英译汉习作一篇

译路 Aug. 30, 2019, 4:43 p.m.

Translation exercises


Long Germanic sentences, piling qualifying sub-clause upon sub-clause, within arguments mounted at usually quite high levels of abstraction make reading The Social History of Art sometimes like the exhausting ascent of a literary Everest, in painful contrast to what amounts to an afternoon skip up Gombrich’s sunny and daisified hillock.

If it is the case that Hauser’s sheer ambition (megalomaniacal or not) to attempt to write meaningfully on art from the Stone Age to the Film Age almost in itself warrants a certain amount of cautious interest, however, and his command of research materials ostensibly indicates a more than superficial understanding of the dozens of fields of study necessarily implicated in such an account, then there is another reason for taking the history seriously. This is the issue of the significance of his claim, finally stated clearly only in the ultimate volume, that the entire effort is really directed towards trying to understand ourselves and the present.

德语长句里,限定性从句层层相叠,各论点环环相扣,而且通常高度抽象,从而使读者在阅读《社会艺术史》时,间或有攀登文学珠峰的疲惫之感。与之相比,阅读Gombrich的著作,则恰如在阳光明媚的午后在遍是雏菊的小山上雀跃而行,两相对照,阅读《社会艺术史》之苦不言自明。

Hauser豪情万丈(不管是否夸大),试图以意味深长的笔触撰写自石器时代至影视时代的艺术史,若果真如此,无论如何这件事本身都值得谨慎关注。从表面上看,他对研究材料的驾驭能力显示,他对诸多相关领域的必备知识绝非浅尝辄止。此外,慎重对待艺术史还有另外一个原因,那就是他的声明的重要性之所在:直到最后一卷,他终于明白无误地宣称,他所做的全部努力其实都是为了试图理解当今,理解我们自己。

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