论文

论文本主义文体学与语境主义文体学的结合：文学教学的理论走向

研 究 生 谢 洪

导 师 刘海量 教授

专 业 外国语言学及应用语言学

研究方向 应用语言学及英语教学法

系 所 外语学院

论文起止时间 2003年1月—2003年5月

二零零三年六月

ABSTRACT

These years, with the incorporation of related disciplines into stylistic studies, various new groups come into being, which brings stylistics into prosperity. However, due to the difference in research focus and analytical model, most of them hold the theoretical stance of their own strongly and repel the others.

By applying Richard Bradford’s classification of textualist and contextualist stylistics, this thesis makes a detailed discussion on the various theories covered within them and points out that to overcome their divorce by converging them can effectively promote a healthy development of stylistics. The thesis resorts to the methods of deduction and counterevidence to demonstrate the defects of textualist and contextualist stylistics both theoretically and practically. Then it puts forward an analytical model, which incorporates them. Finally, by applying this model to the analysis of Andrew Marvell’s To His Coy Mistress, William Blake’s London and George Owell’s A Hanging, this analytical model is proved to be able to avoid many drawbacks common with the previous stylistic studies.

Furthermore, the thesis also investigates the beneficial implications of this convergency for the theories and practices of literature pedagogy. It is hoped eagerly that all these attempts would be especially of some help and enlightenment for the pedagogy of foreign literature of our country.

Key Words: contextualist stylistics; textualist stylistics; divorce; convergency

内 容 摘 要

近年来，由于相关学科的不断引入，文体学领域新兴学派层出不穷，呈现出一派繁荣景象。然而，由于各派理论关注面和分析模式不同，他们往往各自为营，相互排斥，从而导致了长期以来文体分析中存在诸多片面性与局限性。

本文采用Richard Bradford关于文本主义文体学和语境主义文体学的划分方法，深入探讨了这两种文体学所涵盖的各种理论观点，从而指出，克服它们之间的分离走向结合是促使文体学健康发展的主要途径。文章首先用演绎和反证的方法，从理论和实践两方面指出了文本主义文体学和语境主义文体学的缺点，然后提出了一种有机结合这二者的综合分析模式，并用该模式分析了安德鲁·马韦尔的《致羞涩的情人》，威廉·布莱克的《伦敦》和乔治·欧维尔的《绞刑》等三篇作品。实践证明，这样分析避免了以往各派理论中文体分析的种种不足。

此外，本文还探讨了文本主义文体学和语境主义文体学的结合对文学教学理论及实践的重要指导意义，旨在对我国的外语文学教学有一定的启示作用。

关键词：文本主义文体学，语境主义文体学，分离，结合

杨青论文《迷失的灵魂——哈代 无名的裘德 主要人物分析》

摘 要

托马斯·哈代（1840－1928）是十九世纪末二十世纪初英国文学巨匠。

哈代诞生的年份（1840 年） 正是英国维多利亚女王即位的第四个年头。这位女王死于1901年，在位共64年。这是英国小说史上一个辉煌鼎盛的时期。哈代自六七十年代之交开始小说创作至九十年代末基本结束小说创作生涯。此时期恰是维多利亚时代后半期。哈代的现实主义——批判现实主义小说正是对从18世纪开始的英国近代小说现实主义传统的继承。从哈代小说艺术的主流来看，他在处理人物和情节上在运用叙述方法上仍是现实主义和传统主义，但若将他的小说全部纳入传统却又觉得很难统统囊括。

哈代，作为多愁善感的诗人和浪漫主义者，对受工业资本主义巨大浪潮侵袭的古老而又美好的事物常常唏嘘慨叹；但是同时作为具有哲学和科学头脑的观察者，他也清醒地看到了社会发展的必然趋势；而作为一个具有艺术敏感性的预言家，他也隐约听到了由远及近渐渐传来的新时代的脚步声。因此在他最后一部小说作品《无名的裘德》中自觉地传达了这种声音。

论文共分六部分。

第一至第三部分分别描写了裘德，淑，艾拉白拉等主人公的现代特征。

英国工人阶级是随着工业革命的发生而出现，工人阶级的出现是十九世纪英国历史上最重要的事件之一。通常，这一新兴人群通过工会或其他社会活动发现了自己的潜力，既而白天的辛苦劳作后在传教士兴办的夜校或读书会中学习初级知识。对一些人而言教育意味着摆脱目前被动的社会地位而对另一部分（少数人）而言教育近似于一种愉悦而单纯的精神享受——裘德无疑属于后者。可以说裘德是哈代笔下兴新兴的工人阶级的代表。 尽管他来自农村，但在他眼里却是“丑陋的”， 他向往城市的新生活。那些给予他希望或使他沉沦的更是城市生活的内容。所以当哈代将他定义为“一个上不了牛津大学的年轻人”时，哈代不仅预见了个人的悲剧命运而且预见了他所代表的整个阶级将要经历的苦难。

如果说裘德是时代的产物，淑则更是现代社会的产物，属于典型的“问题”性格，是当时小说中少见的复杂而自相矛盾的女性。她对婚姻中妇女地位的不满更是反映了一个具有自由独立意识的新女性形象。

第四部分着重分析作品反应出的现代社会的孤独感。裘德自离开玛利格伦后就在不停的奔波中，所经过的没有一处自己的家园，无人理解无人欣赏。反映了他深刻的孤独感和压抑感，而这些都不是农业社会平静，安详生活带来的，而是躁动不安的现代生活的副产品。

第五部分分析了作品的背景。本书并不像哈代的其他小说那样将自然风光，农村生活作为背景，反之，作品人物只是不停地穿梭于火车站间或在教堂前落寞的街道踌躇，徘徊。反应的更多的是城市背景下人们的生活状况。

第六部分分析了作品所运用的象征手法。如那个难为当时读者理解的小时光老人，正是即将产生的问题少年的象征。他重结果不重过程，悲观厌世，以杀戮行为作为解脱。使人对未来感到不寒而栗。而与之相对应的艾德琳太太是过去静谧，和谐生活方式的象征。在她看来困扰淑的种种疑问焦虑都很难称之为问题，一切都顺理成章。

凡此种种，《裘德 》中哈代所描写的这类人物的内心世界，就哈代时代而言是崭新的寓言性的，像这类思想行为都走在时代前面的人物在哈代设计的人生舞台上大多扮演着悲剧角色。因为当时他们是那样的势单力薄，根本无望突破旧事物的种种路障和禁锢。

ABSTRACT

Thomas Hardy (1840－1928) occupies a prominent position in the history of English literature. Hardy’s fiction writing started from 1860s and ended in 1890s, spanning the most splendid time for English novels in the latter half of the Victorian Age. Most of Hardy’s works inherit the tradition of the realistic trend of English novels, but at the same time it’s not altogether justifiable to classify all his works into the traditional type.

As a sentimental and romantic poet Hardy sighed over the old and beautiful things that were eroded by the industrial society, but as a cool observer with a distinctively philosophic and intellectual turn of mind he knew it is an inevitable trend of the social development. He felt the faint steps of time, so he conveyed such messages in his writings. And among them, his last novel Jude the Obscure dramatizes unmistakably the perplexities and frustrations of modern man..

The present thesis consists of seven chapters.

The first three chapters analyze respectively the three main characters of the novel –Jude , Sue and Arabella.

Jude comes from the country but in his eyes the rural scenes are “ugly and gloomy”. He longs for intellectual realization which he finds only possible in the city. This is what his heart and mind must feed on. This is also what rouses him to excitement and then leaves him broken. He is eventually defeated physically by serious consumption and spiritually by his dreams. His death becomes inevitable. This is not a collapse brought about by psychological weakness, but the disintegration of a man whose strong, healthy impulses and lofty aspirations have been destroyed by a hostile environment.

Even more than Jude, Sue is the product of modern society, who is a kind of typical “problematic” character. Her style of thought, her winsome charms and maddening indecisions are all conditioned by the growth of intellectual skepticism and modernist sensibility. She is the first major anticipation in the English novel of that profoundly affecting and troublesome creature: the modern girl.

Another woman character Arabella also engages our interest. Where Sue is infuriatingly idealistic and “fastidious”, Arabella is thoroughly “coarse” and – if of necessity – self-seeking, and Jude is destroyed largely by the warfare of these two types of consciousness. She is the flesh kind, the product of the fields, and the rustic woman, “exuberant and overflowing with health, vanity and appetite”. Lawrence seems reasonable in claiming that Arabella brings to consciousness Jude’s own sexuality. In this sense she is both Jude’s “creator” and “destroyer”.

Chapter four focuses on modern man’s loneliness. Jude is isolated from society because his ambitions, abilities, and sensibility separate him from his own class while winning him no place in any other. He is isolated in his marriage to Arabella because she has no idea of what he is about, and doesn't care. He is isolated in his marriage to Sue because she is frigid. Moreover, the sense of loneliness is intensified by the way in which both women are presented less as character complete in themselves than as projections of Jude, sides of his character, existing only in relation to him. Jude has always been restless, for he does not belong to Marygreen, however often he returns there. Just as the titles of the book’s six parts testify to Jude’s restless wanderings— “At Marygreen”, “At Christminster”, “At Melchester”, etc. – so the things which shape his quest fall apart, the center cannot hold. He is constantly driven to adopt new “lives”. He has never had and never succeeded in finding a home in the fullest sense of the word.

Chapter five analyzes the environment of the novel. It’s well accepted that Hardy’s novels are “novels of characters and environment”. Environment plays an important role in his works. In Hardy’s previous works the natural and rural area always act as the background of the protagonists, but here Jude and Sue are kept on the run in the urban city. The railway station or streets or Cathedral are the scenes of their appearance. Even the rural scenes mentioned at the beginning of the novel are ugly and gloomy in Jude’s eyes. His vision of the “Celestial City” appears so unlike the place in which he is forced to live and work. His aspirations are in part a reaction against his life at Marygreen, against the dull, the unimaginative, and the commonplace, and he endows the lights of Christminster with a romantic other-worldly power. And when he plunges headlong into this alien and highly self-deludingenvironment, his tragedy is inevitable.

Chapter six discusses in detail Hardy’s symbolism in the novel. For example, The pale, sad child – Little Father Time – in the train is an effective, arresting symbol of the predicament of latter-day mankind, a representative of the coming generation who sees no realities but abstractions. Already, at ten years old, his mind has been so impressed by the incredible misery of human life that he does not know how to smile and longs only for death. As a contrast, Mrs. Edlin is the symbol of the peaceful and quiet old time. She is an example of how much simpler and easier life was before man had progressed in the hands of inescapable time to his present high state of nervous and emotional organization. However, she is not an image from a timeless and ideal pastoral world. Mrs. Edlin and the rest of the peasants in the novel remain meaningful only at the level of history, preserved for Hardy’s day by an eddy in time. They are no answer to Jude and Sue’s problems. Jude’s three views of Christminster provide another example. They vividly trace the graph of Jude’s hopes and disappointments in his longing for knowledge.

Jude the Obscure is certainly Hardy’s most ambitious, most courageous book and the most remarkable thing about the novel is perhaps that it presses so insistently into the twentieth century – into the problems of modern man. The characteristic restlessness of the novel operates as an image, a dramatic reflection, of “the modern vice of unrest”. Hardy portrays here not only the breakdown in traditional patterns of rural life and the greater ease of physical mobility brought about by those railways which play such an important part in Jude, but also the spiritual and intellectual disruption of the times, Matthew Arnold’s “strange disease of modern life”.

Abstract

The thesis classifies oral translation into three types: general, functional and scientific interpretation and studies the criteria of each type of interpretation separately from four perspectives: features of the interpretation type, requirements from the customer, knowledge or abilities required of the interpreter and variables affecting the interpreting effect. In the end, the thesis has respectively summarized the criteria of the satisfactory interpretation and the qualified interpreter. From the thesis’ point of view, the satisfactory general interpretation shall be audience-friendly and accurately transmit the meaning of the original speech; the qualified general interpreter shall be always oriented to the customer’s needs and able to skillfully treat the cultural differences between the customers of two sides. And the satisfactory functional interpretation shall be spiritually consistent with the original speech and accurately and thoroughly retell the information contained in the original speech; the qualified functional interpreter shall ideologically conform to the features of the on-going activity and have background knowledge of the on-going activity. Finally the satisfactory scientific interpretation shall be first faithful to the original speech and immediately and efficiently transmit the meaning of the original speech; the qualified scientific interpreter shall be able to maintain calm psychological state during interpreting process and have superb ability to use professional interpreting skills.

Key Words: criteria; oral translation; types of oral translation

摘 要

近几年来随着中国加入WTO， 社会对口译的需求快速增长，口译实践得以极大的发展。而在另一方面口译理论的发展却长期滞后，不能对口译实践起到引导作用。响应这一矛盾，本论文选择口译标准作为它的研究课题。

论文首先仔细研究了口译的三个主要阶段：口译听辨，信息处理和口译表达。总结出了口译在整体上的一些共性特点。在取得这些对口译从整体理论高度上的初步理解后，作者提出先对口译进行分类，然后分别研究它们各自的标准。通过对其他人口译分类的研究，论文阐述了自己的口译分类原则，并提出根据这一原则分出的三个口译类型：普通口译，功能口译和科技口译。

接下来，论文分别从四个方面对口译标准进行了研究：口译类型特点，顾客要求，译员应具备的知识和能力以及影响口译效果的其他因素。最后，论文分别就满意口译和合格口译译员提出了各自的标准。本论文认为，满意的普通口译应首先听众界面友好并能准确传达原语意思；合格的普通口译译员应始终以顾客的需求服务为导向，能够技巧性的处理交际双方的文化差异。满意的功能口译应从精神实质上与原语一致，准确全面地传达所有包含在原语中的信息；合格的功能口译译员应能够从意识上遵从交际活动的特点要求，具有相应的背景知识。最后，满意的科技口译首先应忠实于原语，能够及时高效地把原语意思传递给听众；合格的科技口译译员在口译过程中应能够保持平静的心态，有高超的运用专业口译技巧的能力。

论文在对全文进行回顾后，总结出本研究的主要发现和不足之处，并对以后的研究提出了建议。

关键字：标准；口译；口译类型

作者：佚名
出处：未知