《人民文学》英文版

《人民文学》英文版（精选10篇）

《人民文学》英文版 篇1

党的十七大突出强调了加强文化建设、提高国家文化软实力的极端重要性, 把包括中国文学在内的中国文化译介推到了一个前所未有的高度。而期刊, 凭借其连续性和时效性的优势, 在对外传播中所起的特殊作用不容忽视。只可惜, 新世纪伊始, 由于种种原因, 有着50年历史的《中国文学》英文版突然停刊。之后中国大陆的中国文学英译进入了长达十年的无期刊时代, 外国学者缺少了一个了解中国文学的可靠渠道。直到2011, 《人民文学》英文版 (PATHLIGHT路灯) 终于试刊。欣喜之余, 笔者又有些担心, 这盏指路明灯究竟可以亮多久?

本文通过对PATHLIHGT诞生背景, 试刊情况的梳理, 对该刊面临的机遇与挑战进行了思考, 最后提出一些建议, 希望有助于该刊的长期健康发展。

1 诞生背景

2001年, 由于种种原因, 成绩斐然贡献卓越的《中国文学》英文版停刊, 让人扼腕叹息。此后十年, 虽然有规模宏大的《大中华文库》译介出版工作得到了各界的广泛支持和认同。但《大中华文库》所涉及的均为典籍, 而同一时期现当代文学的英译主要是通过作者个人出售版权海外出版社译介出版的方式, 呈现出零散无序的特点。

近年来, 越来越多的有识之士认识到, 中外文学交流信息不对称的情况仍然非常严重。李敬泽 (李舫:2011) 指出, 国外汉学家、出版家、研究者对中国文学特别是当代文学特别感兴趣, 但遗憾的是, 他们没有可靠的渠道去了解中国文学正在发生什么, 因为这些方面我们的文学翻译明显滞后了。

从2001年到2010年中国大陆的中国文学英译经历的一个长达十年的没有期刊的时代, 对此, 学者颇为遗憾。徐慎贵、何琳、赵新宇、林文艺等纷纷撰文, 对《中国文学》英文版的突出贡献、历史文化价值、翻译选材、翻译策略等进行了多角度的深入研究。甚至到2012年5月, 亚斌还专门撰文, 强调中国文学译介中英文期刊的重要性。

翘首期盼中, 《中国文学》英文版虽未复刊, 但我们终于迎来了《人民文学》英文版的试刊。

2 理想与现实

《人民文学》英文版定名PATHLIGHT, 寓意是在“中西文化交流路上能起到一盏灯的作用”。

为了避免出现孤芳自赏的局面, 为了有效的进行跨文化传播, 该刊在装帧设计、编辑、发行诸方面付出了大量心血。装帧设计、编排上注重与国际欣赏习惯接轨;编辑队伍由中外编辑、译文审定者共同组成, 而翻译由主要依靠以英语为母语的外籍翻译家担纲。发行方面, 除了传统的纸质刊物, 力图有所创新, 将尝试使用网刊或者是电子刊物, 以保证杂志的定向抵达。

《人民文学》杂志官网网上书店资料显示, 截止2013年5月, PATHLIGHT共出版5期 (2011年的试刊, 2012年出版了三期, 2013年已出一期) 。这与之前相关人士所说的以季刊的形式出版似乎有些出入。而销量据权威图书监测机构“开卷图书”开卷在线截止2013年3月查询结果显示, 2011年试刊12月试刊号的累积销量为32本, 2012年3月所出的12年第一期销量为64, 而2012年9月所出12年第二期累积销量为17本。当然开卷统计的主要是联网的新华书店等渠道, 实际销售数量可能不至于此, 但是考虑到试刊号印了3000册, 暂时没有在海外发行 (钟润生:2011) , 这种销量的确让人看到形势严峻。在amazon.com上输入pathlight, 人民文学英文版没有出现在显著位置, 再补充条件Chinese, 才能找到人民文学英文版杂志, 而且2012年出的其中两期。电子刊物似乎依然不见踪影, 及时送达也遥遥无期。

3 机遇与挑战

《人民文学》英文版是试刊不到一年, 2012年10月中国文学界就迎来了属于自己的辉煌一刻, 莫言获得诺贝尔文学奖。谈到莫言获奖的意义, 中国作协副主席李冰 (董阳:2012) 指出, “……会使外国读者更加关注中国文学和中国作家, 激起他们对中国文学的兴趣, 而这种兴趣又会激发国外汉学家下功夫把更多的中国文学作品翻译介绍到世界上去。”

机遇难得, 但挑战也不小。人民文学英文版作为期刊的定位本身就成了一把双刃剑。期刊特有的连续性和时效性是它的优势, 但也对编辑和译者提出了更高的要求。这就需要有一支过硬的翻译队伍, 否则可能陷入等米下锅的窘境。人民文学英语版能请到国外译者固然是好事, 但是也必须做好多方面的准备。

首先, 是译者的精力和兴趣。考虑到人民文学英文版请到了英美澳大利亚等国的20多位翻译, 这些翻译家本身有很多还在大学担任教职, 有限的精力投入到翻译中很多是兴趣使然。葛浩文先生就曾经说过, 他选择作品翻译的重要条件之一就是“我喜欢且适合我译” (吕敏宏:2012) 。如若出现翻译的任务与兴趣不一致的情况, 又当如何。

其次, 如何看待译者的翻译策略。莫言获诺奖, 英文译者葛浩文功不可没, 但有人认为葛浩文对原著的改动太多。对此, 美国著名汉学家白亚仁 (李昊皎:2012) 表示:“在西方国家, 文学编辑很有权威, 经常要求修改、删节。在中国, 编辑很少发挥作用, 那么只好由译者来承担。”那么, 中国编审人员如何看待这种修改和删节, 是否应该赋予外籍翻译家更多的自由?

第三, 资金和市场渠道问题。曾任外文局副局长的黄友义 (2011) 说, 汉译外出版物要经过17道工序, 费用远高于面向国内发行的刊物。外国知名译者的加盟无疑有助于吸引对象国的读者, 但制作成本当然也会有所增加。出版成本高与发行量小之间的矛盾让资金问题显得更加突出。《中国文学》英文版停刊的一个重要原因就是国外发行中国图书的发行机构倒闭, 刊物发行量下降, 在市场经济条件下难以运作。虽然《人民文学》英文版并非以营利为目的, 但是前车之鉴, 值得警醒。

4 建议

面对种种挑战, 唯有勇敢面对, 积极行动, 才能办刊中赢得主动。笔者并非发行专家, 对发行问题不敢妄言。对于上面涉及的其他两个方面, 以为PATHLIHGT或可进行如下尝试:

1) 加强外国译者与中国作者之间的交流, 让译者和作者之间的沟通渠道更为畅通。译者与作者之间的交流有助于消除误解, 增进了解, 帮助译者更好的再现原文的风采。葛浩文译介莫言之所以获得成功, 除了他优秀的双语能力, 深厚的文学修养, 还有一个不能忽视的原因, 他重视与作者交流, 而且有顺畅的沟通渠道。莫言曾盛赞葛浩文先生, 认为能与这样的人合作, 是他的幸运。

2) 对外国译者的翻译策略采取更加宽容的态度。文学作品的译介和传播, 有时候, 过于强调所谓忠实反倒会可能成为阻隔。很多所谓忠实的书籍在市场上没有太大的销路, 而只能作为礼品赠予他国研究者, 最后在大学图书馆束之高阁。而赢得大量海外读者的恰恰是类似与葛浩文先生所做的那种看似不够忠实的翻译。出于读者和市场两方面的考虑, 葛先生常常略去小说中一些不必要的卫星事件, 使故事紧紧围绕在纵向主干事件的叙事线条上, 突出故事的发展脉络, 加快小说的叙事节奏, 以赢得更多的外国读者。而事实证明, 葛先生的这种做法效果极佳。据企鹅相关人士透露, 葛译《狼图腾》英文版至2011年5月销量已达几十万册 (转引自吕敏宏:2012) 。葛浩文先生对中国现当代小说的挚爱和坚持不懈的译介, 使得更多的中国小说真正进入了英美阅读界, 赢得了海外读者, 扩大了中国文学的世界影响。而这, 真是我们所期待的。因此, 中国当代小说要真正进入美国阅读界, 对于类似葛浩文先生采取的策略, 应该更加理解和包容。

3) 发现和培养自己的汉译英人才。一直以来, 中国翻译界共同的认识是, 我们不能只依赖外籍专家。但事实是严峻的, 业内人士估计, 能够胜任中译外定稿水平的高级中译外专家在全国也不超过一两百人 (黄友义:2011) 。中译英定稿专家当然数量更少。杂志编辑的过程中, 应该考虑创造条件让国内译者编辑与国外译者多沟通多讨论, 支持国内译者的学习提升。

4) 充分利用《人民文学》主办方中国作家协会的资源, 加强与各国汉学家的联系, 定期发送电子刊物或简报, 及时介绍中国文学的最新动向。同时, 条件允许的情况下, 邀请国外评论家对中国文学英译作品进行评介, 以期扩大其在英美国家的影响。国外文学研究界的研究和评论, 对一部文学作品的深入传播至关重要。《人民文学》英文版和中国作家协会可以充分挖掘自身优势, 联合国内外高校的相关院系研究所, 让作家与评论家零距离接触, 面对面交流, 从而深化研究者批评家对作品的认识。同时, 中国作家也可以有机会听取国外批评家的反馈, 对自己的创作做必要的调整和改进。

5 结束语

文学交流要力戒焦躁的心态和强加的姿态, 特别是英文期刊编辑出版, 绝不能因为赶时间而牺牲翻译质量, 因为过于忠实而失去读者。在对外交往中, 要加强理解, 消除误会, 促进沟通, 在相互交流中不断丰富完善自己。中国现当代文学译介前路漫漫, 盼各方携手, 让PATHLIGHT可以作为中西文化交流路上的明灯, 一直点亮。

摘要：2011年, 《人民文学》英文版试刊, 中国大陆的中国文学英译终于结束了一个长达十年的没有国家级期刊的时代。该文通过这本英文名为PATHLIHGT的期刊诞生背景, 试刊情况的梳理, 对该刊面临的机遇与挑战进行了分析, 最后提出一些建议, 希望有助于该刊的长期健康发展。

关键词：《人民文学》英文版,挑战,中国当代文学,英译

《人民文学》英文版 篇2

club.beiwaionline.com(经典阅读)

二、英语名著阅读书目

一年级

1．《爱丽思漫游奇境》Alice’s Adventures in Wonderland(Lewis Carroll)

2．《莎士比亚戏剧故事集》 Tales from Shakespeare(Charles Lamb)

3．《幸福王子》 The Happy Prince and Other Tales(Oscar Wilde)

4．《夏洛的网》Charlotte’s Web(E.B.White)

5．《丛林故事》The Jungle Books(Rudyard Kipling)

6.《格林童话选》 Grimm Selected Tales

7.《安徒生童话选》 Hans Andersen Fairy Tales

8．《幸运的吉姆》Lucky Jim(Kingsley Amis)

9．《亚瑟王和他的骑士》King Arthur and His Knights(William Kottmeyer)

10．《简·爱》(简写本)Jane Eyre(Charlotte Bronte)

11．《金银岛》 Treasure Island(Robert Louis Stephenson)

12．《所罗门王的宝藏》King Solomon’s Mines(H.Rider Haggard)

13．《秘密花园》The Secret Garden(Frances E.H.Burnett)

14．《老人与海》 The Old Man and the Sea(Earnest Hemingway)

15．《双城记》A Tale of Two Cities(Charles Dickens)

16．《圣经故事》 The Bible Stories

17．希腊罗马神话故事 Greek and Roman Mythology

18.《培根论说文集》Essays(Francis Bacon)

19.《鲁滨逊漂流记》Robinson Crusoe(Daniel Defoe)

20.《本杰明·富兰克林自传》The Autobiography of Benjamin Franklin

21.《一千零一夜》Tales from the Arabian Nights

22.《伊索寓言全集》Aesop Fables

23．《八十天环游地球》Around the World In 80 Days（Jules Verne）

24．《福尔摩斯探案故事集》Adventures of Sherlock Holmes(Arthur C.Ddyle)

二年级

1．《格列弗游记》Gulliver’s Travels(Jonathan Swift)

2．《摩尔·福兰德斯》Moll Flanders(Daniel Defoe)

3．《汤姆·琼斯》 Tom Jones(Henry Feilding)

4．《坎特伯雷故事集》The Canterbury Tales(Geoffrey Chaucer)

5．《都柏林人》 The Dubliners(James Joyce)

6．《汤姆·索亚历险记》 Adventures of Tom Sawyer(Mark Twain)

7．《哈克贝里·芬历险记》 Adventures of Huckleberry Finn(Mark Twain)

8．《名利场》 Vanity Fair(William Thackeray)

9．《远大前程》Great Expectations(Charles Dickens)

10．《雾都孤儿》Oliver Twist(Charles Dickens)

11．《大卫·科波菲儿》David Copperfield(Charles Dickens)

12．《呼啸山庄》Wuthering Heights(Emily Bronte)

13．《简·爱》Jane Eyre(Charlotte Bronte)

14．《白衣女人》 The Woman in White(Wilkie Collins)

15．《月亮宝石》The Moonstone(Wilkie Collins)

16．《傲慢与偏见》 Pride and Prjudice(Jane Austen)

17．《爱玛》 Emma(Jane Austen)

18．《青春》Youth(Joseph Conrad)

19．《野性的呼唤》 The Call of the Wild(Jack London)

20．《欧·亨利短篇小说选》 O’Henry Short Stories

21．《杰克·伦敦短篇小说选》 Jack London Short Stories

22．《红色英勇勋章》The Red Badge of Courage(Stephen Crane)

23．《黛西·米勒》Daisy Miller(Henry James)

24．《我的安东尼亚》 My Antonia(Willa Cather)

25．《觉醒》The Awakening(Kate Chopin)

26．《人性的枷锁》Of Human Bondage(w.S.Maugham)

27．《论自然》Nature(R.W.Emerson)

28．《瓦尔登湖》Walden(H.D.Thoreau)

三年级

l．《青年艺术家的肖像》 A Portrait of the Artist as a Young Man(James Joyce)

2．《到灯塔去》 To the Lighthouse(Virginia Woolf)

3．Othello, Hamlet, Macbeth，King Lear（William Shakespear）

4．《弗洛斯河上的磨房》The Mill on the Floss(George Eliot)

5．《吉姆老爷》 Lord Jim(Joseph Conrad)

6．《儿子与情人》Sons and Lovers(D.H.Lawrence)

7．《蝇王》Lord of the Flies(William Golding)

8．《印度之行》A Passage to India(E.M.Forster)

9．《苔丝》Tess of the D’Urbervilles(Thomas Hardy)

10《汤姆叔叔的小屋》Uncle Tom’s Cabin(Thomas Beecher Stowe)

11．《马丁·伊登》Martin Eden(Jack London)

12．《嘉莉妹妹》Sister Carrie(Theodore Dreiser)

13．《小妇人》 Little Women(Louise M.Alcott)

14．《他们》Them(Joyce Carol Oates)

15．《美国悲剧》An American Tragedy(Theodore Dreiser)

16．《永别了，武器》A Farewell to Arms(Earnest Hemingway)

17．《愤怒的葡萄》 The Grapes of Wrath(John Steinbeck)

18．《贵妇画像》The Portrait of A Lady(Henry James)

19．《小镇畸人》 Winesburg, Ohio(Sherwood Anderson)

20.《了不起的盖茨比》The Great Gatsby(F.Scott Fitzgerald)

21．《纯真年代》 The Age of Innocence（Edith Wharton）

22．《爱伦·坡短篇小说选》Selections from Allan Poe

23．《飘》 Gone With the Wind(Margaret Mitchell)

24．《红字》 Scarlet Letter(Nathaniel Hawthorne)

25．《宠儿》 Beloved(Toni Morrison)

26．《麦田里的守望者》The Catcher in the Rye(J.D.Salinger)

27．《约翰·契弗短篇小说》The Stories of John Cheever

短篇小说：

Washington Irving: “The Legend of Sleepy Hollow”, “Rip Van Winkle”

Nathaniel Hawthorne: “Young Goodman Brown”, “The Minister’s Black Veil”, “Rappaccini’s

Daughter”,“My Kinsman, Major Molineux”

Edgar Allan Poe: “The Fall of the House Of Usher”,“A Tell-Tale Heart”, “The Black Cat”,“The Purloined Letter”

Stephen Crane: “The Open Boat”, “The Blue Hotel”

Katherine Mansfield: “Bliss”, “The Garden Party”

Katherine Ann Porter:“Rope”, “He”, “Theft”

William Faulkner: “A Rose for Emily”, “Barn Burning”

John Steinbeck: “The Chrysanthemums”

Ernest Hemingway: “a Clean, Well-lighted Place”, “The Killers”

Frank O’Connor: “My Oedipus Complex”

Flannery O’Connor: “Greenleaf”,“A Good Man is Hard to Find”

John Updike: “A& P”

中英文文学及文化的比较与翻译 篇3

【关键词】中英文文学 文化 比较 翻译

一、中英文文学作品对比分析

文学是社会的镜子，中英文文学作品是不同社会制度下的文化产物。中英文文学作品的不同之处在文学思想、个人性格、文学描写等方面都有所体现，不一而足。在此，笔者不一一赘述，仅以自然描写、宗教信仰和作品实践为例，来讲述两者的差异。

1.自然描写。关于自然、自然景色的描写，在许多中国文学作品中都极为常见。借助外部环境和自然背景来表达创作者的意图，反映主人公的内心，实现自然、社会、人物三者的和谐统一，是许多作家在文学创作中的惯用的手法，如沈从文就是一个善于描写自然静物的高手，在其作品《边城》中，茶峒小镇的景物都具有诗意的色彩。在玛格丽特·米切尔的《飘》中，时常可见大段的关于自然景物的描写。利用自然环境衬托人物和故事，是文学创作的共性，在这一方面，中英文文学作品都不例外。不同的是，一些自然要素在使用和意义上有着明显的差异，如在中国文学作品中，“东风”经常用来暗喻温暖的春天即将来临、事情即将出现转机等，但是在西方文学中，东风象征着保守与凶兆。在中国文学尤其是古典文学中，月亮常用来象征美丽、团圆和光辉，残月多具有象征意义，而在西方文学中，月亮象征着生育与肥沃，残月常用来象征寡妇与老年妇人。在中英文文学翻译中，译者要明确自然事物所指及差异，以免出现常识性的错误。

2.宗教信仰比较。中国是一个多民族的宗教信仰自由的国家，在中国，佛教、道教、伊斯兰教等教派共同存在。但是，在中国，宗教信仰自由并不代表宗教精神可以随意扩张和拔高，这是我国宗教信仰的特色。以英语为母语的国家信仰的多是基督教，在这些国家，基督教对民众的影响非常大，这一点，从文学作品中可以管窥一二。如在《飘》中，斯嘉丽一家在饭前通常都要祷告，斯嘉丽的母亲和媚兰都被塑造成了圣母的形象。可以说，在这些国家，宗教的精神是无限扩张的。因此，在英文文学作品中，凡是符合宗教规定、客观规律的行为通常都会被视为正当的。但是在中文文学中，宗教的地位一点都不特殊，如在宣扬“佛法无边”的《西游记》中，虽然佛教的势力最强，但是孙悟空却屡次挑战佛教权威，如来佛祖的两名贴身弟子还曾向唐生要人事，宗教的形象并不高大。译者在文学翻译中，在涉及到宗教信仰方面的内容时，要正确认识民众对宗教的情感和态度，力求做到严肃、严谨。

3.作品实践对比分析。实践是社会进步的基础，在中英文文学作品中，民众、个体的实践行为随处可见，通过实践翻译社会发展规律和社会现实，是文学创作的通用手法。不同的是，在实践方法、思想方面，中英文文学作品有所不同。英文文学作品强调实践表现手法的浪漫性，但是具体的实践和实践者却是辛苦而不浪漫的，如基督山伯爵、鲁滨逊，虽然主人公的经历称得上是极具戏剧性，但是每个人在实践中也都是饱尝苦头。中国文学中强调实践的真实性、客观性，他们对实践参与事物的态度非常尊重，如人们常用生活中最常见的马、牛比喻人，将人比喻成才华横溢的“千里马”和勤劳奉献的“孺子牛”。但是在西方文学中，马通常就是用来载人载物的，牛就是用来吃肉饮奶的。

二、中英文化比较

文化是特定社会环境中发展实践的产物，中英地域差异决定了中英文化必然会存在诸多不同。下面，笔者就从生活习惯、认知、价值观等方面来阐述中英文化之间的差异。

1.文化生活习惯。民族生活理念、生活习惯会给民众文化生活习惯带来直接影响，如在基督教宗教文化影响下，英国视圣诞节为最重要的节日，会在圣诞这一天热烈庆祝，亲朋之间还会互送礼物，《麦琪的礼物》就是一个发生在圣诞期间的感人故事。而有着腊祭习俗的中国人则沿用农历历法，以新年为一年的开始。再则，在生活习惯上，中国人以群居生活为主，家庭观念浓厚，许多家庭都以四世同堂为荣。英国人个人意识强烈，家庭不过是成长过程中的一个驿站，在他们看来，过好自己才是最重要的。在心理习惯上，中国人喜爱热闹，尤其是在节日之际，人们习惯用大红的灯笼、中国结、窗花来装饰门庭，西方人喜欢独处，普通人找个幽静的地方度假就跟梭罗独居瓦尔登湖一样，追求的是心灵的宁静。

2.文化认知。关于事物和学问，中国人与英国人的态度是不同的，中国人更加关注事物、学问的工具性、实用性，他们习惯将对事物、所学到的知识运用到实践中去。以儒家家国思想和法家治国理念为例，中国许多政治家如商鞅、张居正等都研究过这些治国策略，并乐于将自己认为合理的部分应用到实践中去。英国人在对事物的认知上，更加关注事物本身的内在逻辑，如果逻辑明了，对错并不重要。在中英文文学中，中国人在认知方面大都是由表及里、沿着正向思维方向前进的，而英国人更善于从结论找原因、用逆向思维思考问题。如在创作《德伯家的苔丝》时，哈德坚信，人的痛苦是不可避免的，人在现实社会中的生存，本身就是悲哀的。所以，他笔下的苔丝姑娘虽然单纯美丽，但是终究难以摆脱命运的捉弄。

3.价值判断比较。价值判断是个体认知的产物，中英文化在机制判断上存在着明显差异，中国文化向来以集体主义价值观为标准，强调人对社会、对团队的价值和奉献，提倡通过团队努力来解决问题。如在《林海雪原》中，杨子荣虽然神勇无比，机智超群，但是还是要依靠集体的力量攻下威虎山。在英国文化中，人们比较尊重和推崇个人主义思想、个人主义英雄和超级英雄，他们喜爱的是贝奥武甫、鲁滨逊、007式的人物。

三、中英文文学作品翻译要义

1.深刻领会作者思想意图。无论是中国文学还是英文文学，都是作者创作实践的结果，作者的创作意图决定了作品的思想主旨，其创作意图也会在作品中有所体现。文学作品的逻辑性，作者创作意图的指向性，要求译者在文学作品翻译中要深入了解作者的创作意图，全面把握作品的整体思路、中心思想，在翻译中做到译文原意与译意的贴切、统一。此外，根据中英文化差异，笔者还在采用归化法、简译、增译法等对文章进行适当删减或添加，力求在保证文化通顺、完整的基础上，使作品内容看起来更加连贯。如在翻译英国浪漫主义诗人雪莱的《Ode to the West Wind》时，我们可根据诗人的情感，将诗歌的标题译做“东风颂”，目的是将内容与情感融合到一起，增强译文的思想性、准确性。

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2.参考作品的文化背景。语言和文学作品都会依托一定的文化背景而存在，在中英文文学作品翻译中，我们也常常会发现，语言与文化、文化与社会的关系极其密切，文化常会受特定社会背景的影响和制约。这就要求译者在文学作品翻译中，要深入了解文学作品的创作背景、社会文化背景，熟悉译语国家的文化传统、风土人情等，将译文内容与文化背景有机结合起来，认真思考和权衡原文和译文各要素，选择合适的词汇、文字来表达作者的意图，使译文在向目的语读者传递消息的同时又带有原作的特点，以实现跨文化交流的目的。如在《社会与孤独》中有这样一句话：It's wise for man in every instance of his labour， to hitch his wagon to a star， and see his chores done by the gods themselves.艾默生这句话的原意是“只要借助星星的力量，任何事都能办到”。在翻译时，我们可以根据上下文需要将之译为“只要借助自然的力量”或“只要胸怀大志”就可无坚不摧、战无不胜。

3.根据具体语境来翻译。翻译是一项跨文化的文字创作活动，目的语读者和源语读者在思维、想法和语言表达方面的差异，会加大文学作品翻译的难度。译者在全面照顾译文内容的情况下，还要立足于特定的语境，适当考虑目的语读者的需要，根据语境合理选择文字进行意义表述，以使语义更加完整，同时为读者阅读理解提供方便。如在中文文学作品中常常会出现主谓宾缺失的情况，如莫言的作品，常常会因为频繁断句、用词简洁而显得句子残缺不全。英文在语法上要求相对严格，句子成分也显的相对完整。所以在翻译中英文文学作品时，译者可以根据语境增加或删减某些词语，或根据目的语读者的表达习惯灵活进行词语替换，使语义看起来更加自然、简洁、完整。

综上所述，跨文化交际是中外文化交流的产物，中英文文学及文学翻译则是跨文化交际的重要手段。文化具有时代性、地域性等特点，国与国、地区与地区之间的文化差异是客观存在的。这就要求翻译工作者在文学翻译中正视中外文化的差异，正确理解文学语言所负载的文化蕴意，以翻译出更多好作品。

参考文献：

[1]熊志霞.中英文学作品及其文化的比较与翻译[J].校园英语， 2015，20：229-230.

[2]胡细辉.中英文学交流中的文化问题探讨[J].名作欣赏，2012， 06：151-152.

[3]茅和华.翻译中的中西文化差异比较[J].沙洲职业工学院学报，2006，04：23-25.

《人民文学》英文版 篇4

Under the influence of the Enlightenment, the France writers in the eighteenth century had a fanatic admiration for the classical literature.This revival is called Neoclassicism.As a reaction against the ornament and difficulty in literature of the late Renaissance period, neoclassicists maintained that eighteenth-century English literature should be easy to understand, clear and regular, elegant and didactic, restraint and rational.They also advocated that the eighteenth-century literature should imitate the classical works of the ancient Greek and Roman writers and poets, such as Homer, Virgil, Horace and Ovid.In addition, Dryden and his contemporaries made a comparison about the society between ancient Augustan Rome and eighteenth-century England, taking the similarities between the two and molding after Augustan literature.In An Essay of Dramatic Poesy, Dryden laid the principles of inappropriateness and wrong;and he pointed out“‘He affects plainness, to cover his want of imagination:when he writes the serious way, the highest flight of his fancy is some miserable antithesis, or seeming contradiction;and in the comic he is still reaching at some thin conceit’” (Lipking and Noggle 2126) , which had raised English literary criticism to a new level.However, the complete imitation from the classics was denied by later generations, for they thought that to some extent, the two societies were different, so the literary principles should be altered somehow, thus transferring writers’attention from the standard of right to the judgment of wrong.Hence, Pope tried to set well-accepted rules for poetry that were useful for the modern poets.This change could easily be seen in his An Essay on Criticism, in which the main topics about“wit, Nature, ancients, rules, and genius” (2496-2497) can easily be detected and the rules of art are stressed.Later, Samuel Johnson was not satisfied with the literary principles raised by the former writers, so he developed those principles with revolutionary ideas.

After the efforts of three generations from Dryden to Johnson, the eighteenth-century literary principles of poetry and prose, backed by the thoughts of neoclassicism, finally came into being.

2 Literary Principles

2.1 The didactic function of the works and their simple style

The first literary principle was to please the readers through simple styles of works, making these works play their didactic function.With the development of economy at that time, more and more people could have time to read, especially women at home.However, most of them were newly risen ones from the lower class or women at home, so they could not understand some obscure or profound works.In order to please them or make them understand, works should be written in simple style.Meanwhile, the aim of a poetry, as Dryden described, was to move the audience, and Horace’s Art of Poetry pointed out that visual and verbal art (early in the typographical style) could contribute to this effect;In addition, this art could vividly and directly convey the meaning to the audience;moreover, Pope’s use of personification vividly reflected the messages he wanted to express to the readers.Hence, the way writers expressed their emotions was no longer the same as writers in Ben Johnson’s time.The former ones preferred to use simple style to educate their readers.The stanzas below are selected from John Donne’s Song and Pope’s An Essay on Man.Donne wrote in his Song:

Go and catch a falling star,

Get with child a mandrake root,

Tell me where all past years are,

Or who cleft the Devil’s foot, (line 1-4)

Seeing this stanza at first, one cannot figure out what the writer wanted to tell and why writer put the falling star, the mandrake root and the devil’s foot here unless he or she sees the other few stanzas and has some knowledge about the rhetorical devices, such as hyperbole and metaphor.Therefore, this poetry is quite obscure.While in An Essay on Man, Pope wrote:

Observe how system into system runs,

What other planets circle other suns,

What varied being peoples every star,

May tell why Heaven has made us as we are. (25-28)

From the four verses above, one can easily figure out the main theme of the stanza is about the universe.The style is simple enough for the readers to understand.Everyone knows the meaning even without any background information about the universe.Those two stanzas listed above are both rhymed couplets.Nevertheless, the latter is much easier for readers to understand than the former.

2.2 The rules of convention and wit

In addition, conventions and wit, as were stressed in Pope’s An Essay on Criticism, was a major point.Eighteenth-century society in England, like societies in other countries, was ruled according to certain conventions.Manners were different in various occasions.Every situation had its specific way of behavior.Hence, guides to manners proliferated in that period, making the public have a sense of order, which had deeply influenced literature at that time.Literary conventions, just like the system of the established codes of manners functioning in a society, served as a guide to the creation of literary works, uniting the past and the present together.Every lock has its key, the same goes into literary conventions.Every set of conventions was designated to a certain traditional genre, thus providing readers with clues about the content of the given poems or prose.A genre should have corresponding ways of speaking, an appropriate tone, proper use of language and certain rhetorical devices.Therefore, writers could not apply Latinate language into prose with a sense of delight;they also did not use epic style to describe trivial things except that they wanted to achieve the effect of satire, nor did they depict the life in cities with a pastoral genre.Maybe the reason why Dryden and Pope preferred to use the heroic couplet was that the heroic couplet is long enough to express and contrast ideas.However, just an appropriate use of genre could not arouse the readers’interests in reading, beyond that wit was necessary.Writers should be keen to recognize the similarities between two things and be inventive to evoke images in readers’mind.In this aspect, Shakespeare and Pope had done the best, no one could surpass them, so the main target of poets then was to combine conventions with wit, which instilled new life to the traditional literature and made literary works more attractive and original.As a result, a witty and intellectual art was developed;many poets and prose writers in the eighteenth century were masters of these;and they tried every effort to set conventions to their works.

2.3“Nature”as a main theme

Another important word in literature of this period was“nature”, which had so many meanings—external truth for the inherent order;the regularity of all kinds of things including social order, the regular rule or pattern of the universe;and the internal nature of human beings, such as love, beauty and kindness.To illustrate this point, taking flowers as an example, although there are many different beautiful flowers in the world, they all share the nature of withering in the end;while as for human beings, they may be from different occupations, whereas they can have the same virtue like kindness and sympathy.Therefore, in spite of individual and social disparities, the fundamental aspects of personality in human beings are the same:everyone may have a thing to fear;all people will die;and people may suffer loss and gain something....For this reason, poets of this period focused their sense in permanent truth in the idea of nature.If their characters were not in accordance with the readers’understanding of humanity at that time, their works would become failures.Besides, they advocated via their pens that the society should be in order and operated in a restraint system.The works of this kind were about ethical standards or morality.

2.4 Versification and language

Besides the principles of conventions and nature, versification was another literary principle that made poetry or prose rhythmical and pleasant.It was best exemplified in the heroic couplet, perfected by caesura—a slight pause, and challenged by blank verse.The heroic metre can be found in Dryden’s great satire—Absalom and Achitophel, Oliver Goldsmith’s The Traveller and The Deserted Village;while the couplet is embodied in Pope’s An Essay on Criticism;whereas the blank verse is in poems like the seasons by James Thomson, Edward Young’s Night Thoughts and Robert Blair’s The Grave.Take Pope’s An Essay on Criticism as an example to explain the heroic couplet.Below is the stanza about versification:

But most by numbers judge a poet’s song,

And smooth or rough with them is right or wrong.

In the bright Muse though thousand charms conspire,

Her voice is all these tuneful fools admire, (337-340)

From the above, we can see that this stanza is in a rhyming pattern of aabb.Besides, each line consists of five feet, i.e., this stanza is in the scheme of iambic pentameter.Therefore, it is written in heroic couplet.

Language was also a standard for the judgment of a good poem.As an attack on the eighteenth-century poets for their use of words in a complicated way, Wordsworth pointed out in the later edition of the Lyrical Ballads, “the language of poetry ought to be the same as the language of a simple farm-worker” (Thornley and Roberts 91) .Unlike the simple common language advocated by Wordsworth, poets and prose writers in the eighteenth century did prefer to use words in a rhetorical way and they were fond of using indirect or poetic diction, which made a poem or prose seem elegant and sentimental.Ways of diction were exemplified by personification (describe a thing or abstract quality in human form) ;periphrasis (an ambiguous way of describing a something with many words instead of a concise expression:“the planet we live on”for the earth) ;stock phrases (known as cliché) and Latinate words (words with Latin sense) .However, the overuse of all these dictions would result in mannerism.Hence, if poets or prose writers wanted their works to be enduring, they should be careful with their diction that could be neither too artificial nor too direct.

2.5 A compromise between the high art and the popular one

Nevertheless, the majority of the people were not from the aristocratic or the upper class so they did not have so much time to study those difficult works.So in order to entertain themselves, the ordinary people wrote verses or newspaper with a sense of broad humor or burlesque.As the taste of the majority changed, the former poets who wrote with a special diction began to adjust their ways of writing and the subject matter, so that they could have a large group of readers.Because of this, the gap between the high art and the popular literature was shortened;besides, the prose form and paper form had their own place in literature, which were characterized by the works of Joseph Addison and Richard Steele.The Tatler, co-written by Steel and Addison, is a paper of essays on various subjects;and followed The Tatler was The Spectator—a more popular paper.These two papers whose topics including town talks and witty humors in the club, were written in pure English prose without too much ornament, which contributed to the production of the novel because they described the behaviors or actions of imaginary characters.

3 Conclusion

美国文学名著英文读后感 篇5

对于大多数人，一生中不止会出现一个人，爱情是有保质期的。年轻时候轰轰烈烈的相爱，会随着时间慢慢消退，这是残忍的现实。婚姻之于爱情到底是什么，每个人都有自己的答案。而答案不是每个人都确定，因为一切都在变，人的思想也会因为变化而潜移默化地改变着。

当平淡的生活失去了色彩，平稳跳动的心久违了激情的光临，早已忘记了怦然心动是如何的美妙，此时，另一个人的出现给了这些逝去的事物一个重生的机会，年轻时的感觉突然而至，而且愈加强烈，这是爱情再一次降临，让人兴奋不已。人到中年，更加懂得了爱情的真谛，因此这样的爱情该是如何的让人难以自拔，让人忘乎所以。

终于这张爱情的网将两人紧紧捆住，他们互相依偎，寻找温暖。没有什么能将他们分开了，时间和空间也不可以。人在爱着的时候总是盲目的，以为在彼此怀里就能脱离开现实世界，而对方就是全部。人们不会相信自己那时有多大的勇气与毅力，在爱情的世界里奔跑呼喊，乐此不疲。人们更不会想到，那种强大的力量会有用光的一天。

平静的生活已经完全打破，家庭、婚姻背离了原来的轨道，失去了控制。无论是眼泪还是恐惧，都解决不了问题，因为连时间都束手无策。美满幸福的结局只停留在童话里，现实是无情的。漂泊的爱情找不到立足点，只能在空中飘飘荡荡，没有归宿。归宿，其实有的，现实世界承受不了这份沉重，于是把它交给死亡。

死是一件那么简单又困难的事情，终于，死亡让两个人以爱情的名义紧紧拥抱在了一起。而这份代价过于昂贵，爱情化身毒物，消亡的不仅仅是生命，爱的火焰也渐渐熄灭。

《人民文学》英文版 篇6

关键词：标题,文学作品,翻译策略

With the development of the market-oriented economy and under the context of global village,the exchange of information and culture becomes more and more frequent and important.With more and more foreign books translated into Chinese,Chinese readers began to be familiar with many English books,such as Harry Potter,Gone with the Wind,Robinson Crusoe,and so on.However,to translate English books into Chinese is not an easy task,especially the translation of titles.The title is the eye and soul of a literary work.It usually carries information,reflects aesthetic judgment and guides readers in reading the literary works.Therefore,this paper focuses on strategies for translating titles of English literary works into Chinese.

1 Transliteration

Transliteration is to seek phonetic correspondence in terms of the translation of proper names,the names of the main characters in English literary works.It relates to the conversion of different alphabets in different language systems.Since the names of the main characters are usually used as the titles of English literary works,transliteration is an indispensable strategy in translating titles of English literary works.Many good examples of translating titles of English literary works into Chinese in transliteration have ever come into being,such as Jane Eyre/《简·爱》,Hamlet/《哈姆雷特》,Rebecca/《丽贝卡》,Rip Van Winkle/《瑞普·凡·温克尔》,Lolita/《洛丽塔》and so on.It keeps the style and rhythm of the original title and gives readers a shock of exotic flavor.

2 Literal Translation

According to Liu Zhongde[1],literal translation strives to reproduce both the ideological content and style of the entire literary work and retains as much as possible the figures of speech While translating a title of English literary work,a translator can employ literal translation when the vocabulary,the syntactical structure,and the rhetorical devices in English happen to be the same as Chinese.Literal translation can keep the original title invariant and convey the information of the original title directly For the translator presupposes Chinese readers will get the same cognitive effect.It is a common practice especially for the titles with names of people and places.For instance,Gulliver’s Trave was translated into《格列弗游记》and Washington Square was translated into《华盛顿广场》.Some other good examples are Pride and Prejudice/《傲慢与偏见》,Sense and Sensibility/《理智与情感》.

Since English and Chinese are two different languages with different vocabularies and grammars,the adjustment of the word order and omission make themselves two indispensable techniques in doing literal translation so that the title could be more concise and in accordance with Chinese norms.

2.1 Adjustment of Word Order

Sometimes word-for-word translation of some English literary work titles may not be in accordance with Chinese norms of expressions and their aesthetic tastes,therefore a slightly alteration of the word order or structure of the English title has to be necessary.The following serves as excellent examples:The Merchan of Venice/《威尼斯商人》,The Grapes of Wrath/《愤怒的葡萄》,A Streetcar Named Desire/《欲望号街车》,Tender is the Night/《夜色温柔》and Women in Love/《热恋中的女人》.

2.2 Omission

Apart from adjustment of the word order,omission also serves as a good technique in literal translation.Generally speaking,omission in the process of translating English literary work title into Chinese is to deal with English pronouns,and such functional words as articles,propositions and so on,which are of no need to be translated into Chinese.For example,An American Tragedy was translated into《美国悲剧》rather than“一个美国悲剧”,and An Essay on Man was translated into《人论》rather than“关于人的论文”.Here,“an”,“on”are omitted in the translation.And this kind of omission is often seen and some of them are The Wings of the Dove/《鸽翼》,The Scarlet Letter《红字》and The Lord of the Flies/《蝇王》.

3 The Combination of Literal Translation and Ex-planation

Chinese and English are two different languages,so are the literature styles of Chinese and English literary works.Feng Huazhan[2]once said,in his article On the Translation of Book Titles,that the English writers tend to use the name of the main character in the novel as book title,while Chinese writers prefer the titles revealing the general idea or the theme of the book.For example,if we literally translate the title of Myron and Witter’s literary work Dewey into“杜威”,it is possible that many Chinese readers may have no idea of what it is about.Is it about a person named Dewey or something else?In fact,this novel tells a story about a small-town library cat who touched the world.So Ma Ainong translated it into《小猫杜威》by adding two Chinese character“小猫”which means“little cat”,and this avoids readers’guess of what Dewey is.Some other examples are Oscar/《猎犬奥斯卡传奇》,Comeback/《归乡噩梦》and Robinson Crusoe《鲁滨逊漂流记》.

4 Free Translation

The language of every nation has its own vocabulary,sentence structure and way of expression.When the expression of the translated language contradicts with the spirit of the original title,it is free translation that we should adopt[3].“What is important is the extent to which receptors correctly understand and appreciate the translated text”,just as Nida[4]once said in Language,Culture and Translating,“It is essential that functional equivalence be stated primarily in terms of a comparison of the way in which the original receptors understood and appreciated the text and the way in which receptors of the translated text understand and appreciate the translated test”.In order to make the literary work title appears attractive and understandable to Chinese readers,translators sometimes have no option but to turn to free translation to make the title meaningful to Chinese readers when they are translating a title of English literary work into Chinese.Take American writer Paul Bowles’The Sheltering Sky as an example.If it was translated into“遮蔽的天空”,wha could that mean?Can anyone get a hint of idea that it is about a story of three worldly young travelers Port Moresby,his wife Kit and their friend Tunner adrift in the city and deserts of North Africa after World War II,and their encounters there.While it is well revealed by Meng Yalin who translated it into《情陷撒哈拉》.Some other good examples are The Sky is Falling《灭顶之灾》,The Hours《丽影芳踪》and so on.

5 The Combination of Literal Translation and Free Translation

Sometimes literal translation may distort the meaning and content of the original text while free translation may spoil the foreign flavor.Neither of them is the perfect strategy in translating titles of English literary works into Chinese.But the combination of these two strategies may contribute to a good title translation.The fact is that the two get well blended and combined in practice.Most of the successful translations of titles of English works have proved a full demonstration of it.

For example,Turning thirty written by Nike Gayle means“将近三十”in Chinese.While it would be too much plain if adopted as the title in comparison with《三十而栗》translated by Zhang Yan.With the literal translation,“三十”is kept and the Chinese character“栗”is added,which means“frightening”in Chinese.This title just expresses the main character’s feeling o fear when he is turning thirty.Other examples are Death of the Lion/《名流之死》,Nine Times Nine/《九九神咒》.

All in all,transliteration and literal translation are among a translator’s first choices in terms of the translation of titles of English literary works into Chinese,especially those titles named after the name of the main character or those which seems plain superficially while containing deep meanings,because they can retain the original taste of the title.If it is really hard to convey the original meaning of the title,a translator can turn to other translation strategies,such as the combination of literal translation and explanation and the combination of literal translation and free translation.Free translation is a translator’s last choice when translating titles of English literary works.

参考文献

[1]Liu Zhongde.Ten Lectures on Literary Translation[M].Beijing:China Translation and Publishing Corporation,1991.

[2]华瞻.漫谈书名的翻译[J].外国语,1980(2):39-40.

[3]培基,喻云根.英汉翻译教程[M].上海:上海外语教育出版社,1980:14.

《人民文学》英文版 篇7

关键词：高职高专,英美文学课程教学,英语专业新大纲,教学问题

引言

目前拥有英语专业的高职高专院校为了满足培养人才的需要，一般都开设了英美文学课程(英文)，但专门就该课程在高职高专层次教学的研究文章却鲜见。本文通过探讨当前该课程教学的必要性和指出目前教学常见的问题，从而重点分析这些困难情况出现的本质原因，以抛砖引玉，引发更多人思考该课程教学，为以后对策的探讨作铺垫。

一、高职高专英语专业的特殊性

当前高等学校的英语专业不但存在于普通本科院校，而且存在于高职高专层次的教育中。高职高专英语专业有其鲜明的特点，它们一般都为复合英语专业，例如商务英语专业、金融英语专业、英语文秘作业、英语教育专业，等等。这些英语专业毕业学生的英语语言水平比非英语专业的学生要高(甚至比非英语专业的本科生都要高)，但他们比普通英语本科学生却掌握了更多实用的技巧或技能，拥有强大的适应性和灵活性，在涉外行业占据越来越大的比重，在英语教育届也以其过硬的英语语言基础和良好的语言教学技能更好地发挥了其教育的职能。他们灵活、实用、易上手的特点使得他们极受用人单位欢迎。但高职高专英语专业的外语性质确定这些专业是“涉外”的，毕业生一定要具有相当的西方文化素养才能更好地胜任其工作，而不简单是一个技工或普通的教书匠。为了提高学生的西方文化素养，提高他们的英语水平，拥有英语专业的高职高专院校大都选择开设英美文学(英文)课程供学生学习。

二、课程教学———新大纲的指导性要求

在高职高专层次开设英美文学(英文)课程从国家角度说，是必要的。国家最新出台的《高等学校英语专业英语教学大纲》(2000年)把英美文学课确立为必修课，并提出：“文学课程的目的在于培养学生阅读、欣赏、理解英语文学原著的能力，掌握文学批评的基本知识和方法，开阔思维，拓宽知识结构。通过阅读和分析一定数量的英美文学作品，促进学生语言基本功和人文素质的提高，增强学生对西方文学及文化的了解。”[1]从新大纲我们可以看出，要实现学生的语言基本功和人文素质的提高，促进他们了解西方文化，途径就是“阅读和分析一定量的英美文学作品”，而“阅读”和“分析”过程往往是在英美文学(英文)课程里实现的，因而开设英语专业的院校就必须开设该课程以实现以上目标。

新大纲中提出“本大纲所作的各项规定，对全国各类高等学校的英语专业均有指导作用，也是组织教学、编写教材和检查与评估教学质量的依据”，这说明该大纲对高职高专院校英语专业应该同样具有指导作用，但课程授课教师应该意识到大纲都是根据本科英语专业的特点来设置的，在高职高专院校设定该课程的教学目标时应该根据高职高专英语专业的特征进行具体的设置，而不能照搬本科的设置要求，否则将造成诸多问题。研究发现，在英美文学(英文)课程的教学过程中的确存在诸多的问题，而且不少问题都衍生于该课程属于英语本科课程这一根源。

三、课程教学存在的问题

参考同行研究发现，目前该课程的教学存在不少问题。结合同行研究和本人教学中的观察，发现这些问题既有客观问题，也有主观问题。客观问题主要存在于教材选用、教学资源的整合、教学模式和方法等几个方面。主观问题乃集中于学生的兴趣程度和教师的教学态度两个方面。

1. 教材选用的尴尬

目前高职高专院校并没有出版专门属于该层次的高职高专英美文学教材，因而使用的均是本科层次的教材。参考专门调查英美文学教学现状的几个报告发现，这些调查也大都把眼光放在本科院校，并没有特别关注高职高专院校的教材使用情况(程爱民等，2002:15-17;鲁吉，2003:10-13;罗媛，2007:8-10, 23)。通过这些调查报告还发现我们使用的教材在其中，例如文学史类教材有刘炳善编写的《英国文学简史》、常耀信《美国文学简史》，选读类教材有高等教育出版社2005年出版的《英国文学选读(第二版)》和《美国文学选读(第二版)》，或者更早时期外语教学与研究出版社1998年出版的吴伟仁编写的《英国文学史及选读》以及《美国文学史及选读》等都出现在程爱民等做的调查报告中。每套教材都有其自身特点，并且有一定的适应性，但这些特点却往往是阻碍高职高专学生学习英美文学选读的主要原因。

这些教材无论是在文学原著选段、练习设计还是教学内容涵盖方面都对学生的语言水平提出了较高的要求，既有质的要求，更有量的要求。既然是本科类的教材，原本的适用对象是英语专业的学生，教材这样的设计自然无可厚非，但使用在高职高专层次的教学中就会产生诸多问题。强调实践操作的高职高专教学不允许学生长篇大论地阅读文学原著或文学评论，也没有时间容许他们像本科生乃至研究生那样细细斟酌名篇选段，因为他们的课外相关专业实践需要更多的时间。而且，语言水平的差异也会导致学生的参与程度过低。教材处理不当，后果就是学生的兴趣大减，学习的积极性不高，没有实现既定的教学目标。

2. 教学辅助资源缺乏有效的整合

英美文学(英文)课程因为多媒体教学条件的不断成熟和大众媒体的飞速发展而拥有诸多教学辅助资源，然而不对之加以有效的整合，这些资源则未必能为该课程教学提供最有效的支持。该课程对高职高专学生来说的确有相当高的难度，因此可能会造成学生学习兴趣的普遍低下。很多教师意识到结合多媒体教学，制作声、图、文合一的课件，并播放收集到的电影材料等，可以从某种程度上提高学生学习的兴趣。但在处理这些多媒体材料，特别是DVD电影光碟类型的辅助资源时，很多教师往往是不分重点，随意操作，通常是观看完整的由原著改编的电影就算是完成了教学任务，而很少加以引导。殊不知，这种操作只是让学生有一时的感观理解，至于要理解哪些经典内容与欣赏到哪些选段反映出来的文化知识，他们却不知道，从而浪费了学时，也没有实现相应的教学目标。缺乏科学合理的整合，教学辅助资源尽管不缺乏，但仍然如花架子，好看却缺乏效用，更给学生造成不良影响，导致其认为英美文学课就是影视欣赏课，这大大违背了教学的初衷。

3. 教学模式缺乏主动适应性

现行高职高专英美文学(英文)课程的教学模式大都参考了本科英语语言文学专业的教学模式，缺乏主动的适应性，并不能很好地实现预期的教学目标，这跟该课程的师资队伍构成有关键的联系。现行高职高专文学教学的主要师资一般都是本科院校英语语言文学专业的硕士研究生，有的甚至是文学学科的副教授或教授。他们通常都会参考使用他们所经历的传统文学教学模式。传统的文学教学模式仍然是以教师讲解为主，学生一般都主要依赖教师讲解来理解选段。按照程爱民等做的调查分析，这种传统的教学模式可称为“四段论的程序化教学方法”，极易使课堂气氛变得较为沉闷，学生也只是被动地听。学生由于在课堂上没有什么兴趣，课后阅读也就不太积极”(程爱民，2002:16)。这种教学模式有两个根源：一是学生本身语言水平的制约，二是教师不信任或不接纳学生的语言水平和理解能力。这两个根源互为作用，形成恶性循环，最终形成这样的结果：教师认为学生始终不能好好地理解教学内容;学生认为一定得按照教师的理解才算对，自己的理解无论如何都是有错的，而且要套用教师给出的参考答案中所使用的语言才能获得较好的分数。这个模式在英语专业学生中自然有一定的适应性，因为英语专业学生在阅读原著和书写英文材料的能力方面都已经有了一定的水平，特别是英语本科第三年和第四年，学生可以较好地适应这种教学的模式，实现教学的目的和要求。但这种教学模式如果照搬到高职高专课堂里，却是弊端多多。首先，即使是高职高专英语专业的学生，他们的英语语言水平也跟本科英语专业学生有很大的距离，所以他们碰到这种教学模式会显得不知所措，根本无法完成绝大部分作业。因为这个缘故，他们的学习能动性没有得到调动。另外，由于语言水平的局限，他们无法适应本科层次的教师文学语言，变成只能用中文表达思想，所以其语言水平也没能在原来的基础上实现有效的提高，因而这种教学模式下的课堂里学生并不能有效地掌握相应的内容。在这种教学模式下，学生只是被动的学习者，或是陌生语言文化的囫囵吞枣者，食后而不知其味，跟“教学相长”唱了反调。在这种教学模式下，大纲中提出的指导性教学目标如何实现?

要改变这种有弊端的教学模式是较为困难的事情，所以鲜有教师敢于改革该教学模式，因而总会碰到许多问题，例如学生会反映说看不懂选段，不会写评论;更有甚者，会反映说没有时间看难度如此高的原著，等等。这些问题的提出本身就说明了教师的教学模式和方法没有充分考虑到学生的实际水平和需要，缺乏有效性。

4. 兴趣与态度

从事过高职高专层次英美文学教学的教师不难发现，学生学习该门课程的兴趣跟教师的态度是密切相关的。学生很容易就会有这样的反映：学习该门课程难度大，而且不够实用，因而缺乏兴趣，继而造成恶性循环，越往后就越不懂，越不想上。而教师也可能认为高职高专学生不应该学习该门课程，因而也乐意按照本科英语专业的教学模式，粗糙地完成教学任务，结果出现越往后教学效果越差的现象。这种缺乏研究和创新的教学态度无疑也是学生兴趣低下的原因之一。针对难度大的内容，学生没能从教师那里得到简而易的引导，因此觉得困难重重难以逾越，最终灰心丧气。如果再加上就业的压力(一般都是临近毕业的学生才修该门课程)，就更加无法专心向学。所以，如果教师不对学生进行具体的了解，不了解其所学专业对其文化素质和语言的要求，无法真正实现该课程的培养文化素质的教学目标。严格说这是态度问题，教学从实际出发应该是高职高专教育要探讨的一个重要话题。

四、结语

本文从高职高专层次英语专业的特殊性说起，肯定了开展该课程的教学的必要性。但目前该层次课程教学大都参考本科的教学模式，所以容易出现本文所论述的问题：选用教材上面临着尴尬，教学资源很容易发生滥用而缺乏有效性，教学模式生硬不符合高职高专的学生要求，甚至在兴趣态度方面有所缺失，等等。分析出现这些问题的本质，可以为以后对策的探讨提供进一步的参考。我们只有好好研究问题的本质，才能对症下药，从实质上解决问题，从而实现该课程在高职高专层次的教学目标。

参考文献

[1]高等学校外语专业教学指导委员会英语组.高等学校专业英语教学大纲[Z].北京:外语教学与研究出版社;上海:上海外语教育出版社, 2000.

[2]程爱民, 徐劲, 柯可, 唐晓忠.关于我国高等英美文学教学现状的调查报告[J].外语研究, 2002, (1) :15-17.

[3]鲁吉.高校英语专业英美文学类课程教学现状调查[J].西安外国语学院学报, 2003, (12) :10-13.

《人民文学》英文版 篇8

The term foregrounding was originally derived from the word“foreground”, which is used for the visual arts and means the part of a scene or picture that is nearest to and in front of the viewers so that they will readily put their attention on it.Foregrounding in linguistics was first postulated by Mukarovsky, later was adapted to literary field by the Russian Formalists during the early decade of the twentieth century and ultimately was introduced to academics in the West, through translations, by Garvin.

In his Linguistic guide to English Poetry (1969) , G.N.Leech mainly analyses two types of foregrounding:foregrounded regularity and foregrounded irregularity, or rather parallelism and deviation, as a means of explaining the difference between poetic and norm language in a work of art.“Deliberate linguistic foregrounding”is not only used in poetry, asserts Leech, but also found in many others areas, like joking speech and children’s games, to name just a few.Therefore, literature distinguishes itself through the“consistency and systematic character of foregrounding” (57) .Today foregrounding has widely been accepted as one of the foundations of stylistics by many theorists.

ⅡTwo Types of Foregrounding

One type of foregrounding defined by Leech is the foregrounded regularity, mainly presented in parallelism.To some extent, parallelism can be regarded as foregrounded regularity (62) .Generally speaking, the use of every language consists in its rules and regularity.If some elements of the language pop out from its regular rules, either by similarity or contrast, those elements are foregrounded.Parallelism is a pattern technically used to make some elements in a language outstand other customary or standard elements.The following lines will illustrate the parallel patterns in poetry.

The fair breeze blew, the white foam flew,

The furrow followed free;

[Samuel Taylor Coleridge, The Rime of the Ancient Mariner]

The above lines are written in an alliterative structure.It consists in the recurrence of a particular phoneme∕b∕and∕f∕at the beginning of every stressed syllable of the two sentences in the first line, and∕f∕in the second line.By adopting such patterns, the author presents us with an ear-pleasing rhythmic pattern so that the reader can not only read the poem with great ease, but also feel a sense of intensity and fluidity of the actions of the breeze, foam and furrow.

Each generation are attracted by well-known tunes, like ballad, classical songs, pop songs and nursery rhymes derived from different places and composed in different languages, because such tunes have certain melody patterns of rhythms and thus leave a lasting aftertaste in our mind.Take the following nursery rhyme for example.

Are you sleeping, are you sleeping,

Brother bear, brother bear,

Morning bells are ringing, morning bells are ringing,

Ding dong ding, ding dong ding.

[a well-known English nursery rhyme]

The whole song is composed in a harmoniously parallel pattern.In line one, one sentence is repeated twice.In line two, phoneme“b”appears as the first letter of each word.In line three, morning and ringing share the same affix“ing”while in line four, phoneme“d”comes as the first letter of each word.Apart from that, the three onomatopoeic words in the last line are not only similar in sound but also in spelling and pronunciation.By such purposeful repetition, either in phoneme or in syllable, the composer achieves not only an unusual ear-pleasing sound effect, but also an effect of harmony between sound and word.In a nursery song devised mainly for singing to a baby, the seeming over-petitions also reflect the patience and love of the singer, the mother, to her baby.

He stood behind his desk in the far end of the dim room.The wife liked him.She liked the deadly serious way he received any complaints.She liked his dignity.She liked the way he wanted to serve her.She liked the way he felt about being a hotel-keeper.She liked his old, heavy face and big hands.

[Ernest Hemingway, Cat in the Rain]

Judging from the above lines, we will find that parallelism pattern is also widely used in fiction.The author purposefully uses six pronouns (the wife and five“she”) and six verbs (“liked”) to depict the protagonist’s emotion in a single short paragraph.On the one hand, the pronoun changed from“the wife”to“she”may not only imply the author’s objective point of view but also let the reader come closer to the character by shortening the character’s appellation from“the wife”to“she”.On the other hand, the author’s choosing six“liked”to describe the character’s inner actions foregrounds the eagerness of the character, who, as the short story relates later, is not satisfied with her present condition and wants something new and different.

Parallelism is thus used in different kinds of text as foregrounding to achieve a sense of prominence, purposefully making the main theme or character stick out from other things in the background, either by repeated phoneme, rhythm or other forms of parallel patterns.

Foregrounded irregularity, mainly presented in deviation, “is a disruption of the normal process of communication”and it makes up a“gap”in one’s understanding of the context;by filling such gap, the reader gets to the significance of the text (Leech 61) .Therefore, deviation is a technical strategy adopted by the author as a means to foreground the meaning behind the seeming irregular and abnormal patterns.From linguistic prospective, Leech classified foregrounded irregularity mainly into lexical deviation, grammatical deviation, graphology deviation, semantic deviation, dialectal deviation, and phonological deviation (42-51) .

Firstly, lexical deviation is related to the vocabulary, words, or morphemes of a language.By inventing new and odd words for a particular occasion, the author can obtain a special effect on the reader.Take affixation and compounding for example.Customarily we are permitted to add a prefix of fore-to a verb to convey the meaning of“beforehand”or“in advance”, such as foresee, forespeak, foreshadow, forerun, etc., and a reader can easily get the meaning of such words.However, from T.S.Eliot’s line“And I Tiresias have foresuffered all”in his poem The Waste Land, Ⅲ, the reader is always impressed by Eliot’s novelty in using“foresuffered”to achieve a surprising effect.As for compounding, widow-making is a good one which is formed in the pattern of car-making, prize-winning, textreading, etc.But a normal reader will be shocked at“widow-making”, because it is unnatural and abnormal to make someone to be a widow.By doing this, the author can achieve an effect of satire and irony.

While grammatical deviation is often used in a text to show something deeper behind the seeming ungrammatical pattern.It may appear strange when we hear someone say“I doesn’t know”, because the correct auxiliary verb should be“don’t”when the subject is“I”according to English grammar.However, “I doesn’t know”in dialogue may suggest more.It not only indicates the grammatical meaning, but also exhibits the speaker’s conditions, under which either he/she is not well-educated enough to master the grammar or he/she is in such a hurry to state some points that he/she unconsciously makes a slip of tongue.

Graphology deviation concerns more on how the language is written on the paper than other elements.It breaks the customary arrangement of writing language to realize some special purposes or effects devised by the author.Emily Dickinson, E.E.Cummings, and William Carlos William all are good at using irregular capitalization, punctuation, space, etc.to realize their purposes.Below are two examples.

Example 1

Futile—the Winds—

To a Heart in port—

Done with the Compass—

Done with the Chart—

[Emily Dickinson, Wild Nights—

Wild Nights 249]

Eaxmple 2

so much depends

upon

a red wheel

barrow

glazed with rain

water

beside the white

chickens.

[William Carlos William, The Red Barrow written in1923]

As seen from example one, Dickinson’s poems are famous for her overuse of dash and capitalization between lines.Though there are different versions in interpreting such writing technique, there is no doubt that capitalization can easily attract the reader’s attention and dash possibly may suggest a pause and hesitation of the speaker’s feeling, thus leaving room for the reader to do further meditating.While in example two, the space between different lines makes the whole poem look like a painting, with symmetrical picture of dots (the words) to convey the speaker’s intention and meaning.

Semantic deviation focuses more on the meaning of language.Such technique is often seen in poems, slogans, advertisements, proverbs, etc.“Failure is the mother of success”is a famous saying we are familiar with.But according to the rule of language, mother is applied to the title of a female person or animal that conceives and gives birth to a child.However, the inventor (of this sentence) uses failure as a mother who gives birth to success to make the abstract concept (failure/success) personified.Therefore, the seeming oddity of the language produces an abnormal power of significance if we interpret the word beyond the dictionary definition.

Finally, some writers purposefully adapt some socially or regionally defined dialects to a text to achieve dialectal deviation.Mark Twain, for example, uses a lot of colloquial and vernacular language to depict the life of local people in many of his novels, in which characters from different cultural backgrounds talk differently, as cases in point are Huck, Tom and Jim.Seen through the experience and speeches of people from particular sections and societies, the author hides his standpoint and produces an effect of objectivity and authenticity.Of course, there are still other classifications if classified on different standards or basis.But no matter what deviation it is, it is purposefully used to highlight and foreground the author’s intention behind the lines.

III Conclusion

To sum up, both foregrounded regularity and foregrounded irregularity are to highlight some language elements on the basis of the normal or customary language system to give prominence to the philosophical or intentional views of the author.Though sometimes foregrounding may appear odd or incomprehensible, deeper meanings are often successfully conveyed through such oddity or incomprehension than otherwise from normal expressions restrained within the standard language system.Therefore, foregrounding creates a stage on which spotlight is put on particular language elements to draw the reader’s attention.It not only unveils the author’s deeper intention after a close examination, but also involves the participation of the reader to actively think rather than passively accept everything.

摘要：作为文学作品中的一种语言现象, 前景化已成为文学文体学研究中的一个重要概念。前景化包括对常见语言形式的重复或频繁使用, 也包括对常规语言形式的偏离或变异。分析前景化及其特征能使读者更好地理解作家在作品中所要表达的思想。本文旨在探讨不同形式的前景化在不同类别文本里边的表现形式及所起的功能。

关键词：文体学,前景化,重复,偏离,文学作品

参考文献

[1].Leech, G. N.. A Linguistic Guide to English Poetry. London: Longman Group ltd, 1969.

[2].Shao, Jingdi and Bai, Jinpeng, eds. An Introduction to Literature. Shanghai: Shanghai Foreign Language Education Press, 2001.

《人民文学》英文版 篇9

1 英文文学作品翻译中的风格传译

一篇好的译文, 是和原作“基调”完全相符的。想要和原作的风格保持一致, 就必需先对原作作者的写作风格进行详细的了解, 了解作者的生活年代、爱好、性格以及创作欲望等, 准确把握住原作作者的思想感情, 进入到他的精神世界中, 完全从作者的审美情趣出发, 才能够把原作作者想要传达给我们的东西准确地呈现出来。

《老人与海》是著名作家海明威的作品, 一经发表就得到了读者的热烈欢迎, 这部作品也把海明威的写作风格进行了淋漓尽致的表现:凝练、简洁以及精当, 给读者的感受鲜明、深刻[2]。通常都是运用一个连接词连接若干个短语, 不管是描写几个景物, 还是人, 所呈现的都是这些事物最本色的东西。了解了这些, 我们就来看一看不同译本的风格。例如:He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish.这是文章开头的一句, 第一种翻译:他是个独自在湾流中一条小船上钓鱼的老人, 至今已经去了八十四天, 一条鱼也没有逮到。第二种翻译:他是个独自在湾流中一只小船上打鱼的老人, 他到那儿接连去了八十四天, 一条鱼也没有捉到。第三种翻译:他是个老人, 独自驾了一条小船, 在墨西哥湾流捕鱼, 出海八十四天了, 连一条鱼也没有到手。通过阅读, 我们不难感到第二种翻译虽然在句子结构上和原文一致, 意思也一样, 但是频繁出现人称代词, 不但和汉语习惯不相符, 还破坏了原文中的节奏感。第一种翻译较第二种有所改善, 把原文分成了若干个短语叙述, 并且完全符合汉语习惯。最好的应该是第三种, 不但把原文意思完整地表达了出来, 还保存了原文的语序, 读起来更具有原文作者的风格, 让译文读者也可以体会到“海明威”式的气势。所以对于中外文学作品的翻译, 语言风格一定要和原作作者的写作风格相融合, 才更有利于进行风格传译。

2 英文文学作品的两种翻译方法比较

直译是指尽量保留原作中的语言形式, 不管是词语, 还是句子结构和修辞手法等全部保留, 同时还要确保语句通顺、易懂, 以最大化地把原作的语言风格真实地展现出来。而意译就是根据原作的意思, 而不注重细节方面的翻译, 力求译文语句的通俗流畅自然即可。这两种方式各有优点, 对其优劣更不能一概而论, 只能在具体的文学翻译中对比来说。比如在英文文学作品The story of an hour中There stood, facing the open window, a comfortable, roomy armchair.Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.对于这部作品有很多翻译, 其中第一种翻译为:房间里有一张舒适的安乐椅, 正对着敞开的窗子放着。马太太一屁股瘫在这张安乐椅上, 她浑身倦怠, 精神恍惚。而第二种翻译是:正对着打开的窗户, 放着一把舒适、宽大的安乐椅。全身的精疲力竭, 似乎已浸透到她的心灵深处, 她一屁股坐了下来。不难看出, 第一种翻译方式是意译, 第二种则为直译。第一种读起来更为流畅, 通俗易懂, 但是其句子结构却和原文有较大的差别, 缺失了原文的风格, 特别是马太太和四字句的使用;而第二种翻译则把原文中的句式特点以及语言风格真实准确地展现了出来, 语句通畅, 所以说第二种翻译方式更胜一筹。德国学者Cauer更主张于直译, 称其直译更有助于展示原文中的语言风格, 但是如果一旦出现直译不能够对原文的意思表现清楚, 或者其翻译出来的语言不能让人正常理解, 这个时候就必须借助于意译了。简单来说, 在文学翻译中尽量直译, 如有必要则可进行意译, 这样不但可以最大化地保留原文的语言风格, 还可以让译本读者更好地理解原作。

3 英文文学作品翻译中词汇的选择

在翻译的过程中, 对于词汇的选择也是非常重要的, 因为它不仅要准确地表达原作中的意义, 还要符合翻译成汉语的表达习惯[3]。例如:有钱的单身汉总要娶位太太, 这是一条举世公认的真理。这个句子在《傲慢与偏见》中非常经典, 译者使用了夸张和讽刺的翻译手法来表达自己的婚姻观, 但同时也抓住了文章所具有的喜剧特色。因此, 在翻译时, 对于恰当的词汇选择显得非常重要。译者用通俗的“钱”充分体现出了原文的意思, 而却表达得非常准确。再例如:这句话足以引逗太太讲下去了。当贝内特太太听说一位单身汉购买了尼日斐花园后, 非常高兴地去告诉自己的丈夫, 但是丈夫并不搭理她。因此, 她变得不耐烦。于是, 丈夫说“既然你要说给我听, 我听听也无妨”, 这对于嫁女心切的贝内特太太来说, 每每遇到一个有钱的单身汉, 便将他作为自己女儿的“合法财产”, 而且深受鼓舞。而译者所使用的“引逗”一词, 充分体现出了原作中所要表达的意思。因为, 从贝内特太太和她先生的性格来看, “引逗”一词甚是合适, 贝内特太太是个急性子, 但是她的先生对她所讲的内容并不是很感兴趣, 而他的一句话又引起了贝内特太太继续讲下去的欲望。

4 结束语

语言是文化的载体, 文化是语言的土壤, 翻译是中西文化之间交流的重要桥梁, 翻译是不同的语言社会之间交往和交际的重要工具, 其目的主要是为了促进中西方政治、文化的交流和进步。但是由于中西文化之间的差距较大, 对文学作品的翻译有很大的影响, 所以在英文文学作品翻译中必须注重文化的翻译, 这样才能真正促进中西文化的交流。

综上所述, 在中西文化背景下, 充分认识中英文化的差异, 在翻译中注重文化和风格的翻译, 才能为中西文化的交流和传播做出贡献。

参考文献

[1]魏琳.文学翻译中的风格视角探析[J].河南广播电视大学学报, 2011 (2) .

[2]张娜娜.论文化语境对文学翻译的影响[J].海外英语, 2011 (3) .

《人民文学》英文版 篇10

Two years ago, the US Senate passed“Currency Exchange Rate Oversight Reform Act of 2011”, the debate about exchange rate between China and US becomes hot again.In recent years, the United States frequently puts pressure on China by the exchange rate issue.Since a series of currencies measures were implemented from 2005, the US dollar against the RMB exchange rate decreased from 8.27 to 6.29, and pushed up the RMB still further.They argue that the USin Sino-UStrade deficit may be reduced if the RMB appreciate, so they force the RMB to appreciate.This article would not only find the relationship between the Sino-US trade balance and the RMB exchange rate fluctuation, but also discuss how the exchange rates impact our country’s import and export trade.At last, some views about the dispute of Sino-US exchange rate are presented.

二、The literature review

In the 1930s, Abba Lerner states that if the current account is initially zero, a real currency depreciation causes a current account surplus if the sum of the relative price elasticities of export and import demand exceeds 1.If the current account is not zero initially, the condition becomes substantially more complex, then the external devaluation of the national currency will certainly be able to improve its trade balance of payments, which is the famous“Marshall-Lerner condition”.After the1980s, economistsincreasingly note the problem of exchange rate pass-through, forming the theory of incomplete exchange rate pass-through.As well as the changes in a national income, currency devaluation can improve the trade balance conditions, and devaluation caused more than national income to increase exports, which is called LawsonMetzler effect.If we do not take into account the time lag of monetary depreciation effect, due to exchange rate movements, the change in financial asset prices can be completed in an instant.But the exchange rate shocks may affect the economy with some lags.So when the exchange rate changes, the change in trade and national income is relatively slow, so the devaluation of the currency could lead to trade balance deteriorate first and gradually improve subsequently, which is known as the J-curve effect.

In the view of academic circle in the USA, with the expansion of China’s current account balance of payments surplus in 2005, Joseph Stieglitz, Robert Mundell, Stephen Roach and Ronald Mc Kinnon firmly opposed to the appreciation of the RMB, but after2005, these scholars change their points.Although these scholars do not believe that a substantial appreciation of the RMB is conducive to the development of Sino-US economic and in varying degrees, they recognized the independent and progressive RMB appreciation.

From the point of Chinese scholars, Lin Yifu (2007) , Li Yang (2005) , Fan Gang, Yi Gang, Cheng Side and He Liping were tend to support the policy of RMB exchange rate is relatively stable, while Yu Yongding (2003) , He Fan and Hu Zuliu argued that the yuan should be revalued.

三、Empirical research

This paper selects monthly data of Sino-US trade balance and the exchange rate of USD to RMB, from January 2007 to January 2013.Because of seasonal fluctuations in trade balance, firstly, carry out X-12 seasonal adjustment to the data, secondly, analyse data in the use of unit root test, cointegration analysis, and Granger test.The analysis find out the impact on Sino-US trade, exerted by the exchange rate.The results show causal relationship between the exchange rate and the trade balance is not clear, and trade balance have an affect on the exchange rate, but not obvious.The exchange rate exert a great influence on trade balance, however, it can not decide the size of trade balance between two countries totally, there is no necessary connection between them.

The data of the Sino-US trade balance comes from the official website of China Customs, and the data of the exchange rate is from the State Administration of Foreign Exchange, the two Chinese official data is strongly persuasive.For analysising and processing data, Y is the logarithm of the Sino-US trade balance, that is lnnx, X is the logarithm of the exchange rate of dollar against the RMB, that is lne.

1. ADF stationary sequence inspection

Classic regression model is the smooth variable based on the non-stationary variables, using the classical regression model may appear spurious regression and many other issues.Therefore, the economic variables stationary test is necessary.As we can see from Dependent Variable:D (Y)

the figure 1, The null is not significant at the 1%, 5%and10%level, the value of t is less than the statistical values, passing the test.Although the original time sequence of the variables are non-stationary series, the corresponding first-order differential sequence pass the 5%significance level test, and individual variables are integrated of order one sequence.Because of the regular use of the 5%level, we also analyze at a 5%level in order to be calculated later consistent.

2. Least squares method

The least squares method to test whether there is a linear relationship between the Sino-US trade balance and the exchange rate.If there is a linear relationship, the relationship between the two is apparent.The actual inspection, we found that the R-value only 0.000656, even neglecting the possible linear correlation of D (x) and D (Y) .That is to say, a linear relationship does not exist between the Sino-UStrade balance and the exchange rate.

Method:Least Squares

Date:03/04/13 Time:08:34

Sample (adjusted) :2007M02 2013M01

Included observaltions:72 after adjustments

3. Granger causality test

In the first test, the concomitant probability P=0.9941, itcannot reject the null hypothesis of D (X) is not D (Y) Granger cause, and in the confidence level of 95%, it reject to made Type I error is 0.0059.So that D (X) is not D (Y) Granger causes, that is, the exchange rate is not the causes of the Sino-US trade balance.

Pairwise Granger Causality Tests

Date:03/04/13 Time:08:35

Sample:2007M01 2013M01

Lags:2

In the second test, the concomitant probability P=0.9812, D (Y) isnot D (X) Granger causethat can not reject thenull hypothesis.In the confidence level of 95%, it is not that D (Y) Granger causes D (X) , namely Sino-US trade balance is not the exchange rate Granger causes.

四、The conclusion

Firstly, thereisnostable equilibrium relationship between the Sino-UStradebalanceand theRMB exchangeratein thelongterm.

Secondly, there is no causal relationship between the RMB exchange rate and the Sino-US trade balance.So, it is impossible to change the Sino-US trade deficit, using the adjustment of RMB exchange rate.Because of the strong complementarity in Sino-US trade, exchange rate has limit affect on the balance of trade between the two countries.

Finally, the Sino-US trade balance did not show significant J-curve effect, which means that there isn’t time lag effect of the exchange rate on bilateral trade balance.The conclusion of the exchange rate on the trade balance do not play an important role has been confirmed once again.Because of the RMB exchange rate is not the bilateral trade balance of payments reasons, and thus through the adjustment of the RMB exchange rate can not solve the problems of the current balance of trade between China and USA.As trade between China and the United States, there was not only complementary, and there is a lot of competition, so we can not wish to improve Sino-US trade payment by forcing the appreciation of RMB exchange rate.

摘要：近年来, 人民币升值影响了全球经济的神经。实证研究人民币是否被低估, 并进行了详细的分析是人民币问题影响到美国经济衰退。为了最大化研究人民币升值的后果, 我们更使用月度数据而不是年度数据。考虑到中国和美国的实际情况, 我们还利用VAR模型检验了人民币升值的迹象, 发现在长期两者不存在任何因果关系。

关键词：中美贸易,人民币升值,VAR

参考文献

[1]Chen, Jinzhao, 2010.Crisis, Capital Controls and Covered Interest Parity:Evidence from China in Transformation.CESifo Venice SummerInstitute, 19-24 July 2010.

[2]Buigut, S., &Rao, V, 2011.International Financial Integration of the Indian Money Market.International Journal of Economics andFinance, 3 (4) , 170-180.

[3]Liu Ganzhou, 2006.The analysis of mechanism for interaction between exchange rate fluctuations and fluctuations in the stock marketprice, Guangxi College for Financial.

[4]Paul R.Krugman, Maurice Obstfeld, 2003.International Economics Theory and Policy.Pearson Education.