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与 translated text 相关的网络例句 [注:此内容来源于网络,仅供参考]

It also includes a sign list and a number of texts in cuneiform and also one translated text for comparison.

它还包括一个清单,并签署了一系列文件,并在楔形文字一个翻译的文字进行比较。

Basing on the principle of child-orientation, this thesis tries to take the chinese versions of the wind in the willows by kenneth grahame as an example to expound that language in translated text of fairy-tale should be adapted to children's age, aesthetic judgment, capabilities of understanding and receiving, and the needs of growing. the translated text should be readable, rhymed and colloquial, therefore genteel words and narrative tone like adult should be avoided.

基于儿童本位原则,本文尝试以kenneth grahame的 the wind in the willows的中文译本为例,阐述翻译童话时所采用的语言应切合儿童的年龄、审美观点、理解接受能力及成长的需要,译作必须是可读的,韵律优美的和口语化的,避免运用文绉绉的词语和成人的叙述口吻。

Also, special attention should be paid to the following: the readers of the translated text should be the judger of the quality of translation; equivalent translation should be in language context; choose a more equivalent form when functional equivalence is attained.

同时,在应用功能对等理论翻译英语隐喻时也应注意几个问题:要以译文读者为判断主体;要在具体语言情境中对等翻译;在实现功能对等的前提下,选择形式更对等的翻译方法。

A maximal , ideal definition could be stated asThe readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did.

"(Nida 2001 :87)最高的理想定义可以表述为"译文读者能够用原文读者基本相同的方式理解和欣赏原文。

" A maximal, ideal definition could be stated as "The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did.

将此理论运用到影视翻译中就是:译者要使配音或加字幕的电影的观众在理解和欣赏电影时能达到原版电影观众理解和欣赏电影的程度。

Coherence in translated text, on the one hand, is subject to the coherence mode of the source text, on the other hand, does not equal that of the source text.

译文语篇的连贯性一方面受原语篇连贯方式的影响,另一方面又不完全等于源语篇连贯的实现手段。

Secondly, as the appeal structures of the text, the blanks and indeterminacies are to be concretized only when the reader is not able to understand them. Thirdly, the translator is not the center of translation, but its subject. And finally, the reader of the translated text plays a decisive role in the reception of translated texts, rather than in the translation of texts.

当不得不对这些空白和未定性进行具体化时,应注意具体化的恰当性。3)译者是翻译活动的主体,并非其中心或主宰。4)译本读者在翻译文本的接受与效应史中发挥着决定性作用,但对具体翻译活动的影响却不是决定性的。

Secondly, as the appeal structures of the text, the blanks and indeterminacies are to be concretized only when the reader is not able to understand them. Thirdly, the translator is not the center of translation, but its subject. And finally, the reader of the translated text plays a decisive role in the reception of translated texts, rather than in the translation of texts.

当不得不对这些空白和未定性进行具体化时,应注意具体化的恰当性。3)译者是翻译活动的主体,并非其中心或主宰。4)译本读者在翻译文本的接受与效应史中发挥著决定性作用,但对具体翻译活动的影响却不是决定性的。

By making a comparison of classical Chinese poetry between the original text and the translated text in English , this essay explores beauty of rhythm, rhyme, imagery and word in English and Chinese.

通过对中国古典诗词原文与英译文的比较,探讨了英汉两种语言的节奏美、音韵美、意象美和文字美。

By the following three breakthroughs. Firstly, translation studies much enhanced its examination in linguistic transfer, with a series of equivalences advanced, such as equivalence in phonetics, syntax, semantics, etc. Secondly, instead of being confined to the translated text, translation studies concernsitself more with the extralinguistic elements: the initiator who proposes or sponsors the translation of a certain work, the translator who produces the target text and the receiver that involves not only the target reader but the target cultural environment as a whole. Thirdly, translation has been surveyed

首先,它从一般层面上的对两种语言转换的技术性问题的研究,深入到了对翻译行为本身的深层探究,提出了语音、语法、语义等一系列的等值问题;其次,它不再局限于翻译文本本身的研究,而是把目光投射到了译作的发起者(即提议或组织翻译某部作品的个人或群体)、翻译文本的操作者和接受者(此处的接受者不光指的是译文的读者,还有整个译语文化的接受环境)身上;再次,它把翻译放到一个宏大的文化语境中去考察,并审视翻译在这种文化语境中的意义和作用。

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