第一篇：論遠(yuǎn)大前程中社會(huì)因素對(duì)皮普愛(ài)慕虛榮性格的影響

Social factors on the development of pip’s vanity in Great

Expectations

Abstract

This paper studies the social factors on the development of pip’s vanity in Charles Dickens’ Great Expectations.It argues that, compared with other factors that affect pip’s vanity, social factors has its own distinguishing affects, and that is, it straightly pushes pip to be a vanity man with various ways.The combination of the social factors and pip’s vanity through the exploration of the following three aspects, namely social factors with his terrible educational background, social factors combined with his poor family situation and social factors tinted with the cruelty of the bourgeoisie will be closely examined in this paper.In this way it plans to prove that social factors are the factor that straightly pushes pip to be a vanity man.Keywords: social factors;terrible educational background;poor family situation;cruelty of the bourgeoisie

論遠(yuǎn)大前程中影響皮普虛榮性格發(fā)展的社會(huì)因素

摘要

本文研究社會(huì)因素對(duì)遠(yuǎn)大前程中皮普虛榮性格的形成的影響。筆者認(rèn)為，與其他影響皮普虛榮性格的因素相比，社會(huì)因素有著非常獨(dú)到的地方，即它直接的從各個(gè)方面把皮普塑造成了一個(gè)虛榮的人。本文從皮普教育的缺失，貧困的家庭環(huán)境，資本主義的殘酷三個(gè)方面對(duì)皮普虛榮性格的形成進(jìn)行了考察，從而證明社會(huì)因素直接地把皮普塑造成了一個(gè)虛榮性格的人。

關(guān)鍵詞：社會(huì)因素，教育的缺失，貧困的家庭，資本主義的殘酷

Contents

Number of pages: 16 Introduction.................................................................................................................1 2 Pip’s Character of Vanity............................................................................................2 2.1 A Brief Introduction to the Victorian Age............................................................3 2.2 The Prototype of Pip in Great Expectation..........................................................4 2.3 His Vanity in Great Expectations.........................................................................5 3 The Social Factors that Mold Pip’s Vanity..................................................................6 3.1 His Terrible Educational Background..................................................................7 3.2 His Poor Family Situation....................................................................................8 3.3 The Cruelty of the Bourgeoisie............................................................................9 3.3.1 Vengeful and Wealthy Miss Havisham......................................................10 3.3.2 Indulgent and Hypocritical Mr.Jaggers.....................................................11 4 Conclusion................................................................................................................12 Notes............................................................................................................................13 References....................................................................................................................14 Acknowledgement.......................................................................................................15 Declaration...................................................................................................................16

1.Introduction Dickens was one of the most influential writers of the 19th century, played a crucial Great Expectations was written by Charles Dickens(7 February 1812–9 June 1870).He contributed greatly to the development of the writing style in British Literature.Through his numerous works，he exposed the readers to different aspects of the times he lived in and explored the unfairness and hypocrisy of the capitalist society and he analysis that the social factors that we lived in influences the formation of our characters.The social factors can be reflected in various ways such as education, families, friends and the living experiences.Pip is the hero in Great Expectations, whose life has through several changes.Each change is a new development for him and last forging a new Pip: The one who is fall in love with the beautiful Estella, the love drives him to run after the knowledge and fame;the one who gains a big fortune to have a gentleman cultivation in London;the one whose dreams fall into fallacy, which lets him realizes his guilty and starts repentance.Every stage Pip’s character is under subtle change that is related to the things happened around him.To say it in different way, pip’s change in every stage is influenced by the social factors especially let him to chase after the vanity like the upper class gentlemen life and wealth.Thus, this paper mainly studies the social factors on the development of pip’s vanity in Charles Dickens’ Great Expectations with the factors of terrible education, the poor family and the friends around him who live in the cruelty Bourgeoisie.In this way to prove that social factors are the factor that straightly pushes pip to be a vanity man.2.Pip’s Character of Vanity

Pip is the hero in Great Expectations who is also a victim.His life reflects the background of the Victorian age when the society is dark and the people there all chase after the vanity of the wealth and the social status.It is also mirrored the life experiences of Charles Dickens.Pip actually is living in the lower class who has no good education and the rich family.When he lives with Joe, his dream is to be a balcksmith.But when he falls in love with the girl, he begins to hate his dirty hand that using to strike the iron.Apart from that, when he is in the cultivation for a gentleman, he begins to escape to meet the low class: Joe, though he is actually not a gentleman there.All the change of Pip’s character reflects the common features of the people in Victorian age and mirrored the life experiences of Charles Dickens.2.1A Brief Introduction to the Victorian Age In Great Expectation, Charles Dickens showed us a lively picture, which gave us a rough sketch of The Victorian Age.The country was ruled by Queen Victorian from 1837 to 1901, and during this period, the cruelty and the greedy of the Bourgeoisie that deeply affect everyone’s character.In society, the wealth and the greedy are like an evil.The distribution of wealth is always unequal and the contrast of the rich and the poverty is very sharp.On one hand, there excises the noble manor life and the comfortable life of the landlord;on the other hand, it is the farmer’s dilapidated cottage and the unemployed worker’s desperation.Family life for the middle and upper class was extremely important, as the families were large and living together in big houses, life was very comfortable for them and enjoyable.Poor and working class families, such as Dickens's were forced to work in factories doing dangerous jobs.Children were being exploited, into doing harsh dangerous work, for little pay and no gratitude.Besides, the Industrial Revolution of the late eighteenth and the early nineteenth centuries had transformed the social landscape, enabling capitalists and manufacturers to amass huge fortunes.Although social class was no longer entirely dependent on the circumstances of one’s birth, the divisions between rich and poor remained nearly as wide as ever.London, a teeming mass of humanity lit by gas lamps at night and darkened by black clouds from smokestacks during the day, formed a sharp contrast with the nation’s sparsely populated rural areas.More and more people moved from the country to the city in search of greater economic opportunity.Throughout England, the manners of the upper class were very strict and conservative: gentlemen and ladies were expected to have thorough classical educations and to behave appropriately in innumerable social situations.2.2 The Prototype of Pip in Great Expectation The prototype of the pip in great expectation should trace back to the purpose of Charles Dickens to write Great Expectations.In the Victorian Age, the contrast of wealthy and poverty is sharp and the cruelty and the exploitation is everywhere, which let all the lower class form a wrong value: run after the wealth and the upper class.Therefore, the vanity breeds out.So as Charles Dickens, he wrote Great Expectation to draw a picture of the people who run after the vanity through Dickens’ own life experiences.When Dickens was young, his parents had troubles in finance and disasters in the social, so they lived a rough live and had to change their living-quarters frequently for the lack of money which could be used to pay the rents.Dickens wasn't an orphan, as Pip is, but he may well have felt like one.His parents were sociable, pleasant people, but when Charles, who was the eldest boy, was nine, the Dickens’s pulled up roots and moved to London to try to live more cheaply.Charles was appalled by the cramped, grubby house they lived in there, and even more ashamed when his father was arrested and taken to debtors' prison.The rest of the Dickens’s were allowed to move into prison with their father, but twelve-year-old Charles had to live on his own outside.Therefore, the expectations of pip to get the social advancement and the wealth are the mirror of Dickens himself to make a great expectation to change his life style.2.3 His Vanity in Great Expectations In Great Expectations, Pip, the novel’s protagonist, lives in the marsh country, works at a job he feel enough, considers himself too good for his surroundings as shown by the following account in the book Great Expectations.“Joe was a fair man, with high brown hair and blue eyes.He was a mild, good-natured, dear fellow Joe and I being fellow-sufferers……”

But when he meet the Estella at Miss Havisham’s house, he suddenly feels shame about his surrounding and from this time his vanity breed out from his brain: he want to be a rich, a gentle and a uncommon man, though it is just a expectation that is impossible for him now as shown by the following account.“Being alone in the courtyard I looked at my coarse hands and my thick boots.They had never troubled me before, but they troubled me now.I wished Joe had been rather more genteelly brought up, and then I should have been so too.” page 49

“……and that I hadn’t been able to explain myself to Mrs.Joe and Pumblechook, and that there had been a beautiful young lady at Miss Havisham’s who was dreadfully and proud, and that she had said I was common……”page 70

“I had never thought of being ashamed of my hands before, but I began to consider them rather a bad pair.Here contempt was so strong that it became infectious and I caught it”chapter7 page47

When Pip comes to London to have the cultivation for the gentleman, he begin to look down upon the low class, even his best friend: joe.As shown in the book.“One Monday morning I received a letter from Biddy in which she informed me of Joe’s intention to visit me at Barnard’s in the next morning.I did not look forward with pleasure to this visit, and if I could have kept him away by paying money……but I had the sharpest sensitiveness to his being seen by Drummle, whom I held in contempt because he was idle, stupid and haughty.” Chapter 15Page 114

It’s no doubt that there are a lot of words and description of Pip’s mental.All that gives the impression that Pip is a vanity man.The Social Factors that Mold Pip’s Vanity

The social factors can be reflected in various ways such as education, families, friends and the living experiences.This paper mainly studies the social factors on the development of pip’s vanity in Charles Dickens’ Great Expectations with the factors of terrible education, the poor family and the friends around him who live in the cruelty Bourgeoisie.3.1 His Terrible Educational Background In Pip’s family in Great Expectations, the rough sister couldn’t gives Pip chances to satisfy his curiosity for knowledge．Although Joe is a good man and expects Pip to learn, but he is helpless.As to he is almost an illiterate.When Pip attends a night class，he sadly find it is not a school, where has no textbooks and no teacher in the real sense as shown in Great Expectations.“During this period I attended an evening school kept by Mr.Wopsle’s great-aunt.Her method of education was peculiar, for she usually went to sleep from six to seven every evening, leaving her pupils to improve themselves as best they could by seeing her do it.Mr.Wopsle’s great-aunt, besides keeping this Education Institution, kept in the same room a little general shop.”Chapter 6 page 33

The terrible education background couldn’t cultivate Pip to have the right value to the society and the life.So Pip wants to study hard just because of his vanity: the love for Estella．Pip wants to learn and become a gentle man.When Pip later becomes a London gentleman，he learns from Mr.Pocket．At this time，the purpose of receiving education is only to decorate the gentleman’s status.Thus throughout Pip’s receiving education, He learns only a little from his teachers.His real teachers are his sufferings．Pip’s process of being taught is mainly the process of his teaching himself.He is thirsty for knowledge but his teachers never satisfies his intellectual need or tell him the math of life．From the beginning to the end of the book．Originally, he wants education because of his love for Estella．There are great gaps between Pip and Estella, Pip wants to narrow these gaps by learning more．All those are driven by his vanity for the beautiful Estella and for the upper class life.3.2 His Poor Family Situation Pip was an orphan who lived with his sister and brother in law.The poor living condition made him quite sensitive, which also made him feel shame of his family situation when with Estella and the friends.Although Joe treated Pip as his best friend who he could believe in and give sincerity and comfort to, what Joe could do was too little to help Pip, not the good living situation and the good education.Thus, Pip formed the false values about the wealth, the social status and the wrong outlook about the world.Pip couldn’t refuse the temptation around so he lost his balance in mind because he always thinks he is poor and common man.He was eager to be a gentleman and the husband of Estella, though it is impossible of the family situation for him.However, he lived in his dream.His sister punished him in lots of ways such as using the tar water as medicine, her ring and thimble as torture instruments.Mrs.Joe liked to tell others that it was her that brought Pip up and she suffered a lot for this.However, she never gave Pip any good family situation to have a good education and the good value about the life and the wealth.What Pip felt was the following:

“My sister’s bringing up had made me sensitive.In the little world in which children have their existence, whoever brings them up, there is nothing so finely perceived and so finely felt, as injustice.”(69)

Therefore, when Pip got the information that he had come into handsome property, he feel that he have the chance to be a gentle man and will not to be the low class of the society.And then, he waste the money every day and persist in he will be the upper class man.However, all that is because of his poor family situation that couldn’t give him the good education and had the right value of life and the wealth, which straightly let him got the vanity that he come into handsome property to have the chance to be a gentle man and the upper class of the society.3.3 The Cruelty of the Bourgeoisie In the Victorian Age, because of the Industrial Revolution and the development of the society, the Bourgeoisie is very cruelty for the wealth and the social advancement.Sometimes they are ruthless for the low class to reach their own purpose.3.3.1 Vengeful and Wealthy Miss Havisham In Great Expectations, Miss Havisham is a mad, vengeful, a wealthy old lady, who lives in a rotting mansion and wears an old, smelly wedding dress, which she never takes off in her rest of life.She is a poor role in the novel.Miss Havisham’s life is dominated by a disobliging man who named Compeyson, who leaves her alone on their wedding day.From then on, Miss Havisham turns all the clocks in her house at twenty minutes to nine, the moment when Compeyson dumps her, and she wears only one shoe, because when she is informed of his betrayal, she had not yet put on the other shoe.With such kind of manic, obsessive cruelty and miserable suffering, Miss Havisham adopts Estella and raises her as a gun to fire the men.Miss Havisham is an example of single-minded vengeance pursued destructively: both Miss Havisham and the friends in her life suffer painfully things because of her quest for revenge.Miss Havisham completely hasn’t seen that her actions are great hurtful to Pip and Estella.She is redeemed at the end of the novel when she realizes that she has broken Pip’s heart in the same manner as her own;rather than achieving any kind of personal revenge, she has only caused more pain.Miss Havisham’s begging for forgiveness reinforces the theme that bad behavior can be redeemed by contrition and sympathy.But Miss Havisham has also done the worse thing for Pip.She not only gives Pip the expectations to catch Estella, but also give Pip’s expectations to be a gentleman of the upper class, which indulges Pip’s vanity to chase after the illusory dreams.She knows that Pip is from the low class and Pip sometimes is self-contemptuous as shown in the book Great Expectations.“……my dream had come true, my wild fancy was surpassed by reality;Miss Havisham was going to make my fortune.” chapter 13 Page 92

Miss Havisham’s revenge straightly put Pip to run after the wealth and the social advancement.To say it in different way, Miss Havisham straightly put Pip to be a vanity man for the wealth and the social advancement.3.3.2 Indulgent and Hypocritical Mr.Jaggers In the beginning, Pip’s vanity is buried in his heart as shown in the book: “one morning after I wake up, a good idea comes into my heart: I’ll let myself uncommon.”, but when he meets Mr.Jaggers his vanity comes into a summit.Mr.Jaggers as a represent of the decaying legal system of British also gives Pip a dream to be the upper class of the society.The dream let Pip got the expectation.On the contrary, in London, Pip has never studied the knowledge and the manner of the upper class, but the luxury of the upper class as shown in the book:

“We always derived great satisfaction from making an appointment for this purpose.We ordered something special for dinner, with an expensive bottle of wine, in order that our minds might be fortified for the occasion.Dinner over, we produced pens and paper.I would then take a sheet of paper and write across the top of it, in neat hand writing, “Memorandum of Pip’s Debts” chapter 19 page 145

That is the indulgence of Mr.Jaggers who hasn’t paid the responsibility to Pip’s development, which is also because of his hypocritical.To say it in other words, Mr.Jaggers is an irresponsible lower.What he wants is just the attorney fees.Mr.Jaggers is also a vanity man as shown in the book:

“Now, I have nothing to say to you,” said Mr.Jaggers, throwing his finger at them.I want to know no more that I know.As to the result, it’s a toss-up.I told you from the first it was a toss-up.Have you paid Wemmick?”

From this point of view, Pip is also a victim.Although he is vanity after suffering Miss Havisham and Estella, the greatest culprit is Mr.Jaggers indulgent and hypocritical.It is his indulgent and hypocritical put Pip’s vanity to the summit.4 Conclusion The development of Pip’ vanity has a deep relationship with the social factors such as education, family and social activities.In the thesis we’ve talked about many aspects that influenced the development of Pip’s vanity.Pip lost his nature in his own life is because he has got the wrong value towards wealth, love and social status.Then the terrible education condition was an important aspect that Pip learnt little useful knowledge from the school or the teacher.Wemmick helped Pip when Pip faced the difficulties.He gave his true love to Pip who once saved his life.At last, Pip knew that he should abandon the wrong value and find back his natural character.The novel tells us that we must establish the right value for the wealth and the social status and shouldn’t be mislead by the wrong value from the social factors.The social factors can be the good thing for our development and can also mislead us to the abyss.To say it in other words, they can be educational and destructive.Of course, different people will lead different lives in the same social factors.But the most important factor is our own nature.

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《厄舍古屋的倒塌》中哥特式文學(xué)特點(diǎn)分析 論大學(xué)英語(yǔ)口語(yǔ)課外活動(dòng)

Self-improving English Proficiency by Reading English Classics 中英社交禮儀差異的比較與分析 《阿甘正傳》承載的美國(guó)青年價(jià)值觀 中英禮貌用語(yǔ)差異

從跨文化角度看電影標(biāo)題漢譯英 英漢動(dòng)物詞匯的文化內(nèi)涵及其翻譯 英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考（貢獻(xiàn)者ID 有提示）

《麥琪的禮物》看語(yǔ)境在中英翻譯中的影響 87 英漢顏色詞翻譯

探析王爾德童話(huà)中的死亡主題

《瓦爾登湖》與陶淵明作品中的自然觀簡(jiǎn)析 90 論歐.亨利的寫(xiě)作風(fēng)格

Development, Analysis and Prospect of Chinglish 92 從關(guān)聯(lián)-順應(yīng)理論視角研究旅游文本英譯

唯美主義與心理失衡的關(guān)系——以《道連葛雷的畫(huà)像》中人物分析為例 94 苔絲悲劇中烏托邦情結(jié)的探析 95 從文化角度對(duì)比中美兩國(guó)談判風(fēng)格 96 論《野性的呼喚》中的自然主義 97 英漢親屬稱(chēng)謂的差異與翻譯技巧

《麥田里的守望者》中霍爾頓的反叛和自我救贖

Unreliable Narration – The Approach to Irony in Pride and Prejudice 100 An Appeal for Oedipus Rex 101 The Name Translation in A Dream of Red Mansions 102 扼殺在萌芽中的期許— “一小時(shí)里故事”中的女權(quán)渴望 103 論漢語(yǔ)新詞語(yǔ)的英譯 104 《七宗罪》的人性解剖

目的論在英語(yǔ)兒歌翻譯中的應(yīng)用 106 論偵探小說(shuō)中的偵探話(huà)語(yǔ)的謊言測(cè)定

對(duì)高中學(xué)生英語(yǔ)學(xué)習(xí)動(dòng)機(jī)現(xiàn)狀及激發(fā)策略的調(diào)查分析—以屏邊高級(jí)中學(xué)為例 108 官方語(yǔ)言中的中國(guó)英語(yǔ)分析－－從目標(biāo)人群接受性角度談起 109 中西酒文化的差異對(duì)比

論《喜福會(huì)》中母女關(guān)系背后的文化沖突 111 通過(guò)《推銷(xiāo)員之死》探究現(xiàn)代人生存困境問(wèn)題 112 An Analysis of Self-reliance in Little Women 113 View Chinese and Western Love from Liang Shanbo and Zhu Yingtai and Romeo and Juliet 114 項(xiàng)目教學(xué)法在英語(yǔ)寫(xiě)作課中的應(yīng)用

英語(yǔ)專(zhuān)業(yè)學(xué)生英語(yǔ)口語(yǔ)學(xué)習(xí)動(dòng)機(jī)調(diào)查研究

基于語(yǔ)料庫(kù)的漢語(yǔ)空間隱喻認(rèn)知分析——以前后為例 117 《荊棘鳥(niǎo)》女性意識(shí)淺析

個(gè)人主義與集體主義——中美文化碰撞背后的價(jià)值觀差異 119 從文化角度看英語(yǔ)習(xí)語(yǔ)的翻譯

文化適應(yīng)性原則在食品商標(biāo)翻譯中的應(yīng)用 121 霍桑《紅字》女性主義的探析

中國(guó)文化特色詞匯的音譯與中國(guó)文化的傳播 123 《霧都孤兒》中的批判現(xiàn)實(shí)主義

論托尼·莫里森《寵兒》中的模糊化現(xiàn)象

Growing Pains—An Analysis of J.D.Salinger’s The Catcher in the Rye as a Bildungsroman 126 跨文化交際中社交語(yǔ)用失誤及應(yīng)對(duì)策略 127

Domestication and Foreignization in Idioms Translation 129 論建構(gòu)主義理論指導(dǎo)下英語(yǔ)口語(yǔ)教學(xué)方法 英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考（貢獻(xiàn)者ID 有提示）

功能對(duì)等理論下的新聞詞匯翻譯 131 濟(jì)慈六大頌詩(shī)的意象

淺析《睡谷傳奇》中的浪漫主義 133

《大學(xué)英語(yǔ)》聽(tīng)力理解中的石化現(xiàn)象與對(duì)策 135 影響中學(xué)生英語(yǔ)學(xué)習(xí)的心理因素分析 136 試析流行文化對(duì)美國(guó)青少年價(jià)值觀的影響

用本我，自我，超我的弗洛伊德理論來(lái)解析《紅字》 138 從《絕望主婦》看美國(guó)人的婚姻觀

The Symbolic Meanings of Red in The Catcher in the Rye 140 從譚恩美小說(shuō)中“家”的概念看其文化身份認(rèn)定 141 《洛麗塔》—時(shí)間的悲劇 142 “到十九號(hào)房間”的悲劇成因

中英文商標(biāo)翻譯的問(wèn)題及其解決方法

論伍爾夫《到燈塔去》女權(quán)主義主題思想及對(duì)中國(guó)女性文學(xué)之影響 145 論奧康納短篇小說(shuō)的創(chuàng)作特色

《魔術(shù)與童年》翻譯中英漢詞匯銜接對(duì)比研究 147 《哈利.波特》中斯內(nèi)普的人物分析

初中英語(yǔ)聽(tīng)力水平調(diào)查研究－－-以鋼城十二中為例的個(gè)案調(diào)查 149 騎士精神對(duì)現(xiàn)代社會(huì)的影響

論文化差異在好萊塢電影《功夫熊貓》中的表現(xiàn)

151 唯美主義理論與實(shí)踐的矛盾——解析王爾德的矛盾性 152 從及物性角度分析童話(huà)的文體特征 153 理智的動(dòng)人詩(shī)篇——《馬語(yǔ)者》

154 奈達(dá)功能對(duì)等理論指導(dǎo)下英漢廣告修辭的翻譯策略探究 155 艾米麗的心理性格分析 156 論被動(dòng)句的翻譯

157 Text Cohesion in English Business Contracts 158 從生態(tài)批評(píng)論梭羅《瓦爾登湖》中對(duì)工業(yè)化的思考 159 簡(jiǎn)與林黛玉性格及命運(yùn)對(duì)比 160 凝視與對(duì)抗：《屋頂麗人》中的兩性戰(zhàn)爭(zhēng) 161 命案現(xiàn)場(chǎng)——阿加莎死亡觀簡(jiǎn)析 162 動(dòng)物習(xí)語(yǔ)在英漢文化中的異同分析 163 傅東華譯《飄》歸化現(xiàn)象淺析

164 從“愛(ài)的習(xí)慣”看多麗絲.萊辛筆下的兩性關(guān)系

165 從精神分析學(xué)角度探究《呼嘯山莊》中的希斯克里夫 166 論《太陽(yáng)照常升起》中的象征主義 167 功能對(duì)等理論指導(dǎo)下的外貿(mào)函電翻譯 168 淺析《小婦人》中馬奇太太的教育方式 169 從《紅字》看霍桑的政治觀

170 非英語(yǔ)專(zhuān)業(yè)大學(xué)生聽(tīng)力課堂焦慮的影響及解決策略 171 從奧運(yùn)菜單看中式菜肴英譯名規(guī)范化程度

172 A Contrastive Analysis of Chinese and American Nonverbal Privacy 173 中美禮貌語(yǔ)中的“面子文化” 英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考（貢獻(xiàn)者ID 有提示）

174 弗吉尼亞伍爾夫《墻上的斑點(diǎn)》的敘事技巧分析 175 《最藍(lán)的眼睛》和《寵兒》中黑人女性的悲劇根源

176 莊子和梭羅自然觀比較——以《莊子》與《瓦爾登湖》為例 177 通過(guò)對(duì)比研究看電影《小紅帽》對(duì)經(jīng)典童話(huà)小紅帽的顛覆 178 從文化視角看中西方的禮節(jié)差異 179 英漢愛(ài)情隱喻比較研究

180 《喧嘩與騷動(dòng)》中沒(méi)落的悲劇 181 論莎士比亞十四行詩(shī)的特征

182 論教師的非語(yǔ)言行為在課堂教學(xué)中的作用 183 論中英文習(xí)語(yǔ)翻譯的處理技巧及文化差異 184 《圍城》英譯本中文化負(fù)載詞的翻譯研究 185 論苔絲悲劇的成因

186 從詞匯對(duì)等角度看《紅樓夢(mèng)》中“笑”一詞的英譯 187 A Comparative Study of Jane Austen and Emily Dickinson 188 從翻譯目的論角度分析商務(wù)廣告翻譯 189 第二次世界大戰(zhàn)中的溫斯頓丘吉爾 190 如何激發(fā)初中生學(xué)習(xí)英語(yǔ)的興趣

191 從《肖申克的救贖》看美國(guó)的個(gè)人英雄主義 192 化妝品說(shuō)明書(shū)特征及其漢譯技巧 193 威廉福克納作品中的悲劇美學(xué)思想

194 《哈克貝里·費(fèi)恩歷險(xiǎn)記》中哈克和吉姆的人物形象分析

195 The Blacks’ Soul Under the Impact of the White Culture in The Bluest Eye 196 A Reflection upon American Heroism Based on Reviews of Hollywood Movies 197 美國(guó)動(dòng)畫(huà)片名的翻譯 198 A Study of Neo-Classicism 199 英語(yǔ)中的女性歧視

200 血性意識(shí)—D.H.勞倫斯的自然主義愛(ài)情觀

第三篇：《遠(yuǎn)大前程》中皮普的人物性格分析

摘要:本文深入細(xì)致的分析了狄更斯《遠(yuǎn)大前程》一文中的主要人物皮普的生活經(jīng)歷與心路歷程,揭示了英國(guó)維多利亞時(shí)代人與人之間赤裸裸的金錢(qián)關(guān)系,展現(xiàn)了生活在那個(gè)時(shí)代的底層民眾的生存狀態(tài)。

關(guān)鍵詞:狄更斯遠(yuǎn)大前程皮普人物性格

《遠(yuǎn)大前程》是查爾斯·狄更斯藝術(shù)生涯后期最具代表性的長(zhǎng)篇小說(shuō)。小說(shuō)描述了一個(gè)名為皮普的孤兒的生活經(jīng)歷和心路發(fā)展歷程,藝術(shù)的揭示了這位孤兒從對(duì)幸福生活的期望到幻想破滅的整個(gè)過(guò)程。在這本書(shū)中“,遠(yuǎn)大前程”是一句反話(huà),并不是真的指孤兒皮普有什么遠(yuǎn)大的前程,而恰恰是指的一種“幻滅”,一種幻想的幻滅。但如果讀者只是把本書(shū)理解成一本描寫(xiě)孤兒幻想破滅的書(shū),那就誤解也低估了作者的本意,作者是要在對(duì)孤兒皮普的描述中展現(xiàn)19世紀(jì)英國(guó)維多利亞時(shí)代的社會(huì)生活,揭露了資產(chǎn)階級(jí)金錢(qián)世界的種種罪惡。主人公皮普自幼就失去了父母,作者在小說(shuō)的開(kāi)始以第一人稱(chēng)的口吻這樣敘述著主人公的身世“:我說(shuō)皮利普是我父親的姓,那是有根據(jù)的,因?yàn)槲腋赣H的墓碑上刻著他的姓,而且我姐姐也這么說(shuō)。我姐姐嫁給了鐵匠喬·葛奇里,現(xiàn)在是葛奇里夫人了。至于我,從來(lái)沒(méi)有見(jiàn)到過(guò)父親和母親,也沒(méi)有看到過(guò)他們兩位的照片?！睆倪@里我們可以了解到,這樣一個(gè)自幼由嫁給鐵匠的姐姐撫養(yǎng)長(zhǎng)大的孤兒,在那個(gè)時(shí)代是不可能獲得什么太好的教育的。教育的缺失和家境的情況使得幼年的皮普把姐夫當(dāng)做理想的奮斗目標(biāo)。而事實(shí)上,在這個(gè)由姐姐掌握大權(quán)的家里,姐夫也是唯一可以“以誠(chéng)相待,推心置腹”的人。而“一手”撫養(yǎng)他長(zhǎng)大的姐姐呢“,我的姐姐喬·葛奇里夫人比我要年長(zhǎng)二十多歲。她一直說(shuō)我是由她一手帶大的,因此在左鄰右舍享有很大名氣,倍受夸獎(jiǎng)。從小我就想了解這里的“一手”究竟是什么含義。我所知道的她的手,是結(jié)實(shí)笨重而又冷酷嚴(yán)厲的,因?yàn)樗貏e喜歡把她的巴掌打在她丈夫的身上,當(dāng)然也喜歡打在我的身上。我想喬·葛奇里和我就是這樣由她一手帶大的吧。”讀者可以在字里行間讀出作者的良苦用心,但即使在這樣充滿(mǎn)了暴力的家庭里長(zhǎng)大,皮普依然保持著天真、質(zhì)樸的性格,文中作者還特意用一段對(duì)吃面包的描述來(lái)展示皮普的天真可愛(ài)“:在吃晚餐時(shí),我們有個(gè)習(xí)慣,要比較一下吃面包的速度,不時(shí)地悄悄拿起所啃的面包比一下,并且相互會(huì)心地表示贊美。這樣,我們啃面包就越啃越有勁?！庇啄甑钠て找彩巧屏嫉?這一點(diǎn)即使是在面對(duì)逃犯時(shí)也未曾改變,也正是這種善良為他日后的命運(yùn)埋下了伏筆。哈維莎姆小姐的出現(xiàn),徹底改

變了皮普一生的命運(yùn)。在這里我們要注意一點(diǎn),那就是作者查爾斯·狄更斯的哲學(xué)思想之一是環(huán)境對(duì)人思想的影響。狄更斯認(rèn)為,不同的環(huán)境可以造就成不同的人。當(dāng)然,我們知道,內(nèi)因才是決定一個(gè)人發(fā)展的關(guān)鍵因素。皮普如果不是一個(gè)天真、質(zhì)樸的少年,而是一個(gè)成熟、倔強(qiáng)的少年,也許這個(gè)故事就不會(huì)是這樣一個(gè)結(jié)局了。對(duì)一個(gè)一心想要“報(bào)復(fù)男人”的哈維莎姆小姐來(lái)說(shuō),皮普是一個(gè)絕佳的工具和發(fā)泄對(duì)象。讓年輕漂亮的養(yǎng)女埃斯特拉去主動(dòng)接近皮普,卻又不斷的嘲笑皮普,哈維莎姆的計(jì)劃是成功的。年輕的皮普就像一個(gè)提線(xiàn)木偶,被哈維莎姆小姐和命運(yùn)玩弄于股掌之間。對(duì)愛(ài)斯特拉的傾慕使皮普開(kāi)始厭惡自己“那雙粗糙的手和那雙笨頭笨腦的皮靴”,用皮普自己的話(huà)說(shuō)就是“我現(xiàn)在對(duì)這些東西很是瞧不起了,這些東西過(guò)去沒(méi)有煩惱過(guò)我,現(xiàn)在卻使我煩惱了。它們確是些粗俗不堪的東西?！币查_(kāi)始埋怨起一直“以誠(chéng)相待,推心置腹”的“伙計(jì)”“我決定回家去問(wèn)問(wèn)喬,為什么他總是告訴我那些牌叫做賈克,而實(shí)際上應(yīng)該是奈夫。我想,如果當(dāng)年喬的教養(yǎng)高一些,我也不至于落到這地步?！睉?yīng)該說(shuō),作為一個(gè)孩子,在虛榮面前有些抱怨還是可以理解的,畢竟這也符合人性。于此同時(shí),從這里開(kāi)始我們也以看到,狄更斯在《遠(yuǎn)大前程》中對(duì)人物心理的描寫(xiě)比之以往更加細(xì)膩、真實(shí),對(duì)人物內(nèi)心世界的探索更加堅(jiān)決、徹底。與其前期的人物形象相比,皮普的形象更加豐富逼真,這是作者擺脫了人物單一性和確定性的一種表現(xiàn)。也使得皮普這個(gè)人物更接近現(xiàn)實(shí),更能反映當(dāng)時(shí)的社會(huì)情形。在皮普的身上,我們看不到狄更斯早期作品中那種臉譜化的描寫(xiě),看不到作者直接定義的人物性格,而是一個(gè)有其自身言行舉止,內(nèi)心活動(dòng)的嶄新的形象。對(duì)皮普的是非要由讀者自己來(lái)判斷、評(píng)價(jià)。皮普是真實(shí)的,也就是從這一刻開(kāi)始,那種對(duì)虛榮的愛(ài)慕情結(jié)開(kāi)始萌動(dòng),那種擺脫現(xiàn)狀的想法開(kāi)始不可遏制的出現(xiàn),并很快的開(kāi)始實(shí)施“一兩天后的一個(gè)早晨,我醒來(lái)時(shí)突然想到一個(gè)非常好的主意。我要使自己走向不平凡,最為上策的辦法是去找畢蒂,學(xué)會(huì)她所知道的一切東西為自己所用?！睆倪@一刻開(kāi)始,皮普開(kāi)始了他的奮斗歷程。從這一刻開(kāi)始

第四篇：淺析《遠(yuǎn)大前程》中皮普的個(gè)人抱負(fù)與自我完善

英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考

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淺析奧斯卡?王爾德童話(huà)作品中的唯美主義思想

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美國(guó)電影中的大眾文化價(jià)值觀研究 102 從接受美學(xué)視角看中式菜肴的英譯

格賴(lài)斯會(huì)話(huà)合作原則與莎士比亞喜劇中的幽默解讀 104 論中學(xué)英語(yǔ)教學(xué)中學(xué)生文化意識(shí)的培養(yǎng) 105 中英語(yǔ)言中動(dòng)物詞匯的文化含義對(duì)比

The Loneliness in Far From the Madding Crowd 107 從譯者主體性視角探析《紅樓夢(mèng)》中概念隱喻的翻譯策略 108 詞匯負(fù)遷移對(duì)漢譯英的影響 109 肢體語(yǔ)言在英語(yǔ)教學(xué)中的應(yīng)用 110 中西方禮儀文化差異比較

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Verification of Soft Term in Letter of Credit 114 淺析英語(yǔ)廣播新聞的語(yǔ)言特色

Cultural Elements in Chinese Film Subtitles and Their Translation Strategies 116 試論班揚(yáng)《天路歷程》中基督徒的精神歷程 117 旅游英語(yǔ)翻譯的研究

試論用英語(yǔ)電影進(jìn)行英語(yǔ)文化教學(xué) 119 母語(yǔ)負(fù)遷移對(duì)中學(xué)英語(yǔ)寫(xiě)作的影響 120 論翻譯美學(xué)視角下的公示語(yǔ)翻譯

從翻譯審美分析食品品牌名稱(chēng)翻譯的原則及策略 122 從中西思維差異角度看漢英翻譯中的中式英語(yǔ)現(xiàn)象

A Study on the Effectiveness of Cooperative Learning in Junior High School 124 從女性主義視角分析《飄》中斯佳麗人物形象 125 組織學(xué)習(xí)障礙及相應(yīng)的對(duì)策 126 商務(wù)信函的寫(xiě)作原則與技巧

中英婚禮習(xí)俗中的紅和白顏色文化的研究 英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考

論中美文化差異對(duì)其商務(wù)談判的影響及策略 129 從童話(huà)看中西方兒童教育的差異

《推銷(xiāo)員之死》中主角威利的性格分析 131 淺析威廉福克納的《喧嘩與騷動(dòng)》 132 英漢恭維語(yǔ)及其應(yīng)答的對(duì)比分析 133 文化意識(shí)與外語(yǔ)教學(xué)

托妮?莫里森《寵兒》中的主角賽絲的女性形象研究 135 淺談商務(wù)英語(yǔ)于商務(wù)信函中的運(yùn)用 136 論希斯克利夫出走的必然性

The Linguistic Features of American Inaugural Address 138 論愛(ài)倫坡小說(shuō)中的哥特式風(fēng)格 139 英漢基本顏色詞對(duì)比研究

論建構(gòu)主義理論下初中英語(yǔ)教師的課堂角色定位

英語(yǔ)流行歌曲中隱喻的功能分析——以后街男孩的歌曲為例 142 On the Difference of Family Education between China and America 143 漢語(yǔ)對(duì)英語(yǔ)語(yǔ)法學(xué)習(xí)的負(fù)遷移 144 論《達(dá)芬奇密碼》中的基督教元素 145 外交語(yǔ)言策略中的合作原則

試論任務(wù)型教學(xué)法在英語(yǔ)閱讀教學(xué)中的應(yīng)用

試析《哈克貝利費(fèi)恩歷險(xiǎn)記》中主人公沖破種族主義桎梏追求自由的精神 148 中餐菜譜翻譯的錯(cuò)誤分析

卡特福德的等值翻譯理論與名詞化翻譯——以《入鄉(xiāng)隨俗》英譯漢為例 150 論商標(biāo)名稱(chēng)漢英翻譯中的合作原則

151 從跨文化的角度研究故事影片名字的英漢翻譯 152 文化差異對(duì)國(guó)際商務(wù)談判的影響 153 論英語(yǔ)習(xí)語(yǔ)的語(yǔ)言和文化功用

154 男權(quán)社會(huì)女性意識(shí)的覺(jué)醒——弗吉尼亞·伍爾夫女性主義文學(xué)研究 155 論羅伯特?佩恩?沃倫《國(guó)王的人馬》中對(duì)真理與自我認(rèn)知的追求 156 情感在中學(xué)英語(yǔ)教學(xué)中的應(yīng)用

157 On Relationship Between Mothers-and-Daughters-in-Law in China and the West 158 跨文化交際中的語(yǔ)用失誤與避免方法

159 從《篡奪》中看辛西婭奧茲克作品中的反偶像崇拜精神

160 從道德角度分析簡(jiǎn)?奧斯丁《勸導(dǎo)》中的女主人公安妮?艾略特 161 《荊棘鳥(niǎo)》的女性主義解讀

162 場(chǎng)獨(dú)立和場(chǎng)依存對(duì)不同主題閱讀材料的影響研究 163 英漢禮貌原則的比較分析

164 淺析英語(yǔ)專(zhuān)業(yè)學(xué)生在聽(tīng)力理解中的策略運(yùn)用 165 英漢習(xí)語(yǔ)對(duì)比研究及其對(duì)高中英語(yǔ)教學(xué)的啟示

166 《呼嘯山莊》和《遠(yuǎn)離塵囂》中女主人公的女性意識(shí)的對(duì)比 167 Purity and Doom: on Thomas Hardy’s Tess’s of the d’Urbervilles 168 從現(xiàn)代主義角度分析《無(wú)名的裘德》中裘德的無(wú)根性 169 On the Anti-traditional Factors of Feminism Translation 170 《阿甘正傳》承載的美國(guó)青年價(jià)值觀 171 中西校園流行語(yǔ)的文化對(duì)比 英語(yǔ)專(zhuān)業(yè)全英原創(chuàng)畢業(yè)論文，是近期寫(xiě)作，公布的題目可以用于免費(fèi)參考

172 淺析當(dāng)今網(wǎng)絡(luò)英語(yǔ)交流中的縮略語(yǔ)

173 《哈利波特》系列里哈利波特與伏地魔的二元對(duì)立分析 174 逆成構(gòu)詞的分類(lèi)及其認(rèn)知機(jī)制和規(guī)律 175 從《西風(fēng)頌》看英國(guó)積極浪漫主義的特征

176 美國(guó)電影與文化霸權(quán)—以好萊塢大片《阿凡達(dá)》為例 177 從《動(dòng)物莊園》看喬治·奧威爾反極權(quán)主義思想 178 中西方婚禮禮服顏色的對(duì)比研究

179 Two Trapped Roses—A Comparative Study on Emily and Miss Havisham 180 英漢白色詞的文化象征意義及翻譯 181 中式英語(yǔ)的潛在價(jià)值

182 On the Feminist Consciousness Reflected in Pride and Prejudice 183 Analysis of Advertisements Based on the Cooperative Principle 184 翻譯中的性別－－《簡(jiǎn)?愛(ài)》幾個(gè)中譯本的女性主義解讀 185 論《海狼》中拉爾森船長(zhǎng)本性的雙重性 186 從《美國(guó)的悲劇》解析美國(guó)夢(mèng)

187 用本我，自我，超我的弗洛伊德理論來(lái)解析《紅字》 188 從生態(tài)女性主義角度解讀《苔絲》

189 鼓勵(lì)性教學(xué)方法在中學(xué)英語(yǔ)教學(xué)中的應(yīng)用

190 On Translation of Culture-Loaded Words in Subtitle of Ashes of Time Redux 191 The Awakening of the Female Consciousness in Pride and Prejudice 192 中美文化差異對(duì)商務(wù)談判的影響

193 從《好事一小件》和《洗澡》的對(duì)話(huà)對(duì)比分析看人物形象塑造的差異 194 英漢形狀類(lèi)量詞的隱喻認(rèn)知分析 195 對(duì)《憤怒的葡萄》中圣經(jīng)原型的分析

196 守望何物－－《麥田里的守望者》中霍爾頓的困惑 197 《野性的呼喚》中自然主義探析

198 從《老人與海》中看海明威的人生哲學(xué) 199 《貴婦畫(huà)像》主題和寫(xiě)作藝術(shù)特征

200 淺析《遠(yuǎn)大前程》中皮普的個(gè)人抱負(fù)與自我完善

第五篇：論文化因素對(duì)英漢翻譯的影響

論文化因素對(duì)英漢翻譯的影響

院 系

專(zhuān) 業(yè) 班 級(jí)

姓 名 _ 學(xué) 號(hào)

年 月 日

目 錄

摘要.....................................................2 ABSTRACT.................................................3 引言....................................................4

一、緒論................................................6(一)文化的概念.......................................6(二)翻譯的概念.......................................6

二、分論................................................6(一)文化內(nèi)涵的差異對(duì)翻譯的影響.......................7 1 宗教文化的差異對(duì)翻譯的影響.......................7 2 歷史文化的差異對(duì)翻譯的影響.......................8(二)生活方式的差異對(duì)英漢翻譯的影響...................6(三)價(jià)值觀的差異對(duì)翻譯的影響........................10

三、結(jié)語(yǔ)...............................................11 參考文獻(xiàn)................................................12

摘 要

文化（culture)是一個(gè)內(nèi)涵豐富而又復(fù)雜的概念。語(yǔ)言是文化的重要組成部分，是文化的載體和核心，也是文化賴(lài)以語(yǔ)言傳播的物質(zhì)表達(dá)形式。翻譯是兩種語(yǔ)言之間的轉(zhuǎn)換活動(dòng)，是信息和思想的交流，是語(yǔ)言表達(dá)的藝術(shù)再創(chuàng)造，而不是文字上的對(duì)譯。語(yǔ)言與文化的密切關(guān)系注定了翻譯與文化的密切關(guān)系。翻譯是把一種語(yǔ)言轉(zhuǎn)換成另一種語(yǔ)言。不言而喻，兩種語(yǔ)言轉(zhuǎn)換的過(guò)程中必然涉及到兩種文化。翻譯實(shí)質(zhì)上是不同文化間的交流。

本文在闡述文化和翻譯概念的基礎(chǔ)上，試從中西文化的相似和差異性，包括不同的文化內(nèi)涵、生活方式以及價(jià)值觀等方面，對(duì)此問(wèn)題進(jìn)行深入的分析和探討，指出兩種語(yǔ)言翻譯中應(yīng)注意的文化問(wèn)題。關(guān)鍵詞：英漢翻譯；文化因素；影響

Abstract

Culture is a complex conception.Language is a very important part of culture.It is the core of culture.Translation is a transfer activity of two languages.It is the exchange between information and thoughts, but not the direct translation.The close relationship between the language and the culture means the close relationship between the translation and culture.In fact, translation is a kind of tool for us to communicate.This article tries to point out the problem, what cultural factors should be noticed during the translation, will be analyzed and discussed from the aspects of similarity and difference of eastern and western culture, including different cultural connotation, life-style, outlook on values in foundation of explaining idea of culture and translation.Key words: English-Chinese Translation;Cultural Factor；Effects 3

論文化因素對(duì)英漢翻譯的影響

引言

文化（culture)是一個(gè)內(nèi)涵豐富而又復(fù)雜的概念。追溯其歷史淵源，“文化” 一詞最早出現(xiàn)在中國(guó)古籍。西漢劉向《說(shuō)苑·指武篇》說(shuō)：“圣人之治天下也，先文德而后武力。凡武之興，為不服也；文化不改，然后加誅。”這里，“文化”的含義是指古代封建王朝所施的文冶和教化，與天造地設(shè)的自然，或與無(wú)教化的“質(zhì)樸”、"野蠻”相對(duì)而言?，F(xiàn)在所說(shuō)的“文化”與古文中的“文化”涵義有較大的差異。今天我們所用的文化一詞是外來(lái)語(yǔ)的意譯，是19世紀(jì)末從日文中轉(zhuǎn)譯過(guò)來(lái)的。文化一詞源于拉丁文cultus，是由colere 演化而來(lái)，而英語(yǔ)中的culture和德語(yǔ)中的kultur同由拉丁語(yǔ)的 cultus轉(zhuǎn)化而來(lái)。文化一詞拉丁文原義是“開(kāi)發(fā)，開(kāi)化”的意思。德語(yǔ)kultur本義指精神文化，實(shí)指宗教文化而言。英語(yǔ)culture的意義則與政治、法律、教育等社會(huì)生活有關(guān)?，F(xiàn)在，我們可以對(duì)文化概念有一個(gè)清楚的認(rèn)識(shí)。文化定義有 廣義文化和狹義文化。廣義文化包括物質(zhì)文化和精神文化，而狹義文化僅指精神文化。

語(yǔ)言是人類(lèi)特有的一種符號(hào)系統(tǒng)，當(dāng)它作用于文化的時(shí)候，它是文化信息的載體和容器。”(許國(guó)璋)是文化的重要組成部分，是文化的載體和核心，也是文化賴(lài)以語(yǔ)言播的傳物質(zhì)表達(dá)形式。語(yǔ)言是一種社會(huì)文化現(xiàn)象，是社會(huì)文化發(fā)展的產(chǎn)物。文化差異導(dǎo)致不同民族對(duì)相同的客觀現(xiàn)象和社會(huì)存在產(chǎn)生不同的認(rèn)識(shí)，而這種認(rèn)識(shí)上的差異則通過(guò)語(yǔ)言展現(xiàn)出來(lái)。

翻譯是指用接受語(yǔ)（receptor language）復(fù)制源語(yǔ)言（source language）信息的最近似的自然等值，首先在意義方面，其次在文體方面。（Eugene Nida）翻譯就是指用一種語(yǔ)言把另一種語(yǔ)言所表達(dá)的思想內(nèi)容準(zhǔn)確而完整地重新表達(dá)出來(lái)的活動(dòng)。翻譯是兩種語(yǔ)言之間的轉(zhuǎn)換活動(dòng)，是信息和思想的交流，是語(yǔ)言表達(dá)的藝術(shù)再創(chuàng)造，而不是文字上的對(duì)譯。譯者必須是一個(gè)真正意義上的文化人，人們都說(shuō)，他必須掌握兩種語(yǔ)言，確實(shí)如此；但是，不理解語(yǔ)言當(dāng)中的社會(huì)文化，誰(shuí)也無(wú)法真正掌握語(yǔ)言。（王佐良）我們必須從文化的角度來(lái)看待翻譯。翻譯不僅要做到語(yǔ)言意義上的等值，而更重要的是要真正做到文化意義上的等值。

一、緒論

在論述文化因素對(duì)英漢翻譯造成哪幾方面的影響之前，先對(duì)文化以及翻譯的概念進(jìn)行一個(gè)簡(jiǎn)單表述。

（一）、文化的概念

文化的實(shí)質(zhì)性含義是指：人化或人類(lèi)化，即人類(lèi)主體通過(guò)社會(huì)實(shí)踐活動(dòng)，適應(yīng)、利用、改造自然界客體而逐步實(shí)現(xiàn)自身價(jià)值觀念的過(guò)程。其體現(xiàn)即有自然面貌、形態(tài)、功能的不斷改觀；也有人類(lèi)個(gè)體與群體素質(zhì)的不斷提高和完善。凡是超越本能的、人類(lèi)有意識(shí)地作用于自然界和社會(huì)的一切活動(dòng)及其結(jié)果，都屬于文化。自然的人化即文化。西漢以后，文與化開(kāi)始結(jié)合成一個(gè)整詞，其涵義或與天造地設(shè)的自然對(duì)舉；或與無(wú)教化的“質(zhì)樸”、“野蠻”對(duì)舉。(二)、翻譯的概念

一般地，我們將翻譯定義為：將一種語(yǔ)言（口語(yǔ)或筆語(yǔ)形式）（譯出語(yǔ)）轉(zhuǎn)換或創(chuàng)造為另一種語(yǔ)言（譯入語(yǔ)）。翻譯是一種非常復(fù)雜的 人類(lèi)高級(jí)語(yǔ)言活動(dòng)，這種活動(dòng)的整個(gè)過(guò)程是很難以圖示、語(yǔ)言等其他方式闡釋清楚的。不同領(lǐng)域、不同派別的學(xué)者有不同的解釋。從文化角度來(lái)看，翻譯不僅僅是語(yǔ)言符號(hào)的轉(zhuǎn)換，同時(shí)是文化的交流，尤其是“文化間交流”。通常我們把這一術(shù)語(yǔ)又改稱(chēng)為“文化

間合作”或“跨文化交際”等。語(yǔ)義角度下的翻譯著眼于兩種語(yǔ)言間的意義對(duì)等，正如Nida（1986）指出的那樣：翻譯就是語(yǔ)義的翻譯。

二、分論

（一）、文化內(nèi)涵的差異對(duì)翻譯的影響

文化是語(yǔ)言賴(lài)以生存、發(fā)展的土壤，具有鮮明的民族性特點(diǎn)，是不同民族在特定的歷史、地理、宗教、習(xí)俗等環(huán)境里的獨(dú)特創(chuàng)造。語(yǔ)言不能脫離文化而存在。語(yǔ)言翻譯是跨文化交際的橋梁，其根本任務(wù)就是傳播和交流文化。語(yǔ)言的翻譯不僅是語(yǔ)符表層指稱(chēng)意義的轉(zhuǎn)換，更是兩種不同文化的相互溝通和移植。

1、宗教文化的差異對(duì)翻譯的影響

東西方文化在宗教信仰上存在著極大的差異。西方人多信奉基督教，認(rèn)為上帝創(chuàng)造了一切，宗教多有“圣經(jīng)”“洗禮”“修女”“教堂”“上帝”等詞匯。而中國(guó)人信奉“佛教”“道教”，多有“玉帝”“觀音”“菩薩”“慈悲為懷”等詞匯。在西方文化中，歷史典故多源于古希臘和羅馬神話(huà)及圣經(jīng)故事。而中國(guó)文化當(dāng)中的歷史典故則源于如“盤(pán)古開(kāi)天”“牛郎織女”“臥薪嘗膽”等等。宗教是一種文化現(xiàn)象，是人類(lèi)思想文化的重要組成部分。不同的宗教是不同文化的表現(xiàn)形式，反映出不同的文化特色和文化背景，體現(xiàn)了不同的文化傳統(tǒng)。佛教傳入中國(guó)已有一千多年的歷史，人們相信有“佛主”在左右著人世間的一切，多有“玉帝”、“菩薩”、“佛祖”等宗教詞匯，與此有關(guān)的習(xí)語(yǔ)也很多，如“借花獻(xiàn)佛”、“閑時(shí)不燒香，臨時(shí)抱佛腳”等。在西方許多國(guó)家，特別是在英美，人們信奉基督教，認(rèn)為上帝創(chuàng)造了一切。

例如：You are just a doubting Thomas.You won’t believe what I tell you 這句話(huà)中的doubting Thomas 源于圣經(jīng)故事，Thomas 是耶穌的12個(gè)門(mén)徒之一。他生性多疑，后來(lái)在英語(yǔ)中常使用doubting Thomas 來(lái)表示多疑的人。理解了文化內(nèi)涵之后，這句話(huà)就可譯為：

你這個(gè)人真多疑，我說(shuō)什么你都不信。

2、歷史文化的差異對(duì)翻譯的影響

歷史文化指的是由特定的歷史發(fā)展進(jìn)程和社會(huì)遺產(chǎn)的沉淀所形成的文化。由于各個(gè)民族和國(guó)家的歷史發(fā)展不同,因而在其漫長(zhǎng)的歷史長(zhǎng)河中所沉淀形成的歷史文化也不相同。在兩種語(yǔ)言之間進(jìn)行翻譯時(shí),會(huì)經(jīng)常遇到由于歷史文化差異 而出現(xiàn)的翻譯難題。只有對(duì)語(yǔ)義對(duì)等后面的文化含義和歷史背景給予充分的重視，才能真正達(dá)到信、達(dá)、雅三方面都“天衣無(wú)縫”的翻譯境界。

再如,毛澤東《七律·送瘟神》詩(shī)詞中有兩 句詩(shī):“春風(fēng)楊柳萬(wàn)千條,六億神州盡舜堯?！痹?shī)中的“舜堯”是中國(guó)歷史傳說(shuō)中的兩位賢明帝王,為人民所愛(ài)戴,代表圣賢。這對(duì)于中國(guó)人來(lái)說(shuō)比較容易懂,但對(duì)于英美讀者來(lái)說(shuō),若采取音譯,會(huì)使他們莫明其妙,因此必須增譯注釋。即使那樣,仍有隔靴搔癢之感,而且顯得累贅,同時(shí)也使詩(shī)句失去了“詩(shī)氣”。亞瑟·古柏在翻譯該詩(shī)句時(shí)干脆用Sage-Kings代替, “Springwindsmovewillowwands,intensofmillions:Sixhundredmillionweshallallbe Sage-Kings!”這樣翻譯既簡(jiǎn)單明了,音韻鏗鏘,又達(dá)到了傳神的效果。

（二）、生活方式的差異對(duì)英漢翻譯的影響

無(wú)論從歷史傳統(tǒng)還是就近、現(xiàn)代生活的方方面面來(lái)看，中國(guó)文化和英美文化都可以說(shuō)是處于現(xiàn)代文化光譜的兩極。盡管中國(guó)的改革開(kāi)放和現(xiàn)代化進(jìn)程不斷地縮短了這種差距，然而，相似只是相對(duì)的、個(gè)別的，而歧異則是絕對(duì)的、普遍的。

語(yǔ)言的產(chǎn)生與人們的勞動(dòng)和生活密切相關(guān)。歷史上，英國(guó)是一個(gè)島國(guó)，歷史上航海業(yè)曾一度領(lǐng)先世界；而漢民族在亞洲大陸生活繁衍，人們的生活離不開(kāi)土地。下面舉幾個(gè)例子，簡(jiǎn)單談?wù)剝煞N文化在生活方式上表現(xiàn)出來(lái)的不同。

從歷史傳統(tǒng)和現(xiàn)實(shí)生活來(lái)看，英語(yǔ)民族長(zhǎng)期過(guò)著航海生活，因而英語(yǔ)中就有了大量關(guān)于航海，或源于航海的說(shuō)法――這些在以大陸文化為根基的漢語(yǔ)中就沒(méi)有對(duì)應(yīng)詞語(yǔ)。以下舉幾個(gè)容易搞混的例子：able seaman（“一級(jí)水手”而不是“能干的水手”）；be left high and dry（“船高高地?cái)R淺在沙灘上”，指“陷于困境”，而不是“高高在上”）；give(sb.or sth.)a wide berth（“讓出一條寬寬的水域”，指“遠(yuǎn)遠(yuǎn)地躲開(kāi)”，而不是“讓其自有發(fā)揮”）；show one‘s(true)colours（“亮出自己的真正旗幟”，即“顯露真面目”，而不是“顯示顏色”）??諸如此類(lèi)的用法用于比喻性的句子中，就更難吃準(zhǔn)，如：

反之，漢語(yǔ)有許多關(guān)于山川、四季、農(nóng)耕等方面的習(xí)語(yǔ)，在英語(yǔ)中也難以找到現(xiàn)成的對(duì)應(yīng)詞；除非想創(chuàng)造某種“異國(guó)情調(diào)”，譯為英語(yǔ)時(shí)往往要用意譯的不辦法。例如：

a)山重水復(fù)疑無(wú)路，柳暗花明又一村。――作為詩(shī)，完全可以譯為：The hills and streams have no end, there seems to be no road beyond;But dim with willows, bright with flowers, another village appears.但在一般雜文中，恐怕還是直接譯出其涵義為好； 9

一種可能的譯法是：One has a sudden glimpse of hope in the midst of despair.b)種瓜得瓜，種豆得豆。――英語(yǔ)中雖有As you sow, so you must reap的說(shuō)法，但不如漢語(yǔ)那么具體，實(shí)際上，英語(yǔ)中最常見(jiàn)

（三）、價(jià)值觀的差異對(duì)翻譯的影響

價(jià)值觀指人的意識(shí)形態(tài)、倫理道德、宗教信仰，以及風(fēng)俗人情等為人處世準(zhǔn)則的觀念。一般認(rèn)為是特定文化和生活方式的核心，表現(xiàn)在兩種語(yǔ)言中，會(huì)對(duì)語(yǔ)言理解和翻譯造成很多障礙，足以引起翻譯工作者的重視。

中國(guó)文化中以儒家文化為主，其種族親屬和社會(huì)關(guān)系表達(dá)得十分清楚和嚴(yán)格，不容絲毫的含混和馬虎；而對(duì)崇尚新教、個(gè)體文化價(jià)值的英語(yǔ)民族來(lái)說(shuō)，這種親屬關(guān)系就籠統(tǒng)寬松得多。表現(xiàn)在兩種語(yǔ)言中，英語(yǔ)一般只用uncle和aunt表示對(duì)非直系長(zhǎng)一輩的稱(chēng)呼，對(duì)小一輩只用nephew和niece，而對(duì)同輩不分長(zhǎng)幼用brother和sister，甚至不分男女概稱(chēng)cousin，這在漢語(yǔ)中是不容許的，因?yàn)闈h語(yǔ)中對(duì)此類(lèi)關(guān)系分得十分詳細(xì)。所以在英譯漢中，要找準(zhǔn)漢語(yǔ)對(duì)應(yīng)的詞語(yǔ)，必須先弄清輩分和親屬、社會(huì)關(guān)系。而在漢譯英中，這些復(fù)雜的親屬關(guān)系詞語(yǔ)就要適當(dāng)簡(jiǎn)化。

英語(yǔ)民族崇尚個(gè)人主義，個(gè)人至上主義價(jià)值觀是西方文化的特點(diǎn)。體現(xiàn)在語(yǔ)言中，例如：An Englishman's house is his castle.10

(英國(guó)人的家是他們的城堡)，意味著沒(méi)有理由不可以去無(wú)故打擾別人或沒(méi)有預(yù)約不可以貿(mào)然拜訪(fǎng)某人；Even reckoning make long friends(明算賬，友誼長(zhǎng))；Tell money after your own father(親父子明算賬)等，這些都表明西方人的個(gè)人主義價(jià)值觀。

中國(guó)文化中以謙虛為美德，所以對(duì)別人的贊揚(yáng)、夸獎(jiǎng)常禮儀性地予以否認(rèn)。如“You speak excellent English，中國(guó)人常說(shuō)“no, no”；而西方人崇尚自我?jiàn)^斗，常會(huì)對(duì)別人的贊揚(yáng)樂(lè)于接受并表示感謝，積極地回答“Thank you!”。

三、結(jié)語(yǔ)

總之,英漢兩種語(yǔ)言雖有相同和相近的表達(dá)方式,但更多的是表達(dá)方式的個(gè)性特征。正是這些不同的表達(dá)方式和中西文化差異才使人們產(chǎn)生出許多翻譯的誤解和困惑。要排除表面意思的迷惑,避免錯(cuò)誤的理解,克服中西文化差異給英語(yǔ)翻譯造成的障礙。

參考文獻(xiàn)：

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