不知从何什么时候起，陆陆续续地帮同学朋友翻译论文摘要，涉及的专业五花八门，有时让人无所适从。但是现在想想，我还真的要感谢请我翻译摘要的同学，一方面感谢大家对我的能力的信任，另一方面无形中也给了我很多锻炼的机会，让我有意识地去查某些单词以及某些表达，让我学会了挺多以前不懂的东西。然而，这也反映出一个问题。我的一些同学朋友本身英语是相当不错的，雅思托福也考了很高分，然而他们也来找我译。我当时听了他们的请求后立即问：“为什么你自己不译？你应该行啊！”然而他们每个人都几乎是这么一句话：“我是可以译，但肯定没有你译得好译得专业，我想精益求精，所以就找你了。”我听了以后除了苦笑已经没有别的话说了。
在这里我并不是要强调我有多么专业，我想论述的是为什么别人不专业。翻译这个东西只有靠平时多练习多总结才会越来越好。你越觉得自己不专业而不去尝试去翻译的话，那么你的水平永远也只能停留在原来的阶段。不管你译得好不好，如果你不断地去尝试，不断地去修改，那么渐渐的你的技巧也会变得炉火纯青。谁能够一开始就成为行家专家？刚开始翻译时你或许会碰到不少钉子，一篇文章要译相当长的时间才能完成，而且结果却不尽如人意。然而这是每个想成为优秀翻译人员必须要走的路，同时每译一篇文章你的水平无形中就上升到另一个层次，虽然很微小。只要不断地坚持下去，你的语言能力，不管是中文还是英文，以及你的词汇量都会达到相当的水平。
下面是最近翻译的两篇难度较高的摘要，我把它放到空间，一则做留念，二则由于时间仓促，文中可能有一些小错误，希望大家不吝赐教。
深圳大学 赖小琪
摘要一：
碑文兴起于秦。东汉时期，由于人们的重视，碑文得以迅速发展，东汉末年，在蔡邕之后，碑文体例基本定型，形成由散体叙事的“志”和以“铭”命名的韵文所组成的碑文形式。在上述碑文形式之外，还存在一种“变体”的形式，即在碑文的“志”或“铭”之后再附“诗”、“歌”、“乱”、“嘆”等诗歌形式。这些诗歌大多附于碑铭之后，也有少部分直接出现在碑志之后。本文将这种附于“志”或“铭”之后的“诗”、“歌”、“叹”、“乱”等命名为“碑歌”，并以其为研究对象，考查碑歌的产生、发展过程，以及内容、形式、艺术特征。
Inscription originated in Qin Dynasty. During Donghan Period, due to people’s great emphasis on inscription, it developed at a staggering speed. Until the end of that period, after Cai Yi( a famous writer in Donghan Dynasty) passed away, the forms and styles of inscription had been roughly set, ranging from “Zhi” that is featured with narrative to “Ming” that is featured with prose. On top of those forms and styles, there is another variant, that is to add “poem”, “song”, “Luan” and “Tan”(all these are forms of Chinese poems) to the inscription after “Zhi” and “Ming”. This article calls these forms of poems “memorial lyrics” and sets it as a study focus, exploring its emergence and development, content, forms and artistic features
论文分为三章。
第一章：绪论，主要介绍论文的研究动机和研究目标，以及学术界对碑文的研究研究情况。
This article falls into three chapters.
The first chapter is an introduction that introduces the motive and ojective of this article as well as the relevant study of inscription in academic world.
第二章：碑歌研究综论，从汉代碑文写作的特点入手，剖析碑歌产生的缘由，明确其发展的过程。本文认为，碑歌的产生有以下两个因素：第一，碑歌是文学发展过程中的产物，它体现了碑文摆脱公式化的赞颂，抒发真情的要求；第二，碑歌是在感伤思潮的影响下，碑文文体发展过程中的产物。碑文的最初功能仅在于记录死者的姓名，随着汉代人对“立功、立德、立名”的追求，碑文又出现了“颂德”的功能。到了东汉末年，随着“感伤思潮”的兴起，汉代人不再一味在碑文中歌颂死者，情感表达成为了碑文的第三种功能。就碑文而言，碑志记载碑文歌颂对象的生平事迹，碑铭颂德，情感的表达，既不在碑志中出现又不在碑铭中出现。在这种情况下，在四川等楚文学发达的地方，碑文出现了“乱”、“歌”、“诗”、“颂”等诗歌形式表达立碑人的情感。
The second chapter is an overall statement on the study of “memorial lyrics”, starting from its writing characteristics to analyzing the reasons for its emergence and finally drawing a clear picture of its development process. This article argues that there are two factors contributing to its emergence: firstly, it is the product of the development of literature, which indicates inscription has totally got rid of routine compliment and finally achieved the goal of expressing real emotions. Secondly, memorial lyrics is the product of the development of inscription under the impact of the trend of sad-styled writing. Inscription in the very beginning was just to note down the name of the deceased, but later it developed another function of praising morality with people’s pursuit of “merits, morality and fame”. At the end of Donghan Dynasty, with the trend mentioned above prevalent, people tended to draw upon the third function of inscription ,that is exrepssing emotions, instead of merely praising the deceased. In terms of inscription itself, it noted down the deceased’s
Expriences while “Beiming”(another kind of inscription that differs from the common one mentioned above) praised morality. But neither of them undertook the function of expressing emotions. In the context, in Sichuan Province and other places where literature flourished, inscription fell into several poetic forms like “Luan”, “Song”, “poem”, and “praise” that can convey people’s feelings.
第三章：碑歌的具体分析。以杂言诗“费凤别碑歌”和 “祝睦后碑碑歌”以及“刘熊碑歌”为重点分析对象。“费凤别碑歌”的主要语言形式为五言，这是五言诗歌发展过程中的一个重要坐标，本文认为，它打破了碑文的体例，同时也超越了同时代的诗歌，虽然它的艺术水平不及古诗十九首，但是作为五言诗歌发展过程的产物，它反映了汉代文人对诗歌形式与内容的探索。“祝睦后碑歌”是三言碑歌，本文以这两首三言诗歌为出发点，研究三言诗在汉代的发展过程。“刘熊碑歌”是一首较为典型的汉代四言诗，在这首碑歌中，有两种写作风格，这两种风格恰恰可以比较全面地反映四言诗在汉代的一个发展情况，因此本文也将其作为分析对象，做简单的探讨。
The third chapter comes to the detailed analysis on memorial lyrics and focuses on miscellaneous peoms named “Feifengbie”, “Zhumuhou” and “Liuxiong” respectively. The first form of poems, name Feifengbie was mainly written in “Wu Yan”(a poem-written form”) that constituted a key landmark in the development of Wu Yan poems. We argue that it broke totally the routien form of inscription and meantime transcended other forms of poems then. Though its artistic value is less than that of the well-known poem analects, Nineteen Ancient Poem, it actually reflects the intellectuals’ exploration of forms and content of poems in Han Dynasty as the product of Wu Yan poem’s development. “Zhumuhou Memorial Lyrics” is indeed San Yan inscription. This article embarks on two samples of poem and studies its development in Han Dynasty. “Liuxiong Memorial Lyrics” is a typical Si Yan poem that was featured with two styles which can more comprehensively reflect its development in Han Dynasty. Therefore, this article also takes it as a study subject and makes some simple discussion
摘要二：
油画语言是艺术家藉以表达和传递感情的工具，它通过视觉形象的表达完成传递感情和话语的作用，强调个人的感觉状态与时代文化的影响。中国当代油画家在创作活动中运用独特的个性化的表现语言来体现自己对现实世界、对艺术的理解。
Oil painting is a language by which artists express and convey their emotions. It fulfills its functions through its visional effect and emphasizes individual feelings and cultural impacts. Chinese modern oil painters express their perceptions on the real world and art by exercising distinctive skills in composing activities.
当前中国油画呈现多流派多手段的发展趋势，从西方思潮涌进，及政治人文思想随着时代的变化，给中国当代油画的发展造成巨大影响，油画语言日益多样化。中国的大部分艺术家在这多元化背景的熏陶下，其艺术风格表现语言也随着变迁，但在寻求自己独特的绘画语言的同时，却慢慢忽略了个性化意识及本身的精神追求。
Chinese oil painting now demonstrates a trend of diversification in terms of styles and composing skills. With the western ideas surging into China and Chinese political ideology diversifying, it has a great influence on the development of Chinese oil painting, making it increasingly diverse day by day. A majority of Chinese artists change their composing style in the context of art diversification. But they gradually lose their their own individuality and intial sprititual pursuit in the course of seeking distinctive composing skills.
艺术语言的个性化是艺术家成功的标志,绘画的个性语言同样是衡量一个画家成功与否的基本准则。因此,建立和健全自己的绘画语言是每位艺术家的首要任务。
The individuality of art is a symbol of success for an artist and distinctive composing skills are also a basic criterion to judge a painter’s achievement. Therefore, an artist’s first task is to establish and perfect his or her composing style and skills.
在中国当代油画领域其原创作品中,真正体现个性语言的并不多，很多油画作品中出现了奇怪现象，“新”“奇”“怪”“异”好像变成一种基本准则统统涌现在画面上，部分作品也都是使用沿袭和模拟西方风格，让人难以接受，对绘画语言的探究和探索不深，使作品失去其真正的艺术价值。
In all original modern oil paintings in China, there are few which can show individuality, while most of them show a weird phenomenon that it seems to become a common wisdom that a paintings should show “new”, “special”, “weird” and “different” styles at the same time. Some compositions inherits and models western styles and are totally unacceptable. They did not probe deep into artistic languages and lost its authentic artistic value.
当然，成功开创中国当代油画的独特语言的艺术家也是存在的，却犹如凤毛麟角般。面对这种畸形的成长，中国当代油画的话语范式将面临怎样的发展问题？文章将从每个时代油画的话语范式浅析中国当代油画的发展及其问题。通过对当中某些作品进行赏析探讨，理性的思索中国当代油画语言的发展处境。面对时代变迁带来的问题，中国当代油画家将如何摆正心态，把握尺度，不被随波逐流，掌握形势发展，去创造属于自己的绘画语言与更高的精神追求。
Of course, there are some but rare artists who have successfully pioneered their individuality of Chinese modern oil painting. In face of this abnormal development, what kinds of development problems will Chinese modern oil painting have to confront? This article will analyze Chinese modern oil painting’s development and its attendant problems in different times. By appreciating and analyzing some compositions, we can rationally ponder upon Chinese modern oil painting’s present situation. We are also discussing in the face of time changes, how Chinese modern oil painters reposition their attitude towards oil painting and how to set a standard and principle for themselves instead of following blindly the main trend, so as to create their own composing skills and achieve a higher spiritual pursuit. |
