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摘要：本文是一篇澳洲语言学课程作业。隐喻的研究有着悠久的历史。据说亚里士多德最早使用隐喻的手法在其作品中,自此以后人们开始关注隐喻的现象。隐喻是所有的语言都常用的一种修辞手法,不仅在文学作品中存在，而且在日常对话中也很多。隐喻在某种情形下方便我们更好的沟通,同时留下模糊的认知障碍。一方面,正确使用比喻避免直接说话带来的尴尬。它使人际关系和谐。另一方面,隐喻的本质是谈论其他事情的形式,使用识别和理解隐喻并不容易。在一些极端情况下,隐喻的使用甚至破坏了沟通。因此,我们看到比喻沟通的重要性。作为一种交际行为,翻译应正确处理隐喻。

> 白居易《琵琶行》

Hubbubs and whispers crisscross alternately,

Like pearls, large and small, falling on a jade tray nosily.

Translated by Tang Yihe(2005:327)

间关莺语花底滑，幽咽泉流水下滩。

白居易《琵琶行》

Now like the oriole’s liquid notes

From’neath the flowers, the cadence floats;

And now with gentle murmuring

It babbles like a running spring.

Translated by Xu Yuanchong

The two lines describe the sweet and melodious music played by Pipa. In the two lines, there are four metaphors. Translators retained images of the source language, but rendered three of them into similes with the indicator “like”. The word “like” is used to make the implication clear and guide target readers to correct processing procedure and make them pay less processing efforts to comprehend the metaphor. So translators transfer the explicature of metaphor in the poem to its implicature, namely, they transfer the poet’s intention which is unacceptable for he target language readers to the completely acceptable version. Translators successfully transfer that the music played by Pipa like “large and small pearls falling on a jade tray nosily” suddenly turned to be like “the oriole’s liquid notes”, and then became “a turning spring with gentle murmuring”. With these metaphors. The poet offered us a spectacular context expressed by the Pipa music. In the translated version, due to the strange metaphorical description of music in target culture, translators take the target readers’ cognitive environment into consideration and rendered the metaphors into similes, reducing the processing efforts and difficulty in comprehension for the target readers. Though the translation by such a method, the target readers can recognize the poet’s informative intention successfully. With the help of relevance between the information and context made by the similes, the target audience would further grasp the communicative intention of poet to describe the super techniques the super techniques of playing Pipa after their relevant processing efforts.

4.2 Overt Translation

House adopts a functional equivalence approach to translation, that is, the translation should match the original text in function, where ‘functional’ is to be understood as “the application or use which the text has in the particular context of a situation” (1981: 37) Now in that framework the notion of ‘covert translation’ occupies a special place because covert translations are in fact the only ones capable of actually achieving ‘functional equivalence’, the main goal of the theory:

It is only in case of covert translations that it is in fact possible to achieve functional equivalence. (1981: 204)

By contrast, the other major type of translation is called ‘overt translation’, necessarily falls short of this goal:

In the case of overt translations, the achievement of strict functional equivalence is, in fact, impossible; a second level function 本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。