英文合同翻譯范文第1篇
關鍵詞：商務合同;長句;語用分析;翻譯
引言
翻譯國際商務合同等法律文件已成為當前研究的一門課題。國際商務合同一經依法訂立，就成為一種法律文件而對締約各方具有法律約束力，成為國際商務活動中解決爭議的法律依據。國際商務合同周密嚴謹、句式較長的語言特點給國際商務合同的翻譯提出了極其嚴格的要求。本文以語用分析為依據，從英漢語言差異的比較出發，通過例句說明此類文書中較為復雜的長句的常用翻譯方法和技巧。
一、合同語言的句式特點概述
“合同或協定是具有法律效力的正式文件，用語必須準確、規范„„法律文件是規定締約各方應該做些什么，而不是提出問題和進行商榷”(廖瑛，2002)。合同的作用在于明確陳述和規定不同當事人在有關活動中的權利和義務，因此從句式的使用上來看，合同一般采用陳述句，而不使用疑問句、祈使句和感嘆句。完整的長句的使用可以準確界定這種權利和義務關系，排除被曲解或誤解的可能性。
法律文件具有條理性、周密性。從語用的角度來看，每一種情況，或條件、或要求、或斷定都要顧及到種種可能發生的情況，種種設定，種種意外，種種解決辦法。“一個句子常常要照顧到千變萬化的情況，自然就長。長句排列組織不好，就容易引起混亂、誤解、歧義”(傅偉良，2002)。商務合同具有句式講究、用詞嚴謹、條理清晰、長而不亂、邏輯性強的特點。將英文合同文本譯成中文時，應盡可能保留合同作為法律語言的上述特點。例如：
The Parties， adhering to the principle of e-quality and mutual benefit and through friendly consultation， desire to exert all their efforts in co-operating with each other and agree to jointly in-vest to set up a joint venture enterprise in Changsha， the P. R. China for the purpose of expanding international economic cooperation and technological exchange on a mutually beneficial and profitable basis.
本句雖長，但人們可以一目了然地看到這是一個一主(The Parties)二謂(desire和agree)的簡單句，兩謂之后各接一個不定式短語作賓語。主語之后接一個分詞短語作后置定語，且句子的主語又是分詞的邏輯主語，條理清楚，邏輯嚴密，行文流暢，此句譯為：
雙方本著平等互利原則通過友好協商，愿盡全力相互合作，共同投資，在中華人民共和國長沙市建立合資經營企業;在互惠互利的基礎上，擴展國際經濟合作和技術交流。
二、簡單長句及其翻譯
英文商務合同中使用的大量長句，主要分為三大類：簡單長句、復合長句和并列長句。英漢兩種語言的句子在措辭、語序、結構上各有特點。大致說來，英語句子長，動詞較少，詞序靈活，講究平衡;而漢語句子短，動詞多，語序較固定，講究對稱。在翻譯英文商務合同中的簡單長句時，首先要正確理解各種相關成分的邏輯關系;然后再適當切分，理出句子的主干成分，翻譯時以句子的主干為主導;最后再按漢語表達習慣，變動語序，重新組合。這樣才能連貫、準確、清晰地予以表達。例如：
(1)The Buyers may，within 15 days after arrival of the goods at the destination，lodge a claim against the sellers for short-weight being supported by Inspection Certificate issued by a reputable public surveyor.
這是一個簡單長句，其主干為The Buyers may...lodge a claim...。修飾謂語動詞的狀語有三個，分別表示時間within 15 days after arrival of the goods at the destination，方式being supported by Inspection Certificate issued by a reputable public surveyor和目的for short-weight，而且狀語中還有狀語，作定語的分詞issued還有自己的狀語by a reputable public surveyor。眾多狀語，盡管在英語中的位置十分靈活，然而按照漢語的行文規范，方式狀語一般應位于動詞之前;而有些狀語在譯文中可以靈活處理，例如本句中的時間狀語，可以提前至句首。因此，上句可譯成：
貨物抵達目的港15天內，買方可以憑有信譽的公共檢驗員出示的檢驗證明向賣方提出短重索賠。
(2)Within 30 days after the signing and coming into effect of this contract， the Buyer shall proceed to pay the price for the goods to the Seller by opening an irrevocable L/C for the full amount of USD30，000 in favor of the Seller through a bank at export port.此句的主干為...the Buyer shall proceed to pay the price...to the Seller，其中含有一個時間狀語within 30 days after the signing and coming into effect of this contract。從語用的角度來看，商務合同中許多時間狀語表示
的是某一締約方必須在何時何地承擔某一義務和享有某一種權利，即時效性。因此整個句子的重心不是句子的動詞，而是發生動作的時間。在譯成中文時，為了突出行為的時效性，時間狀語應盡量靠近表示義務責任的關鍵詞“須”。此句中還含有一個較為復雜的方式狀語by opening an irrevocable L/C...，其中含有三個介詞短語作定語修飾an irrevocable L/C。按照漢語的行文規范，方式狀語一般應位于動詞之前。此外，若動詞同時帶有時間狀語和方式狀語時，英文的通常順序是方式在前，時間在后，而漢語卻正好與之相反，為方式在后，時間在前。因此本句可譯成：
買方須于本合同簽字并生效后30天內通過出口地銀行開立以賣方為收益人的不可撤銷信用證支付全部貨款計30 000美元。
(3)The Equipment and Material shall be carefully and properly packed in the best and stable condition according to the figures and characteristics of the Equipment and Material so as to withstand long-distance sea and inland transportation and numerous handlings.
此句的句子結構并不復雜但包含一個較為復雜的方式狀語。從語用特征的角度來看，方式狀語通常都是規定性的，其作用是規定合約方履行某項義務必須采取的方式或手段，在合同的語言環境下，即使有關締約方履行了合同規定的義務，但若其履行義務的方式與合同規定的方式不符，乃構成違約。因此，方式狀語的作用通常都是比較重要的。
本句可譯成：
設備和原料須根據其形狀和特點以完善而牢固的方式精心妥當地包裝，包裝須適合于長途海、陸運輸，能經受多次裝卸。
三、復合長句及其翻譯
為了保持合同的嚴謹性，英文商務合同中還經常使用含有多個從句的復合長句，以致句子結構長、語法關系復雜，但脈絡清晰，表達準確，邏輯嚴密。在翻譯這種類型的長句時，必須弄清原句結構關系，分清主次，翻譯時以主句為主導，從句作說明，用規范的中文準確地傳達出原文的意義。例如：
(1) This Agreement made this twentieth day of December 2000 between The International Transportation Co. Ltd. of 98 Wuyi Road，the City of Changsha，Party A，and The Far East Trading Co. Ltd.of 29 Piccadilly， the City of London，UK Party B.Witnesses：
That Party A，in consideration of the agreement hereinafter contained of Party B，contracts and agrees with Party B，that he will deliver，in good
and marketable condition，to Party B，during the month of March of next year，five thousand cases of sea，in the following lots，and on the following specified terms，vs：one thousand cases by the eighth of March，one thousand cases additional by the fifteenth of the month，one thousand cases more by the twenty second，and the entire five thousand cases to be all delivered by the thirtieth of March.
在上述長句中，主語是This Agreement，后接過去分詞短語made...作后置定語。Witnesses用作主句的謂語，后接that引導的賓語從句。在這個冗長的賓語從句中，句子的主干是Party A...contracts and agrees with Party B...其后又有一個that引導的冗長的賓語從句。理順了句子結構之后，我們發現修飾主語的定語過長，翻譯時必須對其進行適當的切分。Witnesses在法律語言中常譯為“茲約定”“茲證明”，因此我們不難將該句譯為：
合同簽訂于2000年12月20日，長沙市五一路98號的國際運輸有限公司為甲方，英國倫敦皮卡迪利大街29號的遠東貿易有限公司為乙方。
茲約定：
考慮到乙方的允諾，甲方特與乙方訂立協議并同意：由甲方負責，于定約之翌年3月份一月之內向乙方運送質地優良、符合行銷標準的5 000箱茶葉，并按下列期限分批交貨。即：到3月8日止交貨1 000箱，3月15日另交貨1000箱，到3月22日再交貨1 000箱，至3月30日全部5 000箱茶葉如數交迄。
(2) The Buyer shall pay the Seller US 350，000 within 20 days after the Bank of China has received the following documents from the Seller and found them in order，but not earlier than 12(twelve) months after the date the Contract Plant for the first time reached 95% of guaranteed capacity of the whole Contract Plant according to the guaranteed quality indices as per Annex VI to the Contract or 65 months after the date of signing the contract，whichever is earlier.此句中含有一個非常復雜的時間狀語，界定了買方承擔付款義務的時間，從語用的角度來看，but后面的部分實際上是對前一部分，即within 20 days after the Bank of China has received the following documents from the Sellerand found them in order的補充，同時語義上有轉折關系;從英語的結構及表述方式上看，英語的狀語放在句末，如此冗長的狀語對行文規范及讀者的理解都不構成任何問題，但如果機械地將如此冗長的狀語原封不動地譯成漢語并按照漢語行文習慣置于謂語的動詞之前，就會使譯文顯得拖泥帶水，難以達意。因此，翻譯此句時可以采用化整為零的手法，將表示補充內容的較長部分轉換成漢語的并列句，并將原文中時間狀語所修飾的謂語部分的核心，即“支付款項”移植為并列句的主語。全句可譯成：
買方須于中國銀行收到賣方下列單據，并經審核證實無誤后的20天內向賣方支
付350000美元，但此款項的支付不得早于合同工廠第一次達到附件Ⅵ所規定之質量保證指標的95%以后的12個月，或本合同簽字后的65個月，以早到的日期為準。(許國新，2002)
四、并列長句及其翻譯
由于撰寫合同時不能遺漏任何可能情況，所以英文商務合同中往往有大量并列成分。這些并列成分包括并列的詞、短語以及從句。從語用角度看，并列的平行結構使合同的句式平衡，表意完整。在翻譯由兩個或兩個以上的并列單句構成的復雜長句時可以采用分句譯法。并列長句的分句之間的語義關系比較松散，因此翻譯時可以斷開，分解成單句獨立存在。例
如：
The Buyer shall have the right to claim against the Seller for compensation of losses within 60 days after arrival of the goods at the port of destination，should the quality of the goods be found not in conformity with the specifications stipulated in the Contract after re-inspection by the China Commodity Inspection Bureau and the Buyer shall have the right to claim against the Sellers for compensation of short-weight within 60 days after arrival of the goods at the port of destination，should the weight be found not in conformity with that stipulated in the Bill of Lading after re-inspection by the CCIB.此句由兩個結構相同的并列分句組成，均為主句在前，條件狀語在后，在兩個條件狀語中均含有時間狀語，此外，兩個并列分句中也都含有時間狀語，均為
within 60 days after arrival of the goods at the port of destination，譯成中文時，條件狀語應分別置于主句之前，而所有的時間狀語均放在各自修飾的動詞的前面。同時，為了符合漢語句式較短的特點，可以將兩個并列分句斷開，分解成兩個單句，即譯成：
若貨物經中國商品檢驗局復檢后發現質量與本合同之規定不符，買方有權于貨物抵達目的港后的60天內向賣方提出索賠。若經中國商品檢驗局復檢發現貨物質量與提單所示重量不符，買方有權于貨物抵達目的港后的60天內向賣方提出短重索賠。
五、結束語
國際商務合同是具有法律效力的商務文書，其句子結構具有周密嚴謹、冗長復雜等特點。靈活掌握各種長句的翻譯技巧可以幫助我們在譯文中既高度準確地表達原文所表達的信息，又最大限度地符合中文的行文規范，并使譯文通順流暢。
參考文獻：
1、蔡先鳳：論提單和租約的句法特點及其翻譯，《中國科技翻譯》，2002，(3)
2、陳新：《英漢翻譯教程北京大學出版社》，1999
3、鄧含能、徐惠蓮：論工程合同英語語言的嚴謹性，《中國科技翻譯》，2001，
(3)
4、馮慶華：《實用翻譯教程》，上海外語教育出版社，1997
5、廖瑛：《國際商務英語》，中南大學出版社，200
26、孫志祥：合同英譯理解過程中的“合法”前提和“求信”標準，《中國翻譯》，2001，(5)
7、唐興正、鄭達軒：《國際商法》，遼寧教育出版社，200
英文合同翻譯范文第2篇
Lessor(hereinafter referred to as Party A): XXX
Lessee(hereinafter referred to as Party B): XXX
Party A and B have, in respect of leasing the legitimate premises owned by
Party A to Party B, reached an agreement through friendly consultation to
conclude the following contract under the relevant national laws and
regulations, as well as the relevant stipulations of the city.
Party A will lease to Party B the business premises which is located at following agreements:
1.The lease term is year, it will be from year))___(day)to(year)___(month)(day). Annual rent (RMB) ______
yuan(after-tax).
2. The rent should be paid _____ (it should be paid before using the
premises ). If Party B doesn’t pay the rent within the stipulated period of time,
then Party A will have the right to withdraw the premises.
3. If there is a big change of the market rent, the two parties can negotiate to
adjust the rent.
4. In the case of such non-A causes as house removal conducted by the
government and land or houses overall transfer conducted by Party A, Party B
should move out of the premises in time.
5.Party B should pay Party A the bills for Water and Electricity on the basis of
actual degrees present in water meter and electricity meter monthly.
6. Once Party B pays the rent in accordance with the terms of this agreements,
Party A cannot affect the normal business activities of Party B in any shape or
form. Meanwhile, Party B should do business in accordance with the law. Any
Economic and legal responsibility caused by business activities has nothing to
do with Party A.
7. The two parties should provide convenience for each other as far as
possible based on the good friendly relations and mutual benefits.
8. During the lease term, Party B should keep interior and outdoor clean and neat, and make full preparation for fire prevention and prevention of burglary. (The expenses from "be responsible for general sanitation, green covering and keeping good social order in a designated area outside the unit building " should be payed by Party B.)
9.This contract is signed by the both parties after negotiation. It can’t be changed or terminated willfully unless there is an exceptional circumstance. If so, the party should inform the other a month in advance. Anything not covered in this contract will be discussed separately by both parties.
10.There are 2 originals of this contract. Each party will hold 1 original(s).This contract shall be in effect after it is subscribed.
Lessor(signature): XXXLessee(signature): XXX
英文合同翻譯范文第3篇
„You?ve got to find what you love,? Jobs says
This is the text of the Commencement address by Steve Jobs, CEO of Apple Computer and of Pixar Animation Studios, delivered on June 12, 2005.
I am honored to be with you today at your commencement from one of the finest universities in the world. I never graduated from college. Truth be told, this is the closest I?ve ever gotten to a college graduation. Today I want to tell you three stories from my life. That?s it. No big deal. Just three stories.
The first story is about connecting the dots.
I dropped out of Reed College after the first 6 months, but then stayed around as a drop-in for another 18 months or so before I really quit. So why did I drop out?
It started before I was born. My biological mother was a young, unwed college graduate student, and she decided to put me up for adoption. She felt very strongly that I should be adopted by college graduates, so everything was all set for me to be adopted at birth by a lawyer and his wife. Except that when I popped out they decided at the last minute that they really wanted a girl. So my parents, who were on a waiting list, got a call in the middle of the night asking: “We have an unexpected baby boy; do you want him?” They said: “Of course.” My biological mother later found out that my mother had never graduated from college and that my father had never graduated from high school. She refused to sign the final adoption papers. She only relented a few months later when my parents promised that I would someday go to college.
And 17 years later I did go to college. But I naively chose a college that was almost as expensive as Stanford, and all of my working-class parents? savings were being spent on my college tuition. After six months, I couldn?t see the value in it. I had no idea what I wanted to do with my life and no idea how college was going to help me figure it out. And here I was spending all of the money my parents had saved their entire life. So I decided to drop out and trust that it would all work out OK. It was pretty scary at the time, but looking back it was one of the best decisions I ever made. The minute I dropped out I could stop taking the required classes that didn?t interest me, and begin dropping in on the ones that looked interesting.
It wasn?t all romantic. I didn?t have a dorm room, so I slept on the floor in friends? rooms, I returned coke bottles for the 5?? deposits to buy food with, and I would walk the 7 miles across town every Sunday night to get one good meal a week at the Hare Krishna temple. I loved it. And much of what I stumbled into by following my curiosity and intuition turned out to be priceless later on. Let me give you one example:
Reed College at that time offered perhaps the best calligraphy instruction in the country. Throughout the campus every poster, every label on every drawer, was beautifully hand calligraphed. Because I had dropped out and didn?t have to take the normal classes, I decided to take a calligraphy class to learn how to do this. I learned about serif and san serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can?t capture, and I found it fascinating.
None of this had even a hope of any practical application in my life. But ten years later, when we were designing the first Macintosh computer, it all came back to me. And we designed it all into the Mac. It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts. And since Windows just copied the Mac, its likely that no personal computer would have them. If I had never dropped out, I would have never dropped in on this calligraphy class, and personal computers might not have the wonderful typography that they do. Of course it was impossible to connect the dots looking forward when I was in college. But it was very, very clear looking backwards ten years later.
Again, you can?t connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in somethingI found what I loved to do early in life. Woz and I started Apple in my parents garage when I was 20. We worked hard, and in 10 years Apple had grown from just the two of us in a garage into a $2 billion company with over 4000 employees. We had just released our finest creationa year earlier, and I had just turned 30. And then I got fired. How can you get fired from a company you started? Well, as Apple grew we hired someone who I thought was very talented to run the company with me, and for the first year or so things went well. But then our visions of the future began to diverge and eventually we had a falling out. When we did, our Board of Directors sided with him. So at 30 I was out. And very publicly out. What had been the focus of my entire adult life was gone, and it was devastating.
I really didn?t know what to do for a few months. I felt that I had let the previous generation of entrepreneurs downI still loved what I did. The turn of events at Apple had not changed that one bit. I had been rejected, but I was still in love. And so I decided to start over.
I didn?t see it then, but it turned out that getting fired from Apple was the best thing that could have ever happened to me. The heaviness of being successful was replaced by the lightness of being a beginner again, less sure about everything. It freed me to enter one of the most creative periods of my life.
During the next five years, I started a company named NeXT, another company named Pixar, and fell in love with an amazing woman who would become my wife. Pixar went on to create the worlds first computer animated feature film, Toy Story, and is now the most successful animation studio in the world. In a remarkable turn of events, Apple bought NeXT, I retuned to Apple, and the technology we developed at NeXT is at the heart of Apple?s current renaissance. And Laurene and I have a wonderful family together. I?m pretty sure none of this would have happened if I hadn?t been fired from Apple. It was awful tasting medicine, but I guess the patient needed it. Sometimes life hits you in the head with a brick. Don?t lose faith. I?m convinced that the only thing that kept me going was that I loved what I did. You?ve got to find what you love. And that is as true for your work as it is for your lovers. Your work is going to fill a large part of your life, and the only way to be truly satisfied is to do what you believe is great work. And the only way to do great work is to love what you do. If you haven?t found it yet, keep looking. Don?t settle. As with all matters of the heart, you?ll know when you find it. And, like any great relationship, it just gets better and better as the years roll on. So keep looking until you find it. Don?t settle.
My third story is about death.
When I was 17, I read a quote that went something like: “If you live each day as if it was your last, someday you?ll most certainly be right.” It made an impression on me, and since then, for the past 33 years, I have looked in the mirror every morning and asked myself: “If today were the last day of my life, would I want to do what I am about to do today?” And whenever the answer has been “No” for too many days in a row, I know I need to change something.
Remembering that I?ll be dead soon is the most important tool I?ve ever encountered to help me make the big choices in life. Because almost everythingthese things just fall away in the face of death, leaving only what is truly important. Remembering that you are going to die is the best way I know to avoid the trap of thinking you have something to lose. You are already naked. There is no reason not to follow your heart.
About a year ago I was diagnosed with cancer. I had a scan at 7:30 in the morning, and it clearly showed a tumor on my pancreas. I didn?t even know what a pancreas was. The doctors told me this was almost certainly a type of cancer that is incurable, and that I should expect to live no longer than three to six months. My doctor advised me to go home and get my affairs in order, which is doctor?s code for prepare to die. It means to try to tell your kids everything you thought you?d have the next 10 years to tell them in just a few months. It means to make sure everything is buttoned up so that it will be as easy as possible for your family. It means to say your goodbyes.
I lived with that diagnosis all day. Later that evening I had a biopsy, where they stuck an endoscope down my throat, through my stomach and into my intestines, put a needle into my pancreas and got a few cells from the tumor. I was sedated, but my wife, who was there, told me that when they viewed the cells under a microscope the doctors started crying because it turned out to be a very rare form of pancreatic cancer that is curable with surgery. I had the surgery and I?m fine now.
This was the closest I?ve been to facing death, and I hope its the closest I get for a few more decades. Having lived through it, I can now say this to you with a bit more certainty than when death was a useful but purely intellectual concept:
No one wants to die. Even people who want to go to heaven don?t want to die to get there. And yet death is the destination we all share. No one has ever escaped it. And that is as it should be, because Death is very likely the single best invention of Life. It is Life?s change agent. It clears out the old to make way for the new. Right now the new is you, but someday not too long from now, you will gradually become the old and be cleared away. Sorry to be so dramatic, but it is quite true.
Your time is limited, so don?t waste it living someone else?s life. Don?t be trapped by dogma - which is living with the results of other people?s thinking. Don?t let the noise of other?s opinions drown out your own inner voice. And most important, have the courage to follow your heart and intuition. They somehow already know what you truly want to become. Everything else is secondary.
When I was young, there was an amazing publication called The Whole Earth Catalog, which was one of the bibles of my generation. It was created by a fellow named Stewart Brand not far from here in Menlo Park, and he brought it to life with his poetic touch. This was in the late 1960?s, before personal computers and desktop publishing, so it was all made with typewriters, scissors, and polaroid cameras. It was sort of like Google in paperback form, 35 years before Google came along: it was idealistic, and overflowing with neat tools and great notions. Stewart and his team put out several issues of The Whole Earth Catalog, and then when it had run its course, they put out a final issue. It was the mid-1970s, and I was your age. On the back cover of their final issue was a photograph of an early morning country road, the kind you might find yourself hitchhiking on if you were so adventurous. Beneath it were the words: “Stay Hungry. Stay Foolish.” It was their farewell message as they signed off. Stay Hungry. Stay Foolish. And I have always wished that for myself. And now, as you graduate to begin anew, I wish that for you.
Stay Hungry. Stay Foolish.
Thank you all very much.
Steve Jobs說，你得找出你愛的 (You?ve got to find what you love.)。
以下是蘋果計算機公司與Pixar動畫制作室執行長Steve Jobs在2005年六月12日對全體史丹佛大學畢業生的演講內容。
今天，有榮幸來到各位從世界上最好的學校之一畢業的畢業典禮上。我從來沒從大學畢業。說實話，這是我離大學畢業最近的一刻。今天，我只說三個故事，不談大道理，三個故事就好。
第一個故事，是關于人生中的點點滴滴怎么串連在一起。
我在里德學院(Reed college)待了六個月就辦休學了。到我退學前，一共休學了十八個月。那么，我為什么休學?
這得從我出生前講起。我的親生母親當時是個研究生，年輕未婚媽媽，她決定讓別人收養我。她強烈覺得應該讓有大學畢業的人收養我，所以我出生時，她就準備讓我被一對律師夫婦收養。但是這對夫妻到了最后一刻反悔了，他們想收養女孩。所以在等待收養名單上的一對夫妻，我的養父母，在一天半夜里接到一通電話，問他們「有一名意外出生的男孩，你們要認養他嗎?」而他們的回答是「當然要」。后來，我的生母發現，我現在的媽媽從來沒有大學畢業，我現在的爸爸則連高中畢業也沒有。她拒絕在認養文件上做最后簽字。直到幾個月后，我的養父母同意將來一定會讓我上大學，她才軟化態度。
十七年后，我上大學了。但是當時我無知選了一所學費幾乎跟史丹佛一樣貴的大學，我那工人階級的父母所有積蓄都花在我的學費上。六個月后，我看不出念這個書的價值何在。那時候，我不知道這輩子要干什么，也不知道念大學能對我有什么幫助，而且我為了念這個書，花光了我父母這輩子的所有積蓄，所以我決定休學，相信船到橋頭自然直。當時這個決定看來相當可怕，可是現在看來，那是我這輩子做過最好的決定之一。當我休學之后，我再也不用上我沒興趣的必修課，把時間拿去聽那些我有興趣的課。
這一點也不浪漫。我沒有宿舍，所以我睡在友人家里的地板上，靠著回收可樂空罐的五先令退費買吃的，每個星期天晚上得走七里的路繞過大半個鎮去印度教的 Hare Krishna神廟吃頓好料。我喜歡Hare Krishna神廟的好料。追尋我的好奇與直覺，我所駐足的大部分事物，后來看來都成了無價之寶。舉例來說：
當時里德學院有著大概是全國最好的書法指導。在整個校園內的每一張海報上，每個抽屜的標簽上，都是美麗的手寫字。因為我休學了，可以不照正常選課程序來，所以我跑去學書法。我學了serif與san serif字體，學到在不同字母組合間變更字間距，學到活版印刷偉大的地方。書法的美好、歷史感與藝術感是科學所無法捕捉的，我覺得那很迷人。
我沒預期過學的這些東西能在我生活中起些什么實際作用，不過十年后，當我在設計第一臺麥金塔時，我想起了當時所學的東西，所以把這些東西都設計進了麥金塔里，這是第一臺能印刷出漂亮東西的計算機。如果我沒沉溺于那樣一門課里，麥金塔可能就不會有多重字體跟變間距字體了。又因為Windows抄襲了麥金塔的使用方式，如果當年我沒這樣做，大概世界上所有的個人計算機都不會有這些東西，印不出現在我們看到的漂亮的字來了。當然，當我還在大學里時，不可能把這些點點滴滴預先串在一起，但是這在十年后回顧，就顯得非常清楚。
我再說一次，你不能預先把點點滴滴串在一起;唯有未來回顧時，你才會明白那些點點滴滴是如何串在一起的。所以你得相信，你現在所體會的東西，將來多少會連接在一塊。你得信任某個東西，直覺也好，命運也好，生命也好，或者業力。這種作法從來沒讓我失望，也讓我的人生整個不同起來。
我的第二個故事，有關愛與失去。
我好運-年輕時就發現自己愛做什么事。我二十歲時，跟Steve Wozniak在我爸媽的車庫里開始了蘋果計算機的事業。我們拼命工作，蘋果計算機在十年間從一間車庫里的兩個小伙子擴展成了一家員工超過四千人、市價二十億美金的公司，在那之前一年推出了我們最棒的作品-麥金塔，而我才剛邁入人生的第三十個年頭，然后被炒魷魚。要怎么讓自己創辦的公司炒自己魷魚?好吧，當蘋果計算機成長后，我請了一個我以為他在經營公司上很有才干的家伙來，他在頭幾年也確實干得不錯?？墒俏覀儗ξ磥淼脑妇安煌?，最后只好分道揚鑣，董事會站在他那邊，炒了我魷魚，公開把我請了出去。曾經是我整個成年生活重心的東西不見了，令我不知所措。
有幾個月，我實在不知道要干什么好。我覺得我令企業界的前輩們失望-我把他們交給我的接力棒弄丟了。我見了創辦HP的David Packard跟創辦Intel的Bob Noyce，跟他們說我很抱歉把事情搞砸得很厲害了。我成了公眾的非常負面示范，我甚至想要離開硅谷。但是漸漸的，我發現，我還是喜愛著我做過的事情，在蘋果的日子經歷的事件沒有絲毫改變我愛做的事。我被否定了，可是我還是愛做那些事情，所以我決定從頭來過。
當時我沒發現，但是現在看來，被蘋果計算機開除，是我所經歷過最好的事情。成功的沉重被從頭來過的輕松所取代，每件事情都不那么確定，讓我自由進入這輩子最有創意的年代。
接下來五年，我開了一家叫做NeXT的公司，又開一家叫做Pixar的公司，也跟后來的老婆談起了戀愛。Pixar接著制作了世界上第一部全計算機動畫電影，玩具總動員，現在是世界上最成功的動畫制作公司。然后，蘋果計算機買下了NeXT，我回到了蘋果，我們在NeXT發展的技術成了蘋果計算機后來復興的核心。我也有了個美妙的家庭。
我很確定，如果當年蘋果計算機沒開除我，就不會發生這些事情。這帖藥很苦口，可是我想蘋果計算機這個病人需要這帖藥。有時候，人生會用磚頭打你的頭。不要喪失信心。我確信，我愛我所做的事情，這就是這些年來讓我繼續走下去的唯一理由。你得找出你愛的，工作上是如此，對情人也是如此。你的工作將填滿你的一大塊人生，唯一獲得真正滿足的方法就是做你相信是偉大的工作，而唯一做偉大工作的方法是愛你所做的事。如果你還沒找到這些事，繼續找，別停頓。盡你全心全力，你知道你一定會找到。而且，如同任何偉大的關系，事情只會隨著時間愈來愈好。所以，在你找到之前，繼續找，別停頓。
我的第三個故事，關于死亡。
當我十七歲時，我讀到一則格言，好像是「把每一天都當成生命中的最后一天，你就會輕松自在?！惯@對我影響深遠，在過去33年里，我每天早上都會照鏡子，自問：「如果今天是此生最后一日，我今天要干些什么?」每當我連續太多天都得到一個「沒事做」的答案時，我就知道我必須有所變革了。
提醒自己快死了，是我在人生中下重大決定時，所用過最重要的工具。因為幾乎每件事-所有外界期望、所有名譽、所有對困窘或失敗的恐懼-在面對死亡時，都消失了，只有最重要的東西才會留下。提醒自己快死了，是我所知避免掉入自己有東西要失去了的陷阱里最好的方法。人生不帶來，死不帶去，沒什么道理不順心而為。
一年前，我被診斷出癌癥。我在早上七點半作斷層掃描，在胰臟清楚出現一個腫瘤，我連胰臟是什么都不知道。醫生告訴我，那幾乎可以確定是一種不治之癥，我大概活不到三到六個月了。醫生建議我回家，好好跟親人們聚一聚，這是醫生對臨終病人的標準建議。那代表你得試著在幾個月內把你將來十年想跟小孩講的話講完。那代表你得把每件事情搞定，家人才會盡量輕松。那代表你得跟人說再見了。
我整天想著那個診斷結果，那天晚上做了一次切片，從喉嚨伸入一個內視鏡，從胃進腸子，插了根針進胰臟，取了一些腫瘤細胞出來。我打了鎮靜劑，不醒人事，但是我老婆在場。她后來跟我說，當醫生們用顯微鏡看過那些細胞后，他們都哭了，因為那是非常少見的一種胰臟癌，可以用手術治好。所以我接受了手術，康復了。
這是我最接近死亡的時候，我希望那會繼續是未來幾十年內最接近的一次。經歷此事后，我可以比之前死亡只是抽象概念時要更肯定告訴你們下面這些：
沒有人想死。即使那些想上天堂的人，也想活著上天堂。但是死亡是我們共有的目的地，沒有人逃得過。這是注定的，因為死亡簡直就是生命中最棒的發明，是生命變化的媒介，送走老人們，給新生代留下空間?，F在你們是新生代，但是不久的將來，你們也會逐漸變老，被送出人生的舞臺。抱歉講得這么戲劇化，但是這是真的。
你們的時間有限，所以不要浪費時間活在別人的生活里。不要被信條所惑-盲從信條就是活在別人思考結果里。不要讓別人的意見淹沒了你內在的心聲。最重要的，擁有跟隨內心與直覺的勇氣，你的內心與直覺多少已經知道你真正想要成為什么樣的人。任何其它事物都是次要的。
在我年輕時，有本神奇的雜志叫做Whole Earth Catalog，當年我們很迷這本雜志。那是一位住在離這不遠的Menlo Park的Stewart Brand發行的，他把雜志辦得很有詩意。那是1960年代末期，個人計算機跟桌上出版還沒發明，所有內容都是打字機、剪刀跟拍立得相機做出來的。雜志內容有點像印在紙上的Google，在Google出現之前35年就有了：理想化，充滿新奇工具與神奇的注記。
Stewart跟他的出版團隊出了好幾期Whole Earth Catalog，然后出了?？?。當時是1970年代中期，我正是你們現在這個年齡的時候。在?？柕姆獾?，有張早晨鄉間小路的照片，那種你去爬山時會經過的鄉間小路。在照片下有行小字：
求知若饑，虛心若愚。
那是他們親筆寫下的告別訊息，我總是以此自許。當你們畢業，展開新生活，我也以此期許你們。
求知若饑，虛心若愚。
英文合同翻譯范文第4篇
1.喬伊斯(james joyce)愛爾蘭 《尤里西斯》(ulysses)1922 2.費茲杰羅(f. s. fitzgerald)美國 《了不起的蓋茨比》(the great gatsby)1925 3.喬伊斯(james joyce)愛爾蘭 《青年藝術家的畫像》(a portrait of the artist as a young man)1916 4.納博科夫(vladimir nabokov)俄裔美籍 《洛莉塔》(lolita)1955 5.赫胥黎(aldous huxley)英國 《美麗新世界》(brave new world)1932 6.?？思{(william faulkner)美國 《喧嘩與騷動》(the sound and fury)1929 7.海勒(joseph heller)美國 《第22條軍規》(catch-22)1961 8.柯斯勒(arthur koestler)匈牙利 《中午的黑暗》(darkness at noon)1941 9.勞倫斯(d. h. lawrence)英國 《兒子與情人》(sons and lover)1913 10.史坦貝克(john steinbeck)美國 《憤怒的葡萄》(the grapes of wrath)1939 11.勞瑞(malcolm lowry)英國 《在火山下》(under the volcano)1947 12.巴特勒(samuel butler)英國 《眾生之路》(the way of all flesh)1903 13.奧威爾(george orwell)英國 《一九八四》(1984)1949 14.格雷夫斯(robert graves)英國 《我，克勞狄》(i, claudius)1934 15.沃爾夫(virginia woolf)英國 《到燈塔去》(to the lighthouse)1927 16.德萊塞(theodore dreiser)美國 《美國悲劇》(an american tragedy)1925 17.麥卡勒斯(carson mccullers)美國 《心是孤獨的獵手》(the heart is a lonely heart)1940 18.馮內古特(kurt vonnegut)美國 《第五號屠宰場》(slaughterhouse-five)1969 19.埃里森(ralph ellison)美國 《隱形人》(invisible man)1952 20.賴特(richard wright)美國 《土生子》(native son)1940 21.貝婁(saul bellow)美國 《雨王亨德森》(henderson the rain king)1959 22.奧哈拉(john ohara)美國 《在薩馬拉的會合》(appointment in samarra)1934 23.多斯帕索斯(john dos passos)美國 《美國》(u. s. a.)1936 24.安德生(sherwood anderson)美國 《小城故事》(winesburg, ohio)1919 25.福斯特(e. m. forster)英國 《印度之旅》(a passage to india)1924 26.詹姆斯(hey james)美國 《鴿翼》(the wings of the dove)1902 27.詹姆斯(hey james)美國 《奉使記》(the ambassadors)1903 28.費茲杰羅(f. s. fitzgerald)美國 《夜未央》(tender is the night)1934 29.法雷爾(james t. farrell)美國 《「斯塔茲.朗尼根」叁部曲》(studs lonigan-trilogy)1935 30.福特(ford madox ford)英國 《好兵》(the good soldier)1915 31.奧威爾(george orwell)英國 《動物農莊》(animal farm)1945 32.詹姆斯(hey james)美國 《金碗》(the golden bowl)1904 33.德萊塞(theodore dreiser)美國 《嘉莉妹妹》(sister carrie)1900 34.渥夫(evelyn waugh)英國 《一掬塵土》(a handful of dust)1934 35.?？思{(william faulkner)美國 《當我彌留之際》(as i lay dying)1930 36.沃倫(robert penn warren)美國 《國王的人馬》(all the king’s men)1946 37.威爾德(thornton wilder)美國 《圣路易·萊之橋》(the bridge of sanluis rey)1927 38.福斯特(e. m. forster)英國 《此情可問天》(howards end)1910 39.鮑德溫(james baldwin)美國 《向蒼天呼吁》(go tell it on the mountain)1953 40.葛林(graham greene)英國 《事情的真龘相》(the heart of the matter)1948 41.戈爾汀(william golding)英國 《蒼蠅王》(lord of the flies)195442.迪基(james dickey)美國 《解救》(deliverance)197043.鮑威爾(anthony powell)英國 《與時代合拍的舞蹈》(a dance to the music of time)1975 44.赫胥黎(aldous huxley)英國 《針鋒相對》(point counter point)1928 45.海明威(ernest hemingway)美國 《太陽照樣升起》(the sun also rise)1926 46.康拉德(joseph coad)英國 《特務》(the secret agent)1907 47.康拉德(joseph coad)英國 《諾斯特羅莫》(nostromo)1904 48.勞倫斯(d. h. lawrence)英國 《彩虹》(rainbow)1915 49.勞倫斯(d. h. lawrence)英國 《戀愛中的女人》(women in love)1920 50.米勒(hey miller)美國 《北回歸線》(tropic of cancer)1934 51.梅勒(norman mailer)美國 《裸者和死者》(the naked and dead)1948 53.納博科夫(vladimir nabokov)俄裔美籍 《蒼白的火》(pale fire)1962 54.?？思{(william faulkner)美國 《八月之光》(light in august)1932 55.凱魯亞克(jack kerouac)美國 《在路上》(on the road)1957 56.漢密特(dashiell hammett)美國 《馬爾他之鷹》(the maltese falcon)1930 57.福特(ford madox ford)英國 《行進的目的》(parade’s end)1928 58.華頓(edith wharton)美國 《純真年代》(the age of innocence)1920 59.畢爾邦(max beerbohm)英國 《朱萊卡.多卜生》(zuleika dobson)1911 60.柏西(walker percy)美國 《熱愛電影的人》(the moviegoer)1961 62.鍾斯(james jones)美國 《亂世忠魂》(from here to eternity)1951 63.奇佛(john cheever)美國 《豐普肖特紀事》(the wapshot chronicles)1957 64.沙林杰(j. d. salinger)美國 《麥田里的守望者》(the catcher in the rye)1951 65.柏基斯(anthony burgess)英國 《發條橙》(a clockwork orange)1962 66.毛姆(w. somerset maugham)英國 《人性枷鎖》(of human bondage)1915 67.康拉德(joseph coad)英國 《黑暗之心》(heart of darkness)1902 68.劉易斯(sinclair lewis)美國 《大街》(main street)1920 69.華頓(edith wharton)美國 《歡樂之家》(the house of mirth)1905 70.達雷爾(lawrence durrell)英國 《亞歷山大四部曲》(the alexandraia quartet)1960 71.休斯(richard hughes)英國 《牙買加的風》(a high wind in jamaica)1929 72.耐波耳(v. s. naipaul)千里達 《畢斯瓦思先生之屋》(a house for mr. biswas)1961 73.威斯特(nathaniel west)美國 《蝗蟲的日子》(the day of the locust)1939 74.海明威(ernest hemingway)美國 《永別了，武器》(a farewell to arms)1929 75.渥夫(evelyn waugh)英國 《獨家新聞》(scoop)1938 76.絲帕克(muriel spark)英國 《瓊.布羅迪小姐的青春》(the prime of miss jean brodie)1961 77.喬伊斯(james joyce)愛爾蘭 《為芬尼根守靈》(finnegans wake)1939 78.吉卜林(rudyard kipling)英國 《金姆》(kim)1901 79.福斯特(e. m. forster)英國 《窗外有藍天》(a room with a view)1908 80.渥夫(evelyn waugh)英國 《夢斷白莊》(bride shead revisited)1945 81.貝婁(saul bellow)美國 《奧吉·馬奇正傳》(the adventures of augie march)1971 82.史達格納(wallace stegner)美國 《安眠的天使》(angle of repose)1971 83.耐波耳(v. s. naipaul)千里達 《河曲》(a bend in the river)1979 84.鮑恩(elizabeth bowen)英國 《心之死》(the death of the heart)193885.康拉德(joseph coad)英國 《吉姆爺》(lord jim)1900 86.達特羅(e. l. doctorow)美國 《拉格泰姆》(ragtime)1975 87.貝內特(arnold bennett)英國 《老婦人的故事》(the old wives tale)1908 88.倫敦(jack london)英國 《野性的呼喚》(the call of the wild)1903 89.格林(hey green)英國 《愛》(loving)1945 90.魯西迪(salman rushdie)(印裔英籍) 《午夜的孩子們》(midnight’s children)1981 91.考德威爾(erskine caldwell)美國 《菸草路》(tobacco road)1932 92.甘耐第(william kennedy)美國 《紫苑草》(ironweed)1983 93.佛勒斯(john fowles)英國 《占星家》(the magus)1966 94.里絲(jean rhys)英國 《遼闊的藻?！?wide sargasso)1966 95.默多克(iris murdoch)英國 《在網下》(under the net)1954 96.斯泰倫(william styron)美國 《蘇菲的抉擇》(sophie’s choice)1979 97.鮑爾斯(paul bowles)美國 《遮蔽的天空》(the sheltering sky)1949 98.凱恩(james m. cain)美國 《郵差總按兩次鈴》(the postman always rings twice)1934 99.唐利維(j. p. donleavy)美國 《眼線》(the ginger man)1955 100.塔金頓(booth tarkington)美國《偉大的安伯森斯》(the magnificent ambersons)1918篇二：一百部最好的英文小說
《時代》雜志評出的100部最佳英語小說(含下載) 2008-07-02 22:18 | (分類:默認分類) 偶爾也做一回善事。。。
嗯。。我都下過的。這邊的情況是教育網加迅雷。所以一般大學里都能下吧。。。
評選人是《時代》評論家lev grossman和richard lacayo，評選時限為1923年(《時代雜志》創刊的年份)至今，范圍是全世界，語種是英語。100部小說名單如下(依篇名字母排序)：
the adventures of augie marchby saul bellow 下載pdf all the king’s menby robert penn warren american pastoral[美國牧歌]by philip roth 下載docan american tragedy[美國悲劇]by theodore dreiser 下載pdf animal farm[動物農莊]by george orwell 下載pdf appointment in samarraby john o’hara are you there god? it’s me, margaretby judy blume the assistantby bernard malamud at swim-two-birdsby flann o’brien atonementby ian mcewan beloved[寵兒]by toni morrison 下載doc,pdf the berlin storiesby christopher isherwood the big sleep[夜長夢多]by raymond chandler 下載pdf the blind assassin[盲人殺手]by margaret atwood 下載pdf blood meridian[血色子午線]by cormac mccarthy 下載pdf brideshead revisitedby evelyn waugh thebridgeofsan luisreybythorntonwilder call it sleepby hey roth catch-22[第二十二條軍規]by joseph heller 下載docthe catcher in the rye[麥田里的守望者]by j.d. salinger 下載ebook a clockwork orange[發條橙子]by anthony burgess 下載pdf the confessions of nat turnerby william styron the correctionsby jonathan franzen the crying of lot 49[拍賣第49號]by thomas pynchon下載pdf a dance to the music of timeby anthony powell the day of the locustby nathanael west a death in the familyby james agee the death of the heartby elizabeth bowen deliveranceby james dickey dog soldiersby robert stone falconerby john cheever the french lieutenant’s womanby john fowles在線閱讀 the golden notebookby doris lessig go tell it on the mountainby james baldwin 下載gone with the wind[飄]by margaret mitchell 下載pdf the grapes of wrath[憤怒的葡萄]by john steinbeck 下載pdf gravity’s rainbowby thomas pynchon下載pdf the great gatsby[了不起的蓋茨比]by f. scott fitzgerald 下載pdf a handful of dust[一掬塵土]by evelyn waugh 下載pdf the heart is a lonely hunter[心是孤獨的獵手]by carson mccullers 下載pdf the heart of the matter[事情的核心/問題的核心]by graham greene 下載pdf herzogby saul bellow housekeeping[管家]by marilynne robinson 下載pdf a house for mr. biswas[畢斯瓦思先生之屋]by v.s. naipaul 下載pdf i, claudiusby robert graves infinite jestby david foster wallace invisible man[隱形人]by ralph ellison 下載pdflight in august[八月之光]by william faulkner 下載ebook the lion, the witch and the wardrobe[女巫獅子和魔衣櫥]by c.s. lewis 下載ebook lolita[洛麗塔]by vladimir naboko 下載pdf lord of the flies[蠅王]by william golding 下載ebook the lord of the ringsby j.r.r. tolkein silmarillion下載hobbit下載 fellowship下載 twotowers下載 king下載 相關資料 lovingby hey green lucky jim[幸運的吉姆]by kingsley amis下載pdf the man who loved childrenby christina stead midnights childrenby salman rushdie moneyby martin amis the moviegoerby walker percy mrs. dalloway[達羅薇夫人]by virginia woolf 下載pdf naked lunch[裸體午餐]by william burroughs 下載pdf篇三：那些經典的英文小說開頭 那些經典的英文小說開頭
1.you better not never tell nobody but god. 除了上帝，對誰都要守口如瓶，切記。 ——the color purple《紫色》
2.they shoot the white girl first. 他們先開槍打死了那個白人女孩。 ——paradise《天堂》
3.every summer lin kong returned to goose village to divorce his wife, shuyu.軍醫孔林每年夏天都要回農村老家跟妻子淑玉商量一次離婚。 ——waiting《等待》
4.if you really want to hear about it, the first thing you’ll probably want to know is where i was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that david copperfield kind of crap, but i don’t feel like going into it, if you want to know the truth. 如果你對我的故事充滿好奇，你第一件想要知道的事情一定是我生于何處，童年如何，以及在生下我之前父母的羅曼史，還有david copperfield是怎樣一個爛人。但是坦白地講，這些我都不想寫。
——the catcher in the rye《麥田里的守望者》
5.the hegemony consul sat on the balcony of his ebony spaceship and played rachmaninoff’s prelude in c-sharp minor on an ancient but well-maintained steinway while great, green, saurian things surged and bellowed in the swamps below.領事正襟危坐在自己的烏木陽臺之上彈奏著那架歷久彌新的斯坦威鋼琴，用升c小調演奏拉赫曼尼諾夫的《序曲》;與此同時，巨大的綠色蜥蜴在下方的泥沼之中蜿蜒逶迤。——hyperion《海伯利安》
6.many years later, as he faced the firing squad, colonel aureliano buendía was to remember that distant afternoon when his father took him to discover ice.多年以后，奧雷連諾上校站在行刑隊面前，準會想起父親帶他去參觀冰塊的那個遙遠的下午。
——one hundred years of solitude《百年孤獨》7.i was born twice: first, as a baby girl, on a remarkably smogless detroit day in january of 1960; and then again, as a teenage boy, in an emergency room near petoskey, michigan, in august of 1974. 我曾兩次降生于世：第一次，一名女嬰，在底特律的一個無煙日;第二次，一名少年，在密歇根托斯基的一件急診室里，那是在1974年的八月。 ——middlesex《中性》
8.there is first of all the problem of the opening, namely, how to get us from where we are, which is, as yet, nowhere, to the far bank. 擺在我們面前的首要問題顯然是，如何從我們現在所在之處，去往遙遠的河岸?？墒?，我們連自己現在在什么鬼地方都不清楚。
——elizabeth costello《elizabeth costello》
9.it is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. 毫無疑問，單身鉆石王老五都渴望有嬌妻相伴。 ——pride and prejudice《傲慢與偏見》
英文合同翻譯范文第5篇
從歸化和異化的角度探討電影字幕翻譯
[摘要] 隨著全球化進程的加快，人們生活水平不斷提高，人們對精神生活要求層次也不斷提高。英文電影在國人的生活中扮演著不可缺少的一個角色，人們對電影字幕的翻譯要求也越來越高，電影字幕的翻譯是電影本身成功與否的一個重要因素，因此電影字幕翻譯也成為了翻譯中的重要組成部分。本文試從歸化和異化兩個角度探討電影字幕翻譯的策略。 [關鍵詞] 歸化 異化 電影 字幕翻譯
電影是一種具有大眾性、廣泛性和傳播性，而且受眾較多的文化形態。它已經成為人們日常生活中不可缺少的休閑娛樂方式，也是人們了解其他文化的重要渠道。由于語言差異，大部分觀眾只能通過字幕翻譯才能從聽覺上、視覺上個方位地把握外語電影的內容，欣賞其魅力。影視翻譯作為文學翻譯一部分，是一種特殊的文學翻譯，那么電影字幕翻譯自然就是一種特殊的文學翻譯。伴隨著人們生活水平和審美情趣的不斷提高，英語電影在中國市場越來越受到消費者的青睞，也涌現了許多耳熟能詳的電影，Forest Gump 《阿甘正傳》、KongFu Panda《功夫熊貓》、Mu Lan 《花木蘭》、Titanic《泰坦尼克號》等。這些電影在中國同樣都取得了相當可觀的票房收入，那么這些電影之所以會這樣成功，除了有豐富的電影情節和特效之外，精彩地道的字幕翻譯也是它們獲得成功必不可少的重要因素之一。那么，在談電影字幕翻譯具體策略之前，首先需要了解一下字幕翻譯的特點。
一、字幕翻譯的特點
電影的字幕翻譯與一般文學翻譯既有共同之處，又有自身獨特的個性。電影是視覺和聽覺等多方面綜合的藝術形式，比一般的文學作品更形象、更生動。但同時也因口型、肢體語等方面的因素，制約了電影字幕翻譯。電影字幕翻譯不同于文學翻譯或非文學翻譯，李運興教授在提到字幕的功能及文體特點時指出:字幕是閃現在屏幕上的文字，一現即逝，不像書本上的文字，可供讀者前后參照。而字幕是不可逆的，具有瞬時性，這種瞬時性要求電影中翻譯的字幕，觀眾一遍就能看懂。不考慮觀眾是否能接受翻譯字幕這點，是行不通的。[7]這些限制要求字幕的翻譯言簡意賅，表意準確，一方面能滿足觀眾在視覺和聽覺上的協調，一方面保證觀眾對電影的理解和文化的領略。另外，電影作為大眾傳媒渠道之一，電影的字幕翻譯應該考慮到觀眾的接受能力和市場反應，因此字幕的翻譯要適當的趨向大眾化和通俗化。影視翻譯不只是語言轉換，它在很大程度上受到接受文化需求的制約。研究電影字幕翻譯，必須處理好原語文化和目的語文化的關系譯者作為文化交流的中介，其主要目的是促進不同文化的交流，減少文化差距。
二、電影字幕翻譯中的歸化和異化
每一部影片都是一定文化區域歷史和社會文化生活的反映。在電影作品中，源語語篇中會有許多含有特定文化意義的詞語，它們為目的語文化所不知、所不熟悉，甚至難于理解和接受。對于這些文化詞語的處理，有兩種策略，即歸化和異化。
(一)歸化與異化的內涵
1813年，德國語言古典學家、翻譯理論家施萊爾馬赫在《論翻譯的方法》中提出:“翻譯的途徑有兩種:一種是盡可能讓作者安居不動，而引導讀者去接近作者;另一種是盡可能讓讀者安居不動，而引導作者去接近讀者。" 1995年美國翻譯理論家Venuti在《譯者的隱形》一書中，將第一種方法稱為“異化法”(foreignizing method)，將第二種方法稱為“歸化法”(domesticating method) (Venuti，1995:20) 。概括地說，異化法要求譯者向作者靠攏，采用相應于作者所使用的原語表達方式來傳達原文的內容;而歸化法則要求向目的語讀者靠攏，采取目的語讀者所習慣的目的語表達方式來傳達原文的內容。[5]
(二) 字幕翻譯中的歸化 1.歸化的含義
所謂“歸化”是指以譯入語即目的語的文化為依據，最大限度地使用目的語文化可以接受的表達。[9] 歸化翻譯可以使譯文自然、地道、順口、易于接受。電影應該考慮到觀眾的表達習慣和欣賞水平，太多晦澀難懂的詞語和陌生表達方式，會使觀眾失去興致，由于文化差異和字幕翻譯時空上的限制，字幕翻譯不能加注，因此為了提高票房收入，在翻譯影片時歸化的翻譯法是很必要也很常見的翻譯方法之一，歸化策略能夠拉近觀眾與影片的距離，恰到好處的歸化可以使譯文生動簡潔、親切活潑，便于觀眾理解和接受。美國著名的翻譯理論家奈達，是歸化翻譯法的代表人物。他認為，在翻譯的過程中，譯者應尊重目的語的特征，譯文盡量使用目的語接受者喜聞樂見的、符合目的語表達規范的言語形式。[3]
2.歸化在字幕翻譯中的體現
電影《阿甘正傳》的字幕漢譯就采用了歸化的翻譯策略，才讓該片的語言和
情感達到與漢語觀眾相同的審美感受和體驗。
例1:片名ForestGum p 《阿甘正傳》
這部電影的片名是個人名，在翻譯學中，人名的翻譯一般采用的方法是直譯。所以ForrestGump可以翻譯成“福里斯特·甘”，也可以翻譯成“福瑞斯特·甘普”。但是譯文中的漢語片名為了接近更多的漢語觀眾，便對它做了歸化處理，選用了“阿甘正傳”。既簡練的表現出電影講述名叫ForrestG um p的這個人一生的傳奇故事的大意，也符合了廣大觀眾的實際水平，正如中國影片“阿Q正傳”、“阿飛正傳”達到的效果一樣，使觀眾一目了然，更能雅俗共賞。
例2: 影片中的一句經典臺詞：
It was like old times. We were like peas and carrots again.
就像當年一樣，我們秤不離砣。
譯者沒有逐字死譯，而是恰當的采用了符合目的語表達習慣的說法，做了歸化處理，按照語境的需要譯成了“秤不離砣”這樣富有中國文化內涵的詞語，給目的語觀眾很自然的感覺。 “like peas and carrots again”,如直譯成“我們就像是豌豆和胡蘿卜總在一起”，毋庸置疑，漢語觀眾肯定是無法接受的。
下面再例舉影片 Mu Lan 《花木蘭》、KongFu Panda《功夫熊貓》中采用歸化策略翻譯的臺詞來進一步說明歸化在電影字幕翻譯中的重要性。
例3 Recite the final admonition.
婦有四德指的是什么
"admonition”在詞典中的意思是“勸告，忠告，告誡”的意思，在這里的場景是木蘭正在接受媒婆的“面試”，如果合格就有機會嫁入好人家，譯者將其譯為“四德”，讓中國觀眾想起古時女子要遵循的“三從四德”，也立刻明自了其隱含的意思。
例4 I can see why the boy is an absolute lunatic
我要有這樣的兒子我也不會說的。
這句話的翻譯對原句進行了改寫，更能體現出幽默的意味。木蘭怕被認出是女兒身，故意在別人面前顯的很狼狽，讓那個奸詐的宰相誤會他是個無能之輩，無意中也為木蘭解了圍。這樣的翻譯讓中國觀眾感到幽默，更加的自然。
還有在電影《功夫熊貓》中，“Master” 這一詞在影片中出現很多次，但卻被不同的翻譯成了“師父”、“大師”、“大仙”。在漢語詞典里，“師父”是學生對傳授自己技藝的老師和尊稱和敬稱，師父和徒弟之間具有系統嚴格的師承關系，常見于藝術界和武術界。然而“大仙”“大師”又可以理解為神仙，仙人。在中國人的文化背景中，仙人具有各種神通，游行虛空，一切所為都無障礙。所以在影片中，對于浣熊和烏龜兩個角色的翻譯就充分體現了歸化的翻譯策略。Master Shifu 翻譯成師父，表現它武藝高強;Master Oogway翻譯成烏龜大師，體現了中國道家文化思想。由此可見，這一稱呼的翻譯主要體現了中國文化的傳統和思想。
(三) 字幕翻譯中的異化 1.異化的含義
異化是指以源語言為歸依，在翻譯過程中盡量向源語言靠攏，采取尊重源語言的翻譯策略。異化翻譯的好處是:能再現原文的表達方式，它突出了源語的“異國情調”，不僅豐富和完善了譯文的表達力，而且人們更能通過讀譯文了解他國文化。電影字幕中的異化翻譯則少許顧慮譯語文化中早已存在的現成的表達方式，而是追求新穎的、甚至是具有陌生感語言表達。為有效達到翻譯目的，譯者應根據電影語言不同的預期功能，抓住原片的創作意圖，再根據譯語觀眾的需要，決定源信息的保留或根據影片內容進行調整。特別是對那些因文化差異而難以處理的意象，在充分把握譯語觀眾的期待視野、審美取向和接受能力的前提下，慎重考慮異化和歸化策略。
2.異化在電影字幕翻譯中的體現
異化中一個主要的方法是直譯，是指“按照譯文語言的語法規則翻譯出原文的字面意思，仍保持原文的文體風格和文化特征。”[4] 對于目的語和原語字面意思和隱含意思相同和相似的信息，譯者可以采取直譯的方法。在電影Mu Lan《花木蘭》中，有這樣的例子
例5 We are under attack! Light the signal.
有人偷襲，快點烽火
例6 Please help Mulan impress the Matchmaker today.
保佑木蘭今天給媒婆留個好映像
這些都是根據英文字幕的意思直接翻譯過來的，這樣做到了與原文最大程度的一致。對于這此句，直譯是最好的選擇，觀眾可以很容易的理解原文的意思。
2012年4月10號，3D版 Titanic《泰坦尼克號》在中國大陸各大影院首映，在重溫經典的同時，作為語言學習者我們能深刻的體會到字幕翻譯在各國之間的文化交流過程中起著重要的作用。下面以Titanic一場景中的臺詞為例，來說明異化原則在電影字幕翻譯中的重要性。
在《泰坦尼克號》中，奧利罵斯文，"you are a chicken"，在英語文化中“chicken”的涵義是指膽怯，而在中國文化中，“chicken”的涵義是指吵鬧或者是指女人的不貞潔，因此譯者采取異化的手段，翻譯成“你這個膽小鬼”，其實觀眾通過看畫面就知道這句話是針對斯文說的，我們完全可以翻譯成“膽小鬼”，如果直譯成“你是一只小雞”或者用歸化的方法譯成“你是一個卿卿喳喳的人”，這就與原文的意思相差很遠，而且會讓觀眾感到疑惑，達不到字幕翻譯準確傳達原文信息的目的，而翻譯成“膽小鬼”能使目的語觀眾了解和學習中英文化意象詞涵義的差別。
三 結語
歸化和異化在翻譯過程當中起著很重要的作用，同時，它們在電影字幕翻譯中的也起到了充分使字幕發揮交流和溝通文化的橋梁作用。不過，翻譯策略應該是多樣的、靈活的，在翻譯實踐中譯者不會僅采用一種翻譯方法。而且異化和歸化翻譯策略在翻譯過程中也是各有優缺點，那么在翻譯過程中，譯者應將二者有效結合，根據翻譯目的、文本類型來實現二者的現實的、具體的、動態的統一。過度的異化或歸化都有損譯文質量，刻意的異化會使譯文晦澀難懂，而太多的歸
化也可能使譯文缺少異域風情。無論從文化傳播的角度還是商業角度，電影作為一種特殊的文學形式，要用故事情節和演員的表演吸引觀眾，向觀眾傳達一定的意義，而再加上精彩的字幕翻譯則更有助于觀眾理解影片內涵。
【參考文獻】
[1] Bassnett, Susan & Andre Lefevere. Translation, history and culture. [M] London & New York: Pinter Publishers,1990.
[2]Baker, M. 1992. In Other Words:A Course book on Translation [M] London: Routledge [3] Nida, Eugene Theory and Practice of Translation [M].Shanghai: Shanghai Foreign Language Education Press, 2004. [4]陳亞朋《臥虎藏龍》字幕翻譯策略探析電影文學,2007,(8) [5]鄧炎昌，劉潤清，1989,《語言與文化一英漢語言文化對比研究》[M〕北京:外語教學與研究出版社. [6]劉宓慶，1999,《文化翻譯論綱》[M〕武漢:湖北教育出版社.
[7]李運興，字幕翻譯的策略[J].中國翻譯,2001.
[8]王佐良，1994,《翻譯:思考與筆試》[M〕北京:外語教學與研究出版社.
英文合同翻譯范文第6篇
英詩的欣賞：詩的格律、詩的押韻、詩的體式、詩的評判。
詩以高度凝結的語言表達著人們的喜怒哀樂，用其特有的節奏與方式影響著人們的精神世界。詩講究聯想，運用象征、比喻、擬人等各種修辭手法，形成了獨特的語言藝術。
一、 詩的格律
“格律是指可以用腳打拍子的節奏”，是每個音步輕重音節排列的格式，也是朗讀時輕重音的依據。而音步是由重讀音節和非重讀音節構成的詩的分析單位。重讀音節為揚(重)，在音節上用“-”或“?”標示，非重讀音節為抑(輕)，在音節上用“?”標示，音步之間可用“/”隔開。以下是五種常見格式：
1. 抑揚格(輕重格)Iambus：是最常見的一種格式，每個音步由一個非重讀音節加一個重讀音節構成。
As fair / art thou / my bon/nie lass，
So deep / in luve / am I ：
And I / will luve / thee still，/ my dear，
Till a` / the seas / gang dry：
Robert Burns(1759-1796)： My Luve Is like a Red， Red Rose
注;art=are luve=love bonnie=beautiful a`=all gang=go
上例中為四音步與三音步交叉，可標示為：?-/?-/?-/(?-)
2.揚抑格(重輕格)Trochee：每個音步由一個重讀音節加一個非重讀音節構成。
下例中為四音步揚抑格(少一個輕音節)，可標示為：-?/-?/-?/-
Tyger!/ Tyger!/ burning / bright In the / forests / of the / night William Blake： The Tyger 3. 抑抑揚格(輕輕重格)Anapaestic foot： 每個音步由兩個非重讀音節加一個重讀音節構成。如：三音步抑抑揚格??-/??-/??-
Like a child / from the womb，
Like a ghost / from the tomb，
I arise / and unbuild / it again.
4. 揚抑抑格(重輕輕格)Dactylic foot： 每個音步由一個重讀音節加兩個非重讀音節構成。如：兩音步揚抑抑格-??/-??
?Touch her not / ?scornfully，
?Think of her / ?mournfully.
- Thomas Hood
5. 抑揚抑格(輕重輕格)Amphibrach：每個音步由一個非重讀音節加一個重讀音節再加一個非重讀音節構成。如：三音步抑揚抑格?-?/?-?/?-?下例中最后一個音步為抑揚格。
O ?hush thee / my ?babie / thy ?sire was / a knight.
在同一首詩中常會出現不同的格律，格律解析對朗讀詩歌有一定參考價值?，F代詩中常不遵守規范的格律。
二、 詩的押韻
押韻是指通過重復元音或輔音以達到一定音韻效果的詩歌寫作手法。
1. 尾韻：最常見，最重要的押韻方式。
1) 聯韻：aabb型。
I shot an arrow into the air，
It fell to earth， I knew not where;
For， so swiftly it flew， the sight
Could not follow it in its flight.
Henry Wadsworth Longfellow： The Arrow and the Song
2) 交叉韻：abab型。
Sunset and evening star，
And one clear call for me!
And may there be no moaning of the bar，
When I put out to sea，
Alfred Tennyson(1809-1892)： Crossing the Bar
3) 同韻：有的詩押韻，一韻到底，大多是在同一節詩中共用一個韻腳。
如下例就共用/i：p/為韻腳。
The woods are lovely， dark and deep，
But I have promises to keep，
And miles to go before I sleep，
And miles to go before I sleep.
Robert Frost (1874-1963)： Stopping by Woods on a Snowy Evening
2. 頭韻：是指一行(節)詩中幾個詞開頭的輔音相同，形成押韻。下例中運用/f/、/b/與/s/頭韻生動寫出了船在海上輕快航行的景象。
The fair breeze blew， the white foam flew，
The furrow followed free，
We were the first that ever burst Into that silent sea. T.S. Coleridge： Rime of the Acient Mariner 3.內韻(同元音)：指詞與詞之間原因的重復形成的內部押韻。
下面一節詩中/i/及/iη/重復照應，呈現出一派歡樂祥和的氣氛。
Spring， the sweet spring， is the year„s pleasant king;
Then blooms each thing， then maids dance in a ring，
Cold dath not sting， the pretty birds do sing：
Cuckoo，jug-jug，pu-we，to-witta-woo!
Thomas Nashe(1567-1601)： Spring， the Sweet Spring
三、 詩的體式
有的詩分成幾節(stanza)，每節由若干詩行組成(每行詩均以大寫字母開頭);有的詩則不分節。目前我們常見的詩體有：
1. 十四行詩(Sonnet)，源于中世紀民間抒情短詩，十
三、十四世紀流行于意大利，意大利彼特拉克(Petrarch)為代表人物，每行十一個音節，全詩一節八行，加一節六行，韻腳用abba， abba， cdcdcd (cdecde)。前八行提問，后六行回答。
后來，懷亞特(ThomasWyatt，1503-1542)將十四行詩引人英國，五音步抑揚格，全詩三個四行一個二行，前三節提問，后二句結論。斯賓塞(EdmundSpenser，1552-1599)用韻腳 abab， bcbc，cdcd，ee.莎士比亞(WilliamShakespeare，1564-1616)用韻腳abab，cdcd，dfdf，gg，稱英國式或莎士比亞式。舉例見本文第四部分。
2. 打油詩(Limericks)：通常是小笑話甚至是胡謅，一般沒有標題也無作者姓名，含有幽默諷刺性，常運用雙關，內韻等手法。每首詩五個詩行，押韻為aabba，格律以抑揚格和抑抑揚格為主。
1) There was a young lady of Nigger
Who smiled as she rode on a tiger;
They returned from the ride
With the lady inside，
And the smile on the face of the tiger.
2) A tutor who taught on the flute
Tried to teach two tooters to toot，
“Is it harder to toot， or
Said the two to the tutor，
To tutor two tooters to toot?“
3. 無韻體(Blank Verse)：五音步抑揚格，不押韻詩體。
Across the watery bale ， and shout again，
Responsive to his call，and gazed - but little thought
What wealth the show to me had brought：
For oft， when on my couch I lie
In vacant or in pensive mood，
They flash upon that inward eye
Which is the bliss of solitude;
Ans then my heart with pleasure fills，
And dances with the daffodils.
Notes： a crowd， a host of： many sprightly：happy glee：joy
jocund：happy bliss：complete happiness pensive：sadly thoughtful
華茲華斯(WilliamWordsworth，1770-1850)，十九世紀初英格蘭北部湖區三大“湖畔派詩人”(浪漫主義)之一。此詩向我們描繪了一幅美好的自然景象，同時抒發作者對自然美景的喜歡。黃水仙據說是威爾士國花(1282年，威爾士歸順英格蘭，被封公國)，在英國廣泛栽種，春季開花，花期不長。有許多關于黃水仙的詩歌，這首詩無疑是脫穎而出的。
全詩語言精煉，通俗易懂，四音步抑揚格，分四節(stanza)，每節6行，每節押韻均為ababcc.第一節寫詩人孤寂時外出散步，偶遇水仙;第二節寫水仙爭相開放，千姿百態;第三節，詩人看到這景象感到欣喜異常;第四節寫詩人在日后憂郁時，回想當時情景，又讓他心中充滿了歡樂，隨著水仙跳起舞來。
3. Song of Myself
I celebrate myself， and sing myself，
And what I assume you shall assume，
For every atom belonging to me as good belongs to you.
I loafe and invite my soul，
I learn and loafe at my ease observing a spear of summer grass.
My tongue， every atom of my blood， form„d from this soil， this air，
Born ere of parents born here from parents the same， and their parents the same，
I， now thirty seven years old in perfect health begin，
Hoping to cease not till death.
Creeds and schools in abeyance，
Retiring back a while sufficed at what they are， but never forgotten.
I harbor for good or bad， I permit to speak at every hazard.
Nature without check with original energy.
Notes： a spear of： a piece of school：學說，流派 hazard：chance
abeyance： the condition of not being in use for a certain time
惠特曼(Walt Whitman，1819-1892)，美國詩人。此詩選自其巨著。本文是Song of Myself 一詩的第一部分，采用自由詩體，語言接近當時的美國口語。
文中I指作者，you指讀者，這種寫法使讀者身臨其境，進入作者描寫的世界。作者在文中表明人的價值是平等的，同時他把自己融入到自然帶給他的啟發思考中。