从译者视域看戴乃迭独译的译者现身风格--以英译本《爱是不能忘记的》为例

戴乃迭对中国文学作品的译介可以分为合译期和独译期两个阶段。目前学界的研究多集中在她和杨宪益的合译作品上,而对她的独立译介活动关注不多。独译阶段的戴乃迭脱离合译者、翻译助手的身份,在翻译的过程中充分发挥着译者主体性。翻译文本中存在大量“译者现身”的现象。通过对《爱是不能忘记的》的原本和英译本的比较,深度挖掘译者身份,力求更深刻地洞悉戴乃迭独译期明显的“译者现身”风格。     

Access to records for people who were in out-of-home care: moving beyond ‘third dimension’ archival practice

A right to preserve one’s culture is recognised in the United Nations human rights treaty system. Individual and collective cultural identity within government and private archives can be enabled through a participatory approach which acknowledges record subjects as record co-creators. This article analyses cultural human rights instruments found in international and domestic Australian laws as warrants for a participatory archive within the Australian context, premised on the recognition of the rights of those who are subjects of the record to add their own narratives to records held in archival institutions, and to participate as co-creators in decision-making about appraisal, access and control, thus shaping and reshaping the archive from their perspective. To this end, it proposes the use of social media to enhance cultural rights and cultural identity. Adopting the principle of rights maximisation, a participatory approach lessens the impact of the right to be forgotten on cultural rights. The article concludes that Australian archival policy makers and jurisdictions which have a human rights regime, have a clear mandate to give priority to the preservation of records of distinctive cultures, in particular those of Indigenous peoples and minorities.     

徘徊在天堂与地狱之间的恋女——对《爱,是不能忘记的》中钟雨矛盾心理的解读

恋女,是古往今来文学作品刻画最多的女性形象之一。本文运用弗洛伊德精神分析理论,对《爱,是不能忘记的》中钟雨的矛盾心理进行了解读。在爱的追寻中,钟雨的爱是真切、忧伤、执着而孤独的,其内心深处充满灵与肉、理智与感情、理想与现实等一系列矛盾和挣扎,这也注定了她是个徘徊于天堂与地狱之间的悲情恋女。