細說莎士比亞論文集: a collection of essays國立臺灣大學出版中心, 1. 1. 2004 - Počet stran: 470 四個世紀以來對莎士比亞作品的詮釋註疏以及舞台演出， 論文集以學者犀利的目光，淵博深厚的修養，獨到的見解， |
Vyhledávání v knize
Výsledky 1-5 z 47
Strana i
... 文學品味和劇場風尚;每一種理論、每一個學派,無論是滾滾長江或是涓涓細流,都各自挾帶著或多或少或大或小的洞見與偏見,同奔莎士比亞研究的浩瀚大海。近年來,文學觀念的轉變尤其迅速,文學研究日益豐富多元,各種理論又每每以莎士比亞為試金石,儼然形成了 ...
... 文學品味和劇場風尚;每一種理論、每一個學派,無論是滾滾長江或是涓涓細流,都各自挾帶著或多或少或大或小的洞見與偏見,同奔莎士比亞研究的浩瀚大海。近年來,文學觀念的轉變尤其迅速,文學研究日益豐富多元,各種理論又每每以莎士比亞為試金石,儼然形成了 ...
Strana iv
... 文學性(人物性格分析等) ,有自己的風貌;似乎同樣地或多或少忽視了莎劇首先是為了演出需要的「台上之本」。時至二○○四年,鏡禧教授將歷年來發表於中西學術刊物上的莎論結集問世,書名樸實:《細說莎士比亞:論文集》,讀者展卷,卻處處感到驚喜,觀感一新。國人 ...
... 文學性(人物性格分析等) ,有自己的風貌;似乎同樣地或多或少忽視了莎劇首先是為了演出需要的「台上之本」。時至二○○四年,鏡禧教授將歷年來發表於中西學術刊物上的莎論結集問世,書名樸實:《細說莎士比亞:論文集》,讀者展卷,卻處處感到驚喜,觀感一新。國人 ...
Strana xiii
... 文學翻譯界產生廣泛影響,幾乎無不奉此為圭臬。早在上世紀四十年代初,前輩朱生豪自述譯莎心得:每逢原文與中國語法不合,便再四咀嚼,「不惜全部更易原文之結構,務使作者之命意豁然呈露。」上世紀八十年代初,大陸的一本討論文學翻譯的專著甚至提出:「原著的 ...
... 文學翻譯界產生廣泛影響,幾乎無不奉此為圭臬。早在上世紀四十年代初,前輩朱生豪自述譯莎心得:每逢原文與中國語法不合,便再四咀嚼,「不惜全部更易原文之結構,務使作者之命意豁然呈露。」上世紀八十年代初,大陸的一本討論文學翻譯的專著甚至提出:「原著的 ...
Strana xiv
a collection of essays 彭鏡禧. 現代西方美學理論給予文學藝術形式以特殊重要的意義,形式不僅是內容的載體(像瓶之於酒) ,更是內容的外在表現,血肉相連 ... 文學翻譯領域,開始學習的就是怎 樣打破原文結構、發揮漢語優勢吧, xiv ◎細說莎士比亞:論文集.
a collection of essays 彭鏡禧. 現代西方美學理論給予文學藝術形式以特殊重要的意義,形式不僅是內容的載體(像瓶之於酒) ,更是內容的外在表現,血肉相連 ... 文學翻譯領域,開始學習的就是怎 樣打破原文結構、發揮漢語優勢吧, xiv ◎細說莎士比亞:論文集.
Strana xv
... 文學翻譯工作者有機會一讀鏡禧教授有關文學翻譯的討論而引起深思。在文學翻譯藝術上,與「捨形似而求神似」同樣重要的是「求形存真」這一條經驗。《喜見呂健忠新譯莎劇《馬克白》一文提出十四行詩體始於義大利,「為英文所無,於文藝復興時代介紹到英國,風靡 ...
... 文學翻譯工作者有機會一讀鏡禧教授有關文學翻譯的討論而引起深思。在文學翻譯藝術上,與「捨形似而求神似」同樣重要的是「求形存真」這一條經驗。《喜見呂健忠新譯莎劇《馬克白》一文提出十四行詩體始於義大利,「為英文所無,於文藝復興時代介紹到英國,風靡 ...
Oblíbené pasáže
Strana 255 - My liege, and madam, to expostulate What majesty should be, what duty is, Why day is day, night night, and time is time, Were nothing but to waste night, day and time. Therefore, since brevity is the soul of wit And tediousness the limbs and outward flourishes, I will be brief.
Strana 64 - O ! who can hold a fire in his hand By thinking on the frosty Caucasus? Or cloy the hungry edge of appetite By bare imagination of a feast?
Strana 19 - Our revels now are ended. These our actors, As I foretold you, were all spirits, and Are melted into air, into thin air: And, like the baseless fabric of this vision, The cloud-capp'd towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve, And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on ; and our little life Is rounded with a sleep.
Strana 169 - Though justice be thy plea, consider this, That, in the course of justice, none of us Should see salvation: we do pray for mercy; And that same prayer doth teach us all to render The deeds of mercy.
Strana 255 - Madam, I swear, I use no art at all. That he is mad, 'tis true : 'tis true, 'tis pity ; And pity 'tis, 'tis true : a foolish figure ; But farewell it, for I will use no art. Mad let us grant him then : and now remains, That we find out the cause of this effect ; Or, rather say, the cause of this defect ; For this effect, defective, comes by cause : Thus it remains, and the remainder thus.
Strana 76 - As, in a theatre, the eyes of men, After a well-graced actor leaves the stage, Are idly bent on him that enters next, Thinking his prattle to be tedious ; Even so, or with much more contempt, men's eyes Did scowl on Richard; no man cried, God save him...
Strana 18 - Be not too tame neither, but let your own discretion be your tutor. Suit the action to the word, the word to the action, with this special observance, that you o'erstep not the modesty of nature.
Strana 363 - Farewell ! thou art too dear for my possessing, And like enough thou know'st thy estimate: The charter of thy worth gives thee releasing; My bonds in thee are all determinate. For how do I hold thee but by thy granting? And for that riches where is my deserving?