英文合同翻译范文第1篇
关键词：商务合同;长句;语用分析;翻译
引言
翻译国际商务合同等法律文件已成为当前研究的一门课题。国际商务合同一经依法订立，就成为一种法律文件而对缔约各方具有法律约束力，成为国际商务活动中解决争议的法律依据。国际商务合同周密严谨、句式较长的语言特点给国际商务合同的翻译提出了极其严格的要求。本文以语用分析为依据，从英汉语言差异的比较出发，通过例句说明此类文书中较为复杂的长句的常用翻译方法和技巧。
一、合同语言的句式特点概述
“合同或协定是具有法律效力的正式文件，用语必须准确、规范„„法律文件是规定缔约各方应该做些什么，而不是提出问题和进行商榷”(廖瑛，2002)。合同的作用在于明确陈述和规定不同当事人在有关活动中的权利和义务，因此从句式的使用上来看，合同一般采用陈述句，而不使用疑问句、祈使句和感叹句。完整的长句的使用可以准确界定这种权利和义务关系，排除被曲解或误解的可能性。
法律文件具有条理性、周密性。从语用的角度来看，每一种情况，或条件、或要求、或断定都要顾及到种种可能发生的情况，种种设定，种种意外，种种解决办法。“一个句子常常要照顾到千变万化的情况，自然就长。长句排列组织不好，就容易引起混乱、误解、歧义”(傅伟良，2002)。商务合同具有句式讲究、用词严谨、条理清晰、长而不乱、逻辑性强的特点。将英文合同文本译成中文时，应尽可能保留合同作为法律语言的上述特点。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.
本句虽长，但人们可以一目了然地看到这是一个一主(The Parties)二谓(desire和agree)的简单句，两谓之后各接一个不定式短语作宾语。主语之后接一个分词短语作后置定语，且句子的主语又是分词的逻辑主语，条理清楚，逻辑严密，行文流畅，此句译为：
双方本着平等互利原则通过友好协商，愿尽全力相互合作，共同投资，在中华人民共和国长沙市建立合资经营企业;在互惠互利的基础上，扩展国际经济合作和技术交流。
二、简单长句及其翻译
英文商务合同中使用的大量长句，主要分为三大类：简单长句、复合长句和并列长句。英汉两种语言的句子在措辞、语序、结构上各有特点。大致说来，英语句子长，动词较少，词序灵活，讲究平衡;而汉语句子短，动词多，语序较固定，讲究对称。在翻译英文商务合同中的简单长句时，首先要正确理解各种相关成分的逻辑关系;然后再适当切分，理出句子的主干成分，翻译时以句子的主干为主导;最后再按汉语表达习惯，变动语序，重新组合。这样才能连贯、准确、清晰地予以表达。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.
这是一个简单长句，其主干为The Buyers may...lodge a claim...。修饰谓语动词的状语有三个，分别表示时间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，而且状语中还有状语，作定语的分词issued还有自己的状语by a reputable public surveyor。众多状语，尽管在英语中的位置十分灵活，然而按照汉语的行文规范，方式状语一般应位于动词之前;而有些状语在译文中可以灵活处理，例如本句中的时间状语，可以提前至句首。因此，上句可译成：
货物抵达目的港15天内，买方可以凭有信誉的公共检验员出示的检验证明向卖方提出短重索赔。
(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.此句的主干为...the Buyer shall proceed to pay the price...to the Seller，其中含有一个时间状语within 30 days after the signing and coming into effect of this contract。从语用的角度来看，商务合同中许多时间状语表示
的是某一缔约方必须在何时何地承担某一义务和享有某一种权利，即时效性。因此整个句子的重心不是句子的动词，而是发生动作的时间。在译成中文时，为了突出行为的时效性，时间状语应尽量靠近表示义务责任的关键词“须”。此句中还含有一个较为复杂的方式状语by opening an irrevocable L/C...，其中含有三个介词短语作定语修饰an irrevocable L/C。按照汉语的行文规范，方式状语一般应位于动词之前。此外，若动词同时带有时间状语和方式状语时，英文的通常顺序是方式在前，时间在后，而汉语却正好与之相反，为方式在后，时间在前。因此本句可译成：
买方须于本合同签字并生效后30天内通过出口地银行开立以卖方为收益人的不可撤销信用证支付全部货款计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.
此句的句子结构并不复杂但包含一个较为复杂的方式状语。从语用特征的角度来看，方式状语通常都是规定性的，其作用是规定合约方履行某项义务必须采取的方式或手段，在合同的语言环境下，即使有关缔约方履行了合同规定的义务，但若其履行义务的方式与合同规定的方式不符，乃构成违约。因此，方式状语的作用通常都是比较重要的。
本句可译成：
设备和原料须根据其形状和特点以完善而牢固的方式精心妥当地包装，包装须适合于长途海、陆运输，能经受多次装卸。
三、复合长句及其翻译
为了保持合同的严谨性，英文商务合同中还经常使用含有多个从句的复合长句，以致句子结构长、语法关系复杂，但脉络清晰，表达准确，逻辑严密。在翻译这种类型的长句时，必须弄清原句结构关系，分清主次，翻译时以主句为主导，从句作说明，用规范的中文准确地传达出原文的意义。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.
在上述长句中，主语是This Agreement，后接过去分词短语made...作后置定语。Witnesses用作主句的谓语，后接that引导的宾语从句。在这个冗长的宾语从句中，句子的主干是Party A...contracts and agrees with Party B...其后又有一个that引导的冗长的宾语从句。理顺了句子结构之后，我们发现修饰主语的定语过长，翻译时必须对其进行适当的切分。Witnesses在法律语言中常译为“兹约定”“兹证明”，因此我们不难将该句译为：
合同签订于2000年12月20日，长沙市五一路98号的国际运输有限公司为甲方，英国伦敦皮卡迪利大街29号的远东贸易有限公司为乙方。
兹约定：
考虑到乙方的允诺，甲方特与乙方订立协议并同意：由甲方负责，于定约之翌年3月份一月之内向乙方运送质地优良、符合行销标准的5 000箱茶叶，并按下列期限分批交货。即：到3月8日止交货1 000箱，3月15日另交货1000箱，到3月22日再交货1 000箱，至3月30日全部5 000箱茶叶如数交迄。
(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.此句中含有一个非常复杂的时间状语，界定了买方承担付款义务的时间，从语用的角度来看，but后面的部分实际上是对前一部分，即within 20 days after the Bank of China has received the following documents from the Sellerand found them in order的补充，同时语义上有转折关系;从英语的结构及表述方式上看，英语的状语放在句末，如此冗长的状语对行文规范及读者的理解都不构成任何问题，但如果机械地将如此冗长的状语原封不动地译成汉语并按照汉语行文习惯置于谓语的动词之前，就会使译文显得拖泥带水，难以达意。因此，翻译此句时可以采用化整为零的手法，将表示补充内容的较长部分转换成汉语的并列句，并将原文中时间状语所修饰的谓语部分的核心，即“支付款项”移植为并列句的主语。全句可译成：
买方须于中国银行收到卖方下列单据，并经审核证实无误后的20天内向卖方支
付350000美元，但此款项的支付不得早于合同工厂第一次达到附件Ⅵ所规定之质量保证指标的95%以后的12个月，或本合同签字后的65个月，以早到的日期为准。(许国新，2002)
四、并列长句及其翻译
由于撰写合同时不能遗漏任何可能情况，所以英文商务合同中往往有大量并列成分。这些并列成分包括并列的词、短语以及从句。从语用角度看，并列的平行结构使合同的句式平衡，表意完整。在翻译由两个或两个以上的并列单句构成的复杂长句时可以采用分句译法。并列长句的分句之间的语义关系比较松散，因此翻译时可以断开，分解成单句独立存在。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.此句由两个结构相同的并列分句组成，均为主句在前，条件状语在后，在两个条件状语中均含有时间状语，此外，两个并列分句中也都含有时间状语，均为
within 60 days after arrival of the goods at the port of destination，译成中文时，条件状语应分别置于主句之前，而所有的时间状语均放在各自修饰的动词的前面。同时，为了符合汉语句式较短的特点，可以将两个并列分句断开，分解成两个单句，即译成：
若货物经中国商品检验局复检后发现质量与本合同之规定不符，买方有权于货物抵达目的港后的60天内向卖方提出索赔。若经中国商品检验局复检发现货物质量与提单所示重量不符，买方有权于货物抵达目的港后的60天内向卖方提出短重索赔。
五、结束语
国际商务合同是具有法律效力的商务文书，其句子结构具有周密严谨、冗长复杂等特点。灵活掌握各种长句的翻译技巧可以帮助我们在译文中既高度准确地表达原文所表达的信息，又最大限度地符合中文的行文规范，并使译文通顺流畅。
参考文献：
1、蔡先凤：论提单和租约的句法特点及其翻译，《中国科技翻译》，2002，(3)
2、陈新：《英汉翻译教程北京大学出版社》，1999
3、邓含能、徐惠莲：论工程合同英语语言的严谨性，《中国科技翻译》，2001，
(3)
4、冯庆华：《实用翻译教程》，上海外语教育出版社，1997
5、廖瑛：《国际商务英语》，中南大学出版社，200
26、孙志祥：合同英译理解过程中的“合法”前提和“求信”标准，《中国翻译》，2001，(5)
7、唐兴正、郑达轩：《国际商法》，辽宁教育出版社，200
英文合同翻译范文第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
英文合同翻译范文第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说，你得找出你爱的 (You‟ve got to find what you love.)。
以下是苹果计算机公司与Pixar动画制作室执行长Steve Jobs在2005年六月12日对全体史丹佛大学毕业生的演讲内容。
今天，有荣幸来到各位从世界上最好的学校之一毕业的毕业典礼上。我从来没从大学毕业。说实话，这是我离大学毕业最近的一刻。今天，我只说三个故事，不谈大道理，三个故事就好。
第一个故事，是关于人生中的点点滴滴怎么串连在一起。
我在里德学院(Reed college)待了六个月就办休学了。到我退学前，一共休学了十八个月。那么，我为什么休学?
这得从我出生前讲起。我的亲生母亲当时是个研究生，年轻未婚妈妈，她决定让别人收养我。她强烈觉得应该让有大学毕业的人收养我，所以我出生时，她就准备让我被一对律师夫妇收养。但是这对夫妻到了最后一刻反悔了，他们想收养女孩。所以在等待收养名单上的一对夫妻，我的养父母，在一天半夜里接到一通电话，问他们「有一名意外出生的男孩，你们要认养他吗?」而他们的回答是「当然要」。后来，我的生母发现，我现在的妈妈从来没有大学毕业，我现在的爸爸则连高中毕业也没有。她拒绝在认养文件上做最后签字。直到几个月后，我的养父母同意将来一定会让我上大学，她才软化态度。
十七年后，我上大学了。但是当时我无知选了一所学费几乎跟史丹佛一样贵的大学，我那工人阶级的父母所有积蓄都花在我的学费上。六个月后，我看不出念这个书的价值何在。那时候，我不知道这辈子要干什么，也不知道念大学能对我有什么帮助，而且我为了念这个书，花光了我父母这辈子的所有积蓄，所以我决定休学，相信船到桥头自然直。当时这个决定看来相当可怕，可是现在看来，那是我这辈子做过最好的决定之一。当我休学之后，我再也不用上我没兴趣的必修课，把时间拿去听那些我有兴趣的课。
这一点也不浪漫。我没有宿舍，所以我睡在友人家里的地板上，靠着回收可乐空罐的五先令退费买吃的，每个星期天晚上得走七里的路绕过大半个镇去印度教的 Hare Krishna神庙吃顿好料。我喜欢Hare Krishna神庙的好料。追寻我的好奇与直觉，我所驻足的大部分事物，后来看来都成了无价之宝。举例来说：
当时里德学院有着大概是全国最好的书法指导。在整个校园内的每一张海报上，每个抽屉的标签上，都是美丽的手写字。因为我休学了，可以不照正常选课程序来，所以我跑去学书法。我学了serif与san serif字体，学到在不同字母组合间变更字间距，学到活版印刷伟大的地方。书法的美好、历史感与艺术感是科学所无法捕捉的，我觉得那很迷人。
我没预期过学的这些东西能在我生活中起些什么实际作用，不过十年后，当我在设计第一台麦金塔时，我想起了当时所学的东西，所以把这些东西都设计进了麦金塔里，这是第一台能印刷出漂亮东西的计算机。如果我没沉溺于那样一门课里，麦金塔可能就不会有多重字体跟变间距字体了。又因为Windows抄袭了麦金塔的使用方式，如果当年我没这样做，大概世界上所有的个人计算机都不会有这些东西，印不出现在我们看到的漂亮的字来了。当然，当我还在大学里时，不可能把这些点点滴滴预先串在一起，但是这在十年后回顾，就显得非常清楚。
我再说一次，你不能预先把点点滴滴串在一起;唯有未来回顾时，你才会明白那些点点滴滴是如何串在一起的。所以你得相信，你现在所体会的东西，将来多少会连接在一块。你得信任某个东西，直觉也好，命运也好，生命也好，或者业力。这种作法从来没让我失望，也让我的人生整个不同起来。
我的第二个故事，有关爱与失去。
我好运-年轻时就发现自己爱做什么事。我二十岁时，跟Steve Wozniak在我爸妈的车库里开始了苹果计算机的事业。我们拼命工作，苹果计算机在十年间从一间车库里的两个小伙子扩展成了一家员工超过四千人、市价二十亿美金的公司，在那之前一年推出了我们最棒的作品-麦金塔，而我才刚迈入人生的第三十个年头，然后被炒鱿鱼。要怎么让自己创办的公司炒自己鱿鱼?好吧，当苹果计算机成长后，我请了一个我以为他在经营公司上很有才干的家伙来，他在头几年也确实干得不错。可是我们对未来的愿景不同，最后只好分道扬镳，董事会站在他那边，炒了我鱿鱼，公开把我请了出去。曾经是我整个成年生活重心的东西不见了，令我不知所措。
有几个月，我实在不知道要干什么好。我觉得我令企业界的前辈们失望-我把他们交给我的接力棒弄丢了。我见了创办HP的David Packard跟创办Intel的Bob Noyce，跟他们说我很抱歉把事情搞砸得很厉害了。我成了公众的非常负面示范，我甚至想要离开硅谷。但是渐渐的，我发现，我还是喜爱着我做过的事情，在苹果的日子经历的事件没有丝毫改变我爱做的事。我被否定了，可是我还是爱做那些事情，所以我决定从头来过。
当时我没发现，但是现在看来，被苹果计算机开除，是我所经历过最好的事情。成功的沉重被从头来过的轻松所取代，每件事情都不那么确定，让我自由进入这辈子最有创意的年代。
接下来五年，我开了一家叫做NeXT的公司，又开一家叫做Pixar的公司，也跟后来的老婆谈起了恋爱。Pixar接着制作了世界上第一部全计算机动画电影，玩具总动员，现在是世界上最成功的动画制作公司。然后，苹果计算机买下了NeXT，我回到了苹果，我们在NeXT发展的技术成了苹果计算机后来复兴的核心。我也有了个美妙的家庭。
我很确定，如果当年苹果计算机没开除我，就不会发生这些事情。这帖药很苦口，可是我想苹果计算机这个病人需要这帖药。有时候，人生会用砖头打你的头。不要丧失信心。我确信，我爱我所做的事情，这就是这些年来让我继续走下去的唯一理由。你得找出你爱的，工作上是如此，对情人也是如此。你的工作将填满你的一大块人生，唯一获得真正满足的方法就是做你相信是伟大的工作，而唯一做伟大工作的方法是爱你所做的事。如果你还没找到这些事，继续找，别停顿。尽你全心全力，你知道你一定会找到。而且，如同任何伟大的关系，事情只会随着时间愈来愈好。所以，在你找到之前，继续找，别停顿。
我的第三个故事，关于死亡。
当我十七岁时，我读到一则格言，好像是「把每一天都当成生命中的最后一天，你就会轻松自在。」这对我影响深远，在过去33年里，我每天早上都会照镜子，自问：「如果今天是此生最后一日，我今天要干些什么?」每当我连续太多天都得到一个「没事做」的答案时，我就知道我必须有所变革了。
提醒自己快死了，是我在人生中下重大决定时，所用过最重要的工具。因为几乎每件事-所有外界期望、所有名誉、所有对困窘或失败的恐惧-在面对死亡时，都消失了，只有最重要的东西才会留下。提醒自己快死了，是我所知避免掉入自己有东西要失去了的陷阱里最好的方法。人生不带来，死不带去，没什么道理不顺心而为。
一年前，我被诊断出癌症。我在早上七点半作断层扫描，在胰脏清楚出现一个肿瘤，我连胰脏是什么都不知道。医生告诉我，那几乎可以确定是一种不治之症，我大概活不到三到六个月了。医生建议我回家，好好跟亲人们聚一聚，这是医生对临终病人的标准建议。那代表你得试着在几个月内把你将来十年想跟小孩讲的话讲完。那代表你得把每件事情搞定，家人才会尽量轻松。那代表你得跟人说再见了。
我整天想着那个诊断结果，那天晚上做了一次切片，从喉咙伸入一个内视镜，从胃进肠子，插了根针进胰脏，取了一些肿瘤细胞出来。我打了镇静剂，不醒人事，但是我老婆在场。她后来跟我说，当医生们用显微镜看过那些细胞后，他们都哭了，因为那是非常少见的一种胰脏癌，可以用手术治好。所以我接受了手术，康复了。
这是我最接近死亡的时候，我希望那会继续是未来几十年内最接近的一次。经历此事后，我可以比之前死亡只是抽象概念时要更肯定告诉你们下面这些：
没有人想死。即使那些想上天堂的人，也想活着上天堂。但是死亡是我们共有的目的地，没有人逃得过。这是注定的，因为死亡简直就是生命中最棒的发明，是生命变化的媒介，送走老人们，给新生代留下空间。现在你们是新生代，但是不久的将来，你们也会逐渐变老，被送出人生的舞台。抱歉讲得这么戏剧化，但是这是真的。
你们的时间有限，所以不要浪费时间活在别人的生活里。不要被信条所惑-盲从信条就是活在别人思考结果里。不要让别人的意见淹没了你内在的心声。最重要的，拥有跟随内心与直觉的勇气，你的内心与直觉多少已经知道你真正想要成为什么样的人。任何其它事物都是次要的。
在我年轻时，有本神奇的杂志叫做Whole Earth Catalog，当年我们很迷这本杂志。那是一位住在离这不远的Menlo Park的Stewart Brand发行的，他把杂志办得很有诗意。那是1960年代末期，个人计算机跟桌上出版还没发明，所有内容都是打字机、剪刀跟拍立得相机做出来的。杂志内容有点像印在纸上的Google，在Google出现之前35年就有了：理想化，充满新奇工具与神奇的注记。
Stewart跟他的出版团队出了好几期Whole Earth Catalog，然后出了停刊号。当时是1970年代中期，我正是你们现在这个年龄的时候。在停刊号的封底，有张早晨乡间小路的照片，那种你去爬山时会经过的乡间小路。在照片下有行小字：
求知若饥，虚心若愚。
那是他们亲笔写下的告别讯息，我总是以此自许。当你们毕业，展开新生活，我也以此期许你们。
求知若饥，虚心若愚。
英文合同翻译范文第4篇
1.乔伊斯(james joyce)爱尔兰 《尤里西斯》(ulysses)1922 2.费兹杰罗(f. s. fitzgerald)美国 《了不起的盖茨比》(the great gatsby)1925 3.乔伊斯(james joyce)爱尔兰 《青年艺术家的画像》(a portrait of the artist as a young man)1916 4.纳博科夫(vladimir nabokov)俄裔美籍 《洛莉塔》(lolita)1955 5.赫胥黎(aldous huxley)英国 《美丽新世界》(brave new world)1932 6.福克纳(william faulkner)美国 《喧哗与骚动》(the sound and fury)1929 7.海勒(joseph heller)美国 《第22条军规》(catch-22)1961 8.柯斯勒(arthur koestler)匈牙利 《中午的黑暗》(darkness at noon)1941 9.劳伦斯(d. h. lawrence)英国 《儿子与情人》(sons and lover)1913 10.史坦贝克(john steinbeck)美国 《愤怒的葡萄》(the grapes of wrath)1939 11.劳瑞(malcolm lowry)英国 《在火山下》(under the volcano)1947 12.巴特勒(samuel butler)英国 《众生之路》(the way of all flesh)1903 13.奥威尔(george orwell)英国 《一九八四》(1984)1949 14.格雷夫斯(robert graves)英国 《我，克劳狄》(i, claudius)1934 15.沃尔夫(virginia woolf)英国 《到灯塔去》(to the lighthouse)1927 16.德莱塞(theodore dreiser)美国 《美国悲剧》(an american tragedy)1925 17.麦卡勒斯(carson mccullers)美国 《心是孤独的猎手》(the heart is a lonely heart)1940 18.冯内古特(kurt vonnegut)美国 《第五号屠宰场》(slaughterhouse-five)1969 19.埃里森(ralph ellison)美国 《隐形人》(invisible man)1952 20.赖特(richard wright)美国 《土生子》(native son)1940 21.贝娄(saul bellow)美国 《雨王亨德森》(henderson the rain king)1959 22.奥哈拉(john ohara)美国 《在萨马拉的会合》(appointment in samarra)1934 23.多斯帕索斯(john dos passos)美国 《美国》(u. s. a.)1936 24.安德生(sherwood anderson)美国 《小城故事》(winesburg, ohio)1919 25.福斯特(e. m. forster)英国 《印度之旅》(a passage to india)1924 26.詹姆斯(hey james)美国 《鸽翼》(the wings of the dove)1902 27.詹姆斯(hey james)美国 《奉使记》(the ambassadors)1903 28.费兹杰罗(f. s. fitzgerald)美国 《夜未央》(tender is the night)1934 29.法雷尔(james t. farrell)美国 《「斯塔兹.朗尼根」叁部曲》(studs lonigan-trilogy)1935 30.福特(ford madox ford)英国 《好兵》(the good soldier)1915 31.奥威尔(george orwell)英国 《动物农庄》(animal farm)1945 32.詹姆斯(hey james)美国 《金碗》(the golden bowl)1904 33.德莱塞(theodore dreiser)美国 《嘉莉妹妹》(sister carrie)1900 34.渥夫(evelyn waugh)英国 《一掬尘土》(a handful of dust)1934 35.福克纳(william faulkner)美国 《当我弥留之际》(as i lay dying)1930 36.沃伦(robert penn warren)美国 《国王的人马》(all the king’s men)1946 37.威尔德(thornton wilder)美国 《圣路易·莱之桥》(the bridge of sanluis rey)1927 38.福斯特(e. m. forster)英国 《此情可问天》(howards end)1910 39.鲍德温(james baldwin)美国 《向苍天呼吁》(go tell it on the mountain)1953 40.葛林(graham greene)英国 《事情的真龘相》(the heart of the matter)1948 41.戈尔汀(william golding)英国 《苍蝇王》(lord of the flies)195442.迪基(james dickey)美国 《解救》(deliverance)197043.鲍威尔(anthony powell)英国 《与时代合拍的舞蹈》(a dance to the music of time)1975 44.赫胥黎(aldous huxley)英国 《针锋相对》(point counter point)1928 45.海明威(ernest hemingway)美国 《太阳照样升起》(the sun also rise)1926 46.康拉德(joseph coad)英国 《特务》(the secret agent)1907 47.康拉德(joseph coad)英国 《诺斯特罗莫》(nostromo)1904 48.劳伦斯(d. h. lawrence)英国 《彩虹》(rainbow)1915 49.劳伦斯(d. h. lawrence)英国 《恋爱中的女人》(women in love)1920 50.米勒(hey miller)美国 《北回归线》(tropic of cancer)1934 51.梅勒(norman mailer)美国 《裸者和死者》(the naked and dead)1948 53.纳博科夫(vladimir nabokov)俄裔美籍 《苍白的火》(pale fire)1962 54.福克纳(william faulkner)美国 《八月之光》(light in august)1932 55.凯鲁亚克(jack kerouac)美国 《在路上》(on the road)1957 56.汉密特(dashiell hammett)美国 《马尔他之鹰》(the maltese falcon)1930 57.福特(ford madox ford)英国 《行进的目的》(parade’s end)1928 58.华顿(edith wharton)美国 《纯真年代》(the age of innocence)1920 59.毕尔邦(max beerbohm)英国 《朱莱卡.多卜生》(zuleika dobson)1911 60.柏西(walker percy)美国 《热爱电影的人》(the moviegoer)1961 62.锺斯(james jones)美国 《乱世忠魂》(from here to eternity)1951 63.奇佛(john cheever)美国 《丰普肖特纪事》(the wapshot chronicles)1957 64.沙林杰(j. d. salinger)美国 《麦田里的守望者》(the catcher in the rye)1951 65.柏基斯(anthony burgess)英国 《发条橙》(a clockwork orange)1962 66.毛姆(w. somerset maugham)英国 《人性枷锁》(of human bondage)1915 67.康拉德(joseph coad)英国 《黑暗之心》(heart of darkness)1902 68.刘易斯(sinclair lewis)美国 《大街》(main street)1920 69.华顿(edith wharton)美国 《欢乐之家》(the house of mirth)1905 70.达雷尔(lawrence durrell)英国 《亚历山大四部曲》(the alexandraia quartet)1960 71.休斯(richard hughes)英国 《牙买加的风》(a high wind in jamaica)1929 72.耐波耳(v. s. naipaul)千里达 《毕斯瓦思先生之屋》(a house for mr. biswas)1961 73.威斯特(nathaniel west)美国 《蝗虫的日子》(the day of the locust)1939 74.海明威(ernest hemingway)美国 《永别了，武器》(a farewell to arms)1929 75.渥夫(evelyn waugh)英国 《独家新闻》(scoop)1938 76.丝帕克(muriel spark)英国 《琼.布罗迪小姐的青春》(the prime of miss jean brodie)1961 77.乔伊斯(james joyce)爱尔兰 《为芬尼根守灵》(finnegans wake)1939 78.吉卜林(rudyard kipling)英国 《金姆》(kim)1901 79.福斯特(e. m. forster)英国 《窗外有蓝天》(a room with a view)1908 80.渥夫(evelyn waugh)英国 《梦断白庄》(bride shead revisited)1945 81.贝娄(saul bellow)美国 《奥吉·马奇正传》(the adventures of augie march)1971 82.史达格纳(wallace stegner)美国 《安眠的天使》(angle of repose)1971 83.耐波耳(v. s. naipaul)千里达 《河曲》(a bend in the river)1979 84.鲍恩(elizabeth bowen)英国 《心之死》(the death of the heart)193885.康拉德(joseph coad)英国 《吉姆爷》(lord jim)1900 86.达特罗(e. l. doctorow)美国 《拉格泰姆》(ragtime)1975 87.贝内特(arnold bennett)英国 《老妇人的故事》(the old wives tale)1908 88.伦敦(jack london)英国 《野性的呼唤》(the call of the wild)1903 89.格林(hey green)英国 《爱》(loving)1945 90.鲁西迪(salman rushdie)(印裔英籍) 《午夜的孩子们》(midnight’s children)1981 91.考德威尔(erskine caldwell)美国 《菸草路》(tobacco road)1932 92.甘耐第(william kennedy)美国 《紫苑草》(ironweed)1983 93.佛勒斯(john fowles)英国 《占星家》(the magus)1966 94.里丝(jean rhys)英国 《辽阔的藻海》(wide sargasso)1966 95.默多克(iris murdoch)英国 《在网下》(under the net)1954 96.斯泰伦(william styron)美国 《苏菲的抉择》(sophie’s choice)1979 97.鲍尔斯(paul bowles)美国 《遮蔽的天空》(the sheltering sky)1949 98.凯恩(james m. cain)美国 《邮差总按两次铃》(the postman always rings twice)1934 99.唐利维(j. p. donleavy)美国 《眼线》(the ginger man)1955 100.塔金顿(booth tarkington)美国《伟大的安伯森斯》(the magnificent ambersons)1918篇二：一百部最好的英文小说
《时代》杂志评出的100部最佳英语小说(含下载) 2008-07-02 22:18 | (分类:默认分类) 偶尔也做一回善事。。。
嗯。。我都下过的。这边的情况是教育网加迅雷。所以一般大学里都能下吧。。。
评选人是《时代》评论家lev grossman和richard lacayo，评选时限为1923年(《时代杂志》创刊的年份)至今，范围是全世界，语种是英语。100部小说名单如下(依篇名字母排序)：
the adventures of augie marchby saul bellow 下载pdf all the king’s menby robert penn warren american pastoral[美国牧歌]by philip roth 下载docan american tragedy[美国悲剧]by theodore dreiser 下载pdf animal farm[动物农庄]by george orwell 下载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[宠儿]by toni morrison 下载doc,pdf the berlin storiesby christopher isherwood the big sleep[夜长梦多]by raymond chandler 下载pdf the blind assassin[盲人杀手]by margaret atwood 下载pdf blood meridian[血色子午线]by cormac mccarthy 下载pdf brideshead revisitedby evelyn waugh thebridgeofsan luisreybythorntonwilder call it sleepby hey roth catch-22[第二十二条军规]by joseph heller 下载docthe catcher in the rye[麦田里的守望者]by j.d. salinger 下载ebook a clockwork orange[发条橙子]by anthony burgess 下载pdf the confessions of nat turnerby william styron the correctionsby jonathan franzen the crying of lot 49[拍卖第49号]by thomas pynchon下载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在线阅读 the golden notebookby doris lessig go tell it on the mountainby james baldwin 下载gone with the wind[飘]by margaret mitchell 下载pdf the grapes of wrath[愤怒的葡萄]by john steinbeck 下载pdf gravity’s rainbowby thomas pynchon下载pdf the great gatsby[了不起的盖茨比]by f. scott fitzgerald 下载pdf a handful of dust[一掬尘土]by evelyn waugh 下载pdf the heart is a lonely hunter[心是孤独的猎手]by carson mccullers 下载pdf the heart of the matter[事情的核心/问题的核心]by graham greene 下载pdf herzogby saul bellow housekeeping[管家]by marilynne robinson 下载pdf a house for mr. biswas[毕斯瓦思先生之屋]by v.s. naipaul 下载pdf i, claudiusby robert graves infinite jestby david foster wallace invisible man[隐形人]by ralph ellison 下载pdflight in august[八月之光]by william faulkner 下载ebook the lion, the witch and the wardrobe[女巫狮子和魔衣橱]by c.s. lewis 下载ebook lolita[洛丽塔]by vladimir naboko 下载pdf lord of the flies[蝇王]by william golding 下载ebook the lord of the ringsby j.r.r. tolkein silmarillion下载hobbit下载 fellowship下载 twotowers下载 king下载 相关资料 lovingby hey green lucky jim[幸运的吉姆]by kingsley amis下载pdf the man who loved childrenby christina stead midnights childrenby salman rushdie moneyby martin amis the moviegoerby walker percy mrs. dalloway[达罗薇夫人]by virginia woolf 下载pdf naked lunch[裸体午餐]by william burroughs 下载pdf篇三：那些经典的英文小说开头 那些经典的英文小说开头
1.you better not never tell nobody but god. 除了上帝，对谁都要守口如瓶，切记。 ——the color purple《紫色》
2.they shoot the white girl first. 他们先开枪打死了那个白人女孩。 ——paradise《天堂》
3.every summer lin kong returned to goose village to divorce his wife, shuyu.军医孔林每年夏天都要回农村老家跟妻子淑玉商量一次离婚。 ——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. 如果你对我的故事充满好奇，你第一件想要知道的事情一定是我生于何处，童年如何，以及在生下我之前父母的罗曼史，还有david copperfield是怎样一个烂人。但是坦白地讲，这些我都不想写。
——the catcher in the rye《麦田里的守望者》
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.领事正襟危坐在自己的乌木阳台之上弹奏着那架历久弥新的斯坦威钢琴，用升c小调演奏拉赫曼尼诺夫的《序曲》;与此同时，巨大的绿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，奥雷连诺上校站在行刑队面前，准会想起父亲带他去参观冰块的那个遥远的下午。
——one hundred years of solitude《百年孤独》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. 我曾两次降生于世：第一次，一名女婴，在底特律的一个无烟日;第二次，一名少年，在密歇根托斯基的一件急诊室里，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. 摆在我们面前的首要问题显然是，如何从我们现在所在之处，去往遥远的河岸。可是，我们连自己现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. 毫无疑问，单身钻石王老五都渴望有娇妻相伴。 ——pride and prejudice《傲慢与偏见》
英文合同翻译范文第5篇
从归化和异化的角度探讨电影字幕翻译
[摘要] 随着全球化进程的加快，人们生活水平不断提高，人们对精神生活要求层次也不断提高。英文电影在国人的生活中扮演着不可缺少的一个角色，人们对电影字幕的翻译要求也越来越高，电影字幕的翻译是电影本身成功与否的一个重要因素，因此电影字幕翻译也成为了翻译中的重要组成部分。本文试从归化和异化两个角度探讨电影字幕翻译的策略。 [关键词] 归化 异化 电影 字幕翻译
电影是一种具有大众性、广泛性和传播性，而且受众较多的文化形态。它已经成为人们日常生活中不可缺少的休闲娱乐方式，也是人们了解其他文化的重要渠道。由于语言差异，大部分观众只能通过字幕翻译才能从听觉上、视觉上个方位地把握外语电影的内容，欣赏其魅力。影视翻译作为文学翻译一部分，是一种特殊的文学翻译，那么电影字幕翻译自然就是一种特殊的文学翻译。伴随着人们生活水平和审美情趣的不断提高，英语电影在中国市场越来越受到消费者的青睐，也涌现了许多耳熟能详的电影，Forest Gump 《阿甘正传》、KongFu Panda《功夫熊猫》、Mu Lan 《花木兰》、Titanic《泰坦尼克号》等。这些电影在中国同样都取得了相当可观的票房收入，那么这些电影之所以会这样成功，除了有丰富的电影情节和特效之外，精彩地道的字幕翻译也是它们获得成功必不可少的重要因素之一。那么，在谈电影字幕翻译具体策略之前，首先需要了解一下字幕翻译的特点。
一、字幕翻译的特点
电影的字幕翻译与一般文学翻译既有共同之处，又有自身独特的个性。电影是视觉和听觉等多方面综合的艺术形式，比一般的文学作品更形象、更生动。但同时也因口型、肢体语等方面的因素，制约了电影字幕翻译。电影字幕翻译不同于文学翻译或非文学翻译，李运兴教授在提到字幕的功能及文体特点时指出:字幕是闪现在屏幕上的文字，一现即逝，不像书本上的文字，可供读者前后参照。而字幕是不可逆的，具有瞬时性，这种瞬时性要求电影中翻译的字幕，观众一遍就能看懂。不考虑观众是否能接受翻译字幕这点，是行不通的。[7]这些限制要求字幕的翻译言简意赅，表意准确，一方面能满足观众在视觉和听觉上的协调，一方面保证观众对电影的理解和文化的领略。另外，电影作为大众传媒渠道之一，电影的字幕翻译应该考虑到观众的接受能力和市场反应，因此字幕的翻译要适当的趋向大众化和通俗化。影视翻译不只是语言转换，它在很大程度上受到接受文化需求的制约。研究电影字幕翻译，必须处理好原语文化和目的语文化的关系译者作为文化交流的中介，其主要目的是促进不同文化的交流，减少文化差距。
二、电影字幕翻译中的归化和异化
每一部影片都是一定文化区域历史和社会文化生活的反映。在电影作品中，源语语篇中会有许多含有特定文化意义的词语，它们为目的语文化所不知、所不熟悉，甚至难于理解和接受。对于这些文化词语的处理，有两种策略，即归化和异化。
(一)归化与异化的内涵
1813年，德国语言古典学家、翻译理论家施莱尔马赫在《论翻译的方法》中提出:“翻译的途径有两种:一种是尽可能让作者安居不动，而引导读者去接近作者;另一种是尽可能让读者安居不动，而引导作者去接近读者。" 1995年美国翻译理论家Venuti在《译者的隐形》一书中，将第一种方法称为“异化法”(foreignizing method)，将第二种方法称为“归化法”(domesticating method) (Venuti，1995:20) 。概括地说，异化法要求译者向作者靠拢，采用相应于作者所使用的原语表达方式来传达原文的内容;而归化法则要求向目的语读者靠拢，采取目的语读者所习惯的目的语表达方式来传达原文的内容。[5]
(二) 字幕翻译中的归化 1.归化的含义
所谓“归化”是指以译入语即目的语的文化为依据，最大限度地使用目的语文化可以接受的表达。[9] 归化翻译可以使译文自然、地道、顺口、易于接受。电影应该考虑到观众的表达习惯和欣赏水平，太多晦涩难懂的词语和陌生表达方式，会使观众失去兴致，由于文化差异和字幕翻译时空上的限制，字幕翻译不能加注，因此为了提高票房收入，在翻译影片时归化的翻译法是很必要也很常见的翻译方法之一，归化策略能够拉近观众与影片的距离，恰到好处的归化可以使译文生动简洁、亲切活泼，便于观众理解和接受。美国著名的翻译理论家奈达，是归化翻译法的代表人物。他认为，在翻译的过程中，译者应尊重目的语的特征，译文尽量使用目的语接受者喜闻乐见的、符合目的语表达规范的言语形式。[3]
2.归化在字幕翻译中的体现
电影《阿甘正传》的字幕汉译就采用了归化的翻译策略，才让该片的语言和
情感达到与汉语观众相同的审美感受和体验。
例1:片名ForestGum p 《阿甘正传》
这部电影的片名是个人名，在翻译学中，人名的翻译一般采用的方法是直译。所以ForrestGump可以翻译成“福里斯特·甘”，也可以翻译成“福瑞斯特·甘普”。但是译文中的汉语片名为了接近更多的汉语观众，便对它做了归化处理，选用了“阿甘正传”。既简练的表现出电影讲述名叫ForrestG um p的这个人一生的传奇故事的大意，也符合了广大观众的实际水平，正如中国影片“阿Q正传”、“阿飞正传”达到的效果一样，使观众一目了然，更能雅俗共赏。
例2: 影片中的一句经典台词：
It was like old times. We were like peas and carrots again.
就像当年一样，我们秤不离砣。
译者没有逐字死译，而是恰当的采用了符合目的语表达习惯的说法，做了归化处理，按照语境的需要译成了“秤不离砣”这样富有中国文化内涵的词语，给目的语观众很自然的感觉。 “like peas and carrots again”,如直译成“我们就像是豌豆和胡萝卜总在一起”，毋庸置疑，汉语观众肯定是无法接受的。
下面再例举影片 Mu Lan 《花木兰》、KongFu Panda《功夫熊猫》中采用归化策略翻译的台词来进一步说明归化在电影字幕翻译中的重要性。
例3 Recite the final admonition.
妇有四德指的是什么
"admonition”在词典中的意思是“劝告，忠告，告诫”的意思，在这里的场景是木兰正在接受媒婆的“面试”，如果合格就有机会嫁入好人家，译者将其译为“四德”，让中国观众想起古时女子要遵循的“三从四德”，也立刻明自了其隐含的意思。
例4 I can see why the boy is an absolute lunatic
我要有这样的儿子我也不会说的。
这句话的翻译对原句进行了改写，更能体现出幽默的意味。木兰怕被认出是女儿身，故意在别人面前显的很狼狈，让那个奸诈的宰相误会他是个无能之辈，无意中也为木兰解了围。这样的翻译让中国观众感到幽默，更加的自然。
还有在电影《功夫熊猫》中，“Master” 这一词在影片中出现很多次，但却被不同的翻译成了“师父”、“大师”、“大仙”。在汉语词典里，“师父”是学生对传授自己技艺的老师和尊称和敬称，师父和徒弟之间具有系统严格的师承关系，常见于艺术界和武术界。然而“大仙”“大师”又可以理解为神仙，仙人。在中国人的文化背景中，仙人具有各种神通，游行虚空，一切所为都无障碍。所以在影片中，对于浣熊和乌龟两个角色的翻译就充分体现了归化的翻译策略。Master Shifu 翻译成师父，表现它武艺高强;Master Oogway翻译成乌龟大师，体现了中国道家文化思想。由此可见，这一称呼的翻译主要体现了中国文化的传统和思想。
(三) 字幕翻译中的异化 1.异化的含义
异化是指以源语言为归依，在翻译过程中尽量向源语言靠拢，采取尊重源语言的翻译策略。异化翻译的好处是:能再现原文的表达方式，它突出了源语的“异国情调”，不仅丰富和完善了译文的表达力，而且人们更能通过读译文了解他国文化。电影字幕中的异化翻译则少许顾虑译语文化中早已存在的现成的表达方式，而是追求新颖的、甚至是具有陌生感语言表达。为有效达到翻译目的，译者应根据电影语言不同的预期功能，抓住原片的创作意图，再根据译语观众的需要，决定源信息的保留或根据影片内容进行调整。特别是对那些因文化差异而难以处理的意象，在充分把握译语观众的期待视野、审美取向和接受能力的前提下，慎重考虑异化和归化策略。
2.异化在电影字幕翻译中的体现
异化中一个主要的方法是直译，是指“按照译文语言的语法规则翻译出原文的字面意思，仍保持原文的文体风格和文化特征。”[4] 对于目的语和原语字面意思和隐含意思相同和相似的信息，译者可以采取直译的方法。在电影Mu Lan《花木兰》中，有这样的例子
例5 We are under attack! Light the signal.
有人偷袭，快点烽火
例6 Please help Mulan impress the Matchmaker today.
保佑木兰今天给媒婆留个好映像
这些都是根据英文字幕的意思直接翻译过来的，这样做到了与原文最大程度的一致。对于这此句，直译是最好的选择，观众可以很容易的理解原文的意思。
2012年4月10号，3D版 Titanic《泰坦尼克号》在中国大陆各大影院首映，在重温经典的同时，作为语言学习者我们能深刻的体会到字幕翻译在各国之间的文化交流过程中起着重要的作用。下面以Titanic一场景中的台词为例，来说明异化原则在电影字幕翻译中的重要性。
在《泰坦尼克号》中，奥利骂斯文，"you are a chicken"，在英语文化中“chicken”的涵义是指胆怯，而在中国文化中，“chicken”的涵义是指吵闹或者是指女人的不贞洁，因此译者采取异化的手段，翻译成“你这个胆小鬼”，其实观众通过看画面就知道这句话是针对斯文说的，我们完全可以翻译成“胆小鬼”，如果直译成“你是一只小鸡”或者用归化的方法译成“你是一个卿卿喳喳的人”，这就与原文的意思相差很远，而且会让观众感到疑惑，达不到字幕翻译准确传达原文信息的目的，而翻译成“胆小鬼”能使目的语观众了解和学习中英文化意象词涵义的差别。
三 结语
归化和异化在翻译过程当中起着很重要的作用，同时，它们在电影字幕翻译中的也起到了充分使字幕发挥交流和沟通文化的桥梁作用。不过，翻译策略应该是多样的、灵活的，在翻译实践中译者不会仅采用一种翻译方法。而且异化和归化翻译策略在翻译过程中也是各有优缺点，那么在翻译过程中，译者应将二者有效结合，根据翻译目的、文本类型来实现二者的现实的、具体的、动态的统一。过度的异化或归化都有损译文质量，刻意的异化会使译文晦涩难懂，而太多的归
化也可能使译文缺少异域风情。无论从文化传播的角度还是商业角度，电影作为一种特殊的文学形式，要用故事情节和演员的表演吸引观众，向观众传达一定的意义，而再加上精彩的字幕翻译则更有助于观众理解影片内涵。
【参考文献】
[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]陈亚朋《卧虎藏龙》字幕翻译策略探析电影文学,2007,(8) [5]邓炎昌，刘润清，1989,《语言与文化一英汉语言文化对比研究》[M〕北京:外语教学与研究出版社. [6]刘宓庆，1999,《文化翻译论纲》[M〕武汉:湖北教育出版社.
[7]李运兴，字幕翻译的策略[J].中国翻译,2001.
[8]王佐良，1994,《翻译:思考与笔试》[M〕北京:外语教学与研究出版社.
英文合同翻译范文第6篇
英诗的欣赏：诗的格律、诗的押韵、诗的体式、诗的评判。
诗以高度凝结的语言表达着人们的喜怒哀乐，用其特有的节奏与方式影响着人们的精神世界。诗讲究联想，运用象征、比喻、拟人等各种修辞手法，形成了独特的语言艺术。
一、 诗的格律
“格律是指可以用脚打拍子的节奏”，是每个音步轻重音节排列的格式，也是朗读时轻重音的依据。而音步是由重读音节和非重读音节构成的诗的分析单位。重读音节为扬(重)，在音节上用“-”或“?”标示，非重读音节为抑(轻)，在音节上用“?”标示，音步之间可用“/”隔开。以下是五种常见格式：
1. 抑扬格(轻重格)Iambus：是最常见的一种格式，每个音步由一个非重读音节加一个重读音节构成。
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
上例中为四音步与三音步交叉，可标示为：?-/?-/?-/(?-)
2.扬抑格(重轻格)Trochee：每个音步由一个重读音节加一个非重读音节构成。
下例中为四音步扬抑格(少一个轻音节)，可标示为：-?/-?/-?/-
Tyger!/ Tyger!/ burning / bright In the / forests / of the / night William Blake： The Tyger 3. 抑抑扬格(轻轻重格)Anapaestic foot： 每个音步由两个非重读音节加一个重读音节构成。如：三音步抑抑扬格??-/??-/??-
Like a child / from the womb，
Like a ghost / from the tomb，
I arise / and unbuild / it again.
4. 扬抑抑格(重轻轻格)Dactylic foot： 每个音步由一个重读音节加两个非重读音节构成。如：两音步扬抑抑格-??/-??
?Touch her not / ?scornfully，
?Think of her / ?mournfully.
- Thomas Hood
5. 抑扬抑格(轻重轻格)Amphibrach：每个音步由一个非重读音节加一个重读音节再加一个非重读音节构成。如：三音步抑扬抑格?-?/?-?/?-?下例中最后一个音步为抑扬格。
O ?hush thee / my ?babie / thy ?sire was / a knight.
在同一首诗中常会出现不同的格律，格律解析对朗读诗歌有一定参考价值。现代诗中常不遵守规范的格律。
二、 诗的押韵
押韵是指通过重复元音或辅音以达到一定音韵效果的诗歌写作手法。
1. 尾韵：最常见，最重要的押韵方式。
1) 联韵：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) 交叉韵：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) 同韵：有的诗押韵，一韵到底，大多是在同一节诗中共用一个韵脚。
如下例就共用/i：p/为韵脚。
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. 头韵：是指一行(节)诗中几个词开头的辅音相同，形成押韵。下例中运用/f/、/b/与/s/头韵生动写出了船在海上轻快航行的景象。
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.内韵(同元音)：指词与词之间原因的重复形成的内部押韵。
下面一节诗中/i/及/iη/重复照应，呈现出一派欢乐祥和的气氛。
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、 诗的体式
有的诗分成几节(stanza)，每节由若干诗行组成(每行诗均以大写字母开头);有的诗则不分节。目前我们常见的诗体有：
1. 十四行诗(Sonnet)，源于中世纪民间抒情短诗，十
三、十四世纪流行于意大利，意大利彼特拉克(Petrarch)为代表人物，每行十一个音节，全诗一节八行，加一节六行，韵脚用abba， abba， cdcdcd (cdecde)。前八行提问，后六行回答。
后来，怀亚特(ThomasWyatt，1503-1542)将十四行诗引人英国，五音步抑扬格，全诗三个四行一个二行，前三节提问，后二句结论。斯宾塞(EdmundSpenser，1552-1599)用韵脚 abab， bcbc，cdcd，ee.莎士比亚(WilliamShakespeare，1564-1616)用韵脚abab，cdcd，dfdf，gg，称英国式或莎士比亚式。举例见本文第四部分。
2. 打油诗(Limericks)：通常是小笑话甚至是胡诌，一般没有标题也无作者姓名，含有幽默讽刺性，常运用双关，内韵等手法。每首诗五个诗行，押韵为aabba，格律以抑扬格和抑抑扬格为主。
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. 无韵体(Blank Verse)：五音步抑扬格，不押韵诗体。
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
华兹华斯(WilliamWordsworth，1770-1850)，十九世纪初英格兰北部湖区三大“湖畔派诗人”(浪漫主义)之一。此诗向我们描绘了一幅美好的自然景象，同时抒发作者对自然美景的喜欢。黄水仙据说是威尔士国花(1282年，威尔士归顺英格兰，被封公国)，在英国广泛栽种，春季开花，花期不长。有许多关于黄水仙的诗歌，这首诗无疑是脱颖而出的。
全诗语言精炼，通俗易懂，四音步抑扬格，分四节(stanza)，每节6行，每节押韵均为ababcc.第一节写诗人孤寂时外出散步，偶遇水仙;第二节写水仙争相开放，千姿百态;第三节，诗人看到这景象感到欣喜异常;第四节写诗人在日后忧郁时，回想当时情景，又让他心中充满了欢乐，随着水仙跳起舞来。
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：学说，流派 hazard：chance
abeyance： the condition of not being in use for a certain time
惠特曼(Walt Whitman，1819-1892)，美国诗人。此诗选自其巨著。本文是Song of Myself 一诗的第一部分，采用自由诗体，语言接近当时的美国口语。
文中I指作者，you指读者，这种写法使读者身临其境，进入作者描写的世界。作者在文中表明人的价值是平等的，同时他把自己融入到自然带给他的启发思考中。