沙會打在車上

沙會打在車上

結果 (繁體中文) 2:

The concept of style is a complex one, and there are many different views of its nature, several of which will be discussed in this chapter. But a prerequisite for any such discussion is a basic definition of the term. For this purpose, the “simplest” definition – “the perceived distinctive manner of expression” – given by Wales in her  

%   (2001:371) will be perfectly adequate. As will become clear throughout the course of this book, this simple definition hides many complexities to do with what “perceived” means (whether by a reader, a critic, or a social group, for example) and what “distinctive” means, among other things. The role of style in translation is made even more complex by the fact that there are the styles of two texts, the source text and the target text, to take into account. And in each case, the style of the text can be seen in its relationship to the writer, as an expression of choice, or in its relationship to the reader, as something to be interpreted and thereby to achieve effects. On the one hand, the translator is a reader of the source text, and so the effects of its style upon the translator need to be examined. Important issues to consider here are how style is read, how it achieves its effects upon the reader, and what its relationship to various factors in the creation of the source text is seen to be. For example, the style of the source text may be seen as “a set of choices driven by commitment to a particular point of view” and in this sense “it is style, rather than content, which embodies the meaning” (Boase-Beier 2004a:29) or provides “a direct link to the work’s basic thematic concerns and the kind of experience it attempts to convey” (García & Marco 1998:65). If this is the view held by the translator of a literary text, on the grounds that the text is by definition fictional, then s/he is likely to focus on the style of the source text as a clue to its meaning. And yet many of the approaches to reading to be discussed in Chapter 2 emphasize how meaning is constructed by the reader, and therefore, in the case of translation, by the translator. So there is no straightforward relationship between the style of the source text and what the text means. And if we assume, as do many writers on stylistics and literary pragmatics such as Verdonk (2002) that to construct meaning in reading a text, just as in any other act of communication, is to attempt a reasonable reconstruction of authorial intention, it seems clear that the author to whom such intention is imputed is a figure inferred from the text. Different translators may hold different views on these arguments, or hold no view at all. But irrespective of whatever view the translator holds and whatever arguments s/he is aware of, the relationship of author to

結果 (繁體中文) 3:

Sand will hit the car