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
第一节 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
第一节 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
第一节 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
第一节 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
第一节 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
第一节 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