英語(yǔ)專業(yè)畢業(yè)論文——外文翻譯

1、<p><b>　　畢業(yè)設(shè)計(jì)/論文</b></p><p>　　外 文 文 獻(xiàn) 翻 譯</p><p>　　系　 別 外語(yǔ)學(xué)院 </p><p>　　專 業(yè) 班 級(jí) 英語(yǔ)0702班 </p><p>　　姓　 名

2、 劉路標(biāo) </p><p>　　評(píng) 分 </p><p>　　指 導(dǎo) 教 師 </p><p><b>　　@@工業(yè)大學(xué)</b></p><p><b>　

3、　20 年 月</b></p><p>　　1. 弗朗西斯·斯科特基·菲茨杰拉德生于1896年9月24日，他的名字源自他的祖先，美國(guó)國(guó)歌“星條旗” 作者弗朗西斯·斯科特基。菲茨杰拉德在明尼蘇達(dá)州的圣保羅長(zhǎng)大成人。他雖然聰明，但在學(xué)校卻成績(jī)不佳，于1911年被送到了新澤西州的一所寄宿學(xué)校就讀。盡管他是個(gè)平庸的學(xué)生， 但還是設(shè)法于1913年進(jìn)入了普林斯頓大學(xué)。他的整個(gè)大

4、學(xué)時(shí)光都被學(xué)業(yè)上的困難和冷漠所困擾，他也一直未畢業(yè)，在1917年入伍，當(dāng)時(shí)第一次世界大戰(zhàn)已接近尾聲。</p><p>　　菲茨杰拉德成為一名少尉，駐防在亞拉巴馬州蒙哥馬利的謝里登兵營(yíng)。在那里他結(jié)識(shí)并愛上了一位叫澤爾妲·賽耶的17歲任性的美女。澤爾妲終于同意嫁給他，但是她那對(duì)財(cái)富、享樂與安逸的極強(qiáng)的欲望使他們的婚禮一直推遲到他能夠證明自己是個(gè)成功者時(shí)才舉行。隨著小說《這一半天堂》于1920年出版，菲茨杰拉

5、德成了文學(xué)界的轟動(dòng)人物，賺到了足以說服澤爾妲嫁給他的金錢和名譽(yù)。</p><p>　　菲茨杰拉德早年的許多事件都在他最著名的小說，1925年出版的《了不起的蓋茨比》中有所體現(xiàn)。正想菲茨杰拉德一樣，尼克·卡拉韋也是個(gè)富有思想的年輕人。尼克是明尼蘇達(dá)州人，就讀于一所常春藤聯(lián)合會(huì)大學(xué)（照他自己的話說是耶魯大學(xué)），戰(zhàn)后移居紐約。和菲茨杰拉德一樣，杰伊·蓋茨比也是個(gè)崇拜財(cái)富和奢華的敏感的年輕人，也是在駐

6、防在南方的一個(gè)兵營(yíng)時(shí)愛上了一位漂亮的年輕女子。</p><p>　　成為名人之后，菲茨杰拉德墮入了一種放蕩不羈、不計(jì)后果、花天酒地、充滿頹廢的生活方式，與此同時(shí)，他竭力寫作賺錢以此來取悅澤爾妲。蓋茨比同樣也在尚年輕之時(shí)便聚斂了大量財(cái)富。他一心聚財(cái)，醉心于舉行宴會(huì)，深信這些能夠使他贏得黛西的愛。不過，隨著“繁榮的20年代”的燦爛淡入大蕭條的黑暗，澤爾妲換上了精神崩潰癥，菲茨杰拉德則酗酒難以自拔，這妨礙了他的寫作。他

7、于1934年出版了《夜色溫柔》，并向《星期六晚間郵報(bào)》出售短篇小說，以便維持他奢侈的生活。1937年，他來到好萊塢撰寫腳本，1940年死于心臟病，年僅44歲，當(dāng)時(shí)他正在創(chuàng)作小說《末位巨頭之愛》。</p><p>　　菲茨杰拉德是美國(guó)最著名的20世紀(jì)20年代編年史家。那個(gè)時(shí)代由他命名為“爵士樂時(shí)代”。《了不起的蓋茨比》寫于1925年，是那個(gè)時(shí)期最偉大的文學(xué)性文獻(xiàn)之一。在那個(gè)時(shí)期，美國(guó)的經(jīng)濟(jì)蓬勃發(fā)展，給美國(guó)帶來了空前

8、的繁榮。禁酒令，既由憲法第十八項(xiàng)修正案（1919）所規(guī)定的禁止酒的銷售與消費(fèi)的法令，使非法釀、販酒者中的一些人變成了百萬(wàn)富翁，一股狂歡作樂的地下文化也隨之崛起。私下舉行的宴會(huì)四處蔓延并得以巧妙地避開了警察的注意，“非法酒店”，即售酒的秘密會(huì)所興旺了起來。第一次世界大戰(zhàn)的混亂與暴力是美國(guó)陷入震驚狀態(tài)，于是參戰(zhàn)的一代人轉(zhuǎn)向了放蕩不羈、浮華奢侈的生活方式，以求從中得到補(bǔ)償。一成不變的保守主義和上一個(gè)年代陳腐的價(jià)值觀使他們反感，而金錢、浮華和奢

9、侈卻蔚然成風(fēng)。</p><p>　　正像《了不起的蓋茨比》中的尼克一樣，菲茨杰拉德發(fā)覺這種新的生活方式具有誘惑力，使人感到興奮，同時(shí)也像蓋茨比一樣，他總是崇拜那些特別富有的人。現(xiàn)在他發(fā)現(xiàn)自己處于一個(gè)毫無節(jié)制的物質(zhì)主義為社會(huì)主旋律的時(shí)代，特別是東部大城市。盡管如此，正如尼克，菲茨杰拉德也透過爵士樂時(shí)代的光華看到了隱藏在下面的道德空虛與虛偽，所以他的部分自我渴望得到缺失道德核心?！读瞬黄鸬纳w茨比》在許多方面都表明，菲

10、茨杰拉德試圖直面自己對(duì)于爵士樂時(shí)代的矛盾情感。就像蓋茨比，菲茨杰拉德一直被對(duì)那個(gè)象征他所有愿望的的女人的愛所左右，即使這個(gè)女人要他做的一切都是他所唾棄的。</p><p>　　《雙語(yǔ)名著導(dǎo)讀·了不起的蓋茨比》</p><p>　　2. “要不是有霧，我們就能看見海灣對(duì)面的你家。”蓋茨比說，“你家那邊碼頭的盡頭總有一盞通宵不滅的綠燈?！?lt;/p><p>　　

11、戴西嫣然伸過手臂去挽他的手臂，但他似乎迷失在自己剛才所說的話里，可能他突然想到那盞燈的巨大意義現(xiàn)在永遠(yuǎn)消失了。與那把他跟戴西分開的遙遠(yuǎn)的距離相比較，那盞燈曾經(jīng)似乎離她很近，幾乎碰得著她，就好像一顆星星離月亮那么近一樣。現(xiàn)在它又是碼頭上的一盞綠燈了。他心目中的寶貝已經(jīng)減少了一件。</p><p>　　外面的風(fēng)呼呼的刮，海灣上傳來一陣隱隱的雷聲。此刻，西卵所有的燈都亮了。電動(dòng)火車滿載歸客，在雨中從紐約疾馳而來。這是人

12、性發(fā)生深刻變化的時(shí)刻，一種令人興奮的氣息在空氣中凝聚。</p><p>　　我告辭的時(shí)候，看到那種困惑的表情又回到了蓋茨比臉上，仿佛他有點(diǎn)懷疑他目前幸福的品質(zhì)。快五年了！那天下午，戴西的表現(xiàn)一定有令他失望的時(shí)候；這并不是她本人的過錯(cuò)，而是由于他的幻夢(mèng)有巨大的活力。他的幻夢(mèng)超越了她，超越了一切。他一一種創(chuàng)造性的熱情投入了這個(gè)幻夢(mèng)，不停的添枝加葉，用飄過的每一根絢麗的羽毛加以裝飾。再多再大的激情或是活力，其能量也比不

13、上一個(gè)凄涼的心靈所集聚的情思。</p><p>　　我注視著他的時(shí)候，看得出來他在悄悄調(diào)整自己，以適應(yīng)眼前的現(xiàn)實(shí)。他的手抓住她的手。她在他耳邊輕聲低語(yǔ)，引得他感情沖動(dòng)地轉(zhuǎn)向她。我想，最令人不能自已的是她那高低起伏、狂熱激昂的聲音，因?yàn)槟鞘菬o論怎樣夢(mèng)想都不能企及的——那是一首永恒的歌曲。</p><p>　　他們已經(jīng)把我忘了：戴西僅僅抬起頭來瞥了一眼，伸出了手；蓋茨比此時(shí)完全不認(rèn)識(shí)我了。我又

14、看了他倆一眼；他們也回看我，由于沉浸在強(qiáng)烈的感情之中，仿佛離我非常遙遠(yuǎn)。于是，我走出屋子，走下大理石臺(tái)階，走進(jìn)雨中，讓他們兩人在一起。</p><p><b>　　《了不起的蓋茨比》</b></p><p>　　3. 從一開始, 菲茨杰拉德就察覺到了寫一部以“夢(mèng)想”為主題的小說的可能性。在與《了不起的蓋茨比》同年代創(chuàng)作的文學(xué)作品中，菲茨杰拉德都談到了人們努力追求無

15、法實(shí)現(xiàn)的美國(guó)夢(mèng)這一主題。盡管美國(guó)夢(mèng)終將破滅，可是再?zèng)]有什么比經(jīng)歷一場(chǎng)刻骨銘心的愛情更重要的了。然而，蓋茨比對(duì)戴西的愛除了幻滅，這種以實(shí)現(xiàn)美國(guó)夢(mèng)為慰藉的愛還給他帶來了什么？</p><p>　　《〈了不起的蓋茨比〉新論》</p><p>　　4. 馬克?吐溫和威廉?迪恩?豪威爾斯在成長(zhǎng)的過程中都認(rèn)為美國(guó)會(huì)成為世界的希望，然而卻是在痛苦中老去。和他們一樣，菲茨杰拉德和海明威年輕的時(shí)候?qū)λ麄?/p>

16、生活的這個(gè)新世界也滿懷激情，然而最后卻意識(shí)到這一切與成功毫不相關(guān)，那只是一場(chǎng)巨大的災(zāi)難。菲茨杰拉德生活在“怒吼的二十年代”中間，并且自己也是其中的一員——飆車﹑飲烈酒，樂此不疲。他已經(jīng)清楚地了解到，美國(guó)就是“永遠(yuǎn)不曾升起的月亮”。盡管菲茨杰拉德快樂地度過了戰(zhàn)后經(jīng)濟(jì)繁榮的幾年時(shí)間，但他還是預(yù)測(cè)到了美國(guó)最后的厄運(yùn)和慘痛結(jié)局。</p><p><b>　　《美國(guó)文學(xué)簡(jiǎn)史》</b></p>

17、;<p>　　5. 孤獨(dú)﹑酗酒﹑意識(shí)到自己寫作天賦的消逝，最終菲茨杰拉德垮掉了。甚至是在他們度過的最美好的日子里，作為一位藝術(shù)家，他始終感到在自己和澤爾達(dá)身處“名利場(chǎng)”里，卻沒有絲毫歸屬感。菲茨杰拉德清醒地意識(shí)到自己與此格格不入。作為一個(gè)曾經(jīng)致力于自己理想的人，菲茨杰拉德過早的意識(shí)到周圍環(huán)境所具有的欺騙性，在精神上他與自己生活中一切都很疏遠(yuǎn)。菲茨杰拉德一直就是一個(gè)酒癮很大的人，當(dāng)他悲劇性的生活變得一團(tuán)糟時(shí)，他企圖在酒精

18、里尋求安慰。然而最后正是酗酒斷送了菲茨杰拉德。對(duì)于一個(gè)把藝術(shù)看得比任何事情都重要的人來說，沒有比敏銳的意識(shí)到為了賺錢才給受歡迎的雜志寫一些垃圾文章來浪費(fèi)自己的才華的事更讓菲茨杰拉德痛苦的了。菲茨杰拉德的一生都為不能集中精力寫作和從整體上提高自己的藝術(shù)天賦而飽受折磨。</p><p><b>　　《美國(guó)文學(xué)簡(jiǎn)史》</b></p><p>　　6. 他也許應(yīng)該鄙視自己，

19、因?yàn)樗_實(shí)用欺騙的手段占有了她，我不是說他謊稱自己家財(cái)萬(wàn)貫。但是他有意給戴西一種安全感，讓她相信他的出身門第不亞于她，相信他完全有能力照顧她。實(shí)際上，他并沒有這種能力——他身后沒有背景優(yōu)越的家庭撐腰，而且只要毫無人情味的政府一聲令下，他隨時(shí)都可能被派到世界的任何角落。</p><p>　　但是，他并沒有看低自己。而事情的發(fā)展也并不像原來想象的那樣。他起初很可能打算及時(shí)行樂，然后一走了之，但是，他發(fā)現(xiàn)自己已獻(xiàn)身于一

20、種神圣的理想。他知道戴西不同尋常，但他并沒有認(rèn)識(shí)到一位“大家閨秀”究竟有多么不同尋常。她消失在她那豪華的住宅里，消失在那豐富美滿的生活里，給蓋茨比留下一片虛無。他卻覺得自己已經(jīng)和她結(jié)婚了，整個(gè)事情就是這樣。</p><p><b>　　《了不起的蓋茨比》</b></p><p>　　1. Francis Scott Key Fitzgerald was born o

21、n September 24,1896, and named after his ancestor Francis Scott Key, the author of The Star-Spangled Banner. Fitzgerald waws raised in St. Paul, Minnesota. Though an intelligent child, he did poorly in school and was se

22、nt to a New Jersy boarding school in 1911. Despite being a mediocre student there, he managed to enroll at Princeton in 1913. Academic troubles and apathy plagued him throughout his time at college, and he never graduate

23、d, instead enlist</p><p>　　Fitzgerald became a second lieutenant, and was stationed at Camp Sheridan, in Montgomery, Alabama. There he met and fell in love with a wild seventeen-year-old beauty named Zelda S

24、ayre. Zelda finally agreed to marry him, but her overpowering desire for wealth, fun, and leisure led her delay their wedding until he could prove a success. With the publication of This Side of Paradise in 1920, Ftizger

25、ald became a literary sensation, earning enough money and fame to convince Zelda to marry him.</p><p>　　Many of these events forom Fitzgerald’s early life appear in his most famous novel, The Great Gatsby, p

26、ublished in 1925. Like Fitzgerald, Nick Carraway is a thoughtful young man from Minnesota, educated at an Ivy League school (in Nick’s case, Yale), who moves to New York after the war. Also similar to Fitzgerald is Jay G

27、atsby, a sensitive young man who idolizes wealth and luxury and who falls in love with a beautiful young woman while stationed at a military camp in the South.</p><p>　　Having become a celebrity, Fitzgerald

28、fell into a wild, reckless lifestyle of parties and decadence, while desperately trying to please Zelda by writing to earn money. Similarly, Gatsby amasses a great deal of wealth at a relatively young age, and devotes hi

29、mself to acquiring possessions and devotes himself to acquiring possessions and throwing parties that he believes will enable him to win Daisy’s love, As the giddiness of the Roaring Twenties dissolved into the bleakness

30、 of the Great Depressi</p><p>　　Fitzgerald was most famous chronicler of 1920s America, an era that he dubbed “the Jazz Age.” Written in 1925, The Great Gatsby is one of the greatest literary documents of th

31、is period, in which the American economy soared, bringing unprecedented levels of properity to the nation. Prohibition, the ban on the sale and consumption of alcohol mandated by the Eighteenth Amendment to the Constitut

32、ion(1919), mde millionaires out of bootleggers, and an underground culture of revelry sprang up. Sprawlin</p><p>　　Like Nick in The Great Gatsby, Fitzgerald found this new lifestyle seductive and exciting, a

33、nd, like Gatsby, he had always idolized the very rich. Now he found himself in an era in which unrestrained materialism set the tone of society, particularly in the large cities of the East. Even so, like Nick, Ftitzgera

34、ld saw through the glitter of the Jazz Age to the moral emptiness and hypocrisy beneath, and part of him longed for this absent moral center. In many ways, The Great Gatsby represents Fitz</p><p>　　Lehan, Ri

35、chard D. F. Scott Fitzgerald’s Craft of Fiction.[C] Carbondale: Southern Illinois University Press,1966.</p><p>　　2. "If it wasn’t for the mist we could see your home across the bay," said Gatsby.

36、 "You always have a green light that burns at the end of your dock."</p><p>　　Daisy put her arm through his abruptly but he seemed absorbed in what he had just said. Possibly it had occurred to him

37、 that the colossal significance of that light had now vanished forever. Compared to the great distance that had separated him from Daisy it had seemed very near to him, almost touching her. It had seemed as close as a st

38、ar to the moon. Now it was again a green light on a dock. His count of enchanted things had diminished by one.</p><p>　　Outside the wind was loud and there was a faint flow of thunder along the Sound. All th

39、e light were going on in West Egg now; the electric trains, men-carrying, were plunging home through the rain from New York. It was the hour of a profound human change, and excitement was generating on the air.</p>

40、<p>　　When I said goodbye, I saw that the expression of bewilderment had come back into Gatsby's face, as though a faint doubt had occurred to him as to the quality of his present happiness. Almost five years!

41、 There must have been moments even that afternoon when Daisy tumbled short of his dreams --- not through her own fault; but because of the colossal vitality of his illusion. It had gone beyond her, beyond everything. He

42、had thrown himself into it with a creative passion, adding to it all the time</p><p>　　As I watched him he adjusted himself a little, visibly. His hand took hold of hers, and as she said something low in his

43、 ear he turned toward her with a rush of emotion. I think that voice held him most, with its fluctuating, feverish warmth, because it couldn't be over-dreamed--that voice was a deathless song.</p><p>　　T

44、hey had forgotten me, but Daisy glanced up and held out her hand; Gatsby didn't know me now at all. I looked once more at them and they looked back at me, remotely, possessed by intense life. Then I went out of the r

45、oom and down the marble steps into the rain, leaving them there together. </p><p>　　Barney, Daniel. The Great Gatsby [M]. Beijing: Foreign Language Teaching and Research Press, 2006, pp.130.</p><p

46、>　　3. From the start, Fitzgerald sensed the possibility of writing a novel whose theme embraced the notion of dreams in a general way. In letters written around the period of The Great Gatsby, Fitzgerald refers to th

47、e novel's being about those illusions that matter so much that you chase after them, because even though they are illusions, nothing matters as much as they do. What counts is nothing less than the profoundest experi

48、ence of love. Yet what is Gatsby's love for Daisy but illusion, one fe</p><p>　　Bruccoli, Matthew J. New Essays on The Great Gatsby [C]. England: Cambridge University Press, 1985, pp. 55.</p><

49、p>　　4. Just as Mark Twain and William Dean Howells grew up thinking that America would become the hope of the world and became very bitter old men in the end, so F. Scott Fitzgerald and Ernest Hemingway as young peop

50、le were very enthusiastic and excited about this new world they were living in but lived to realize eventually that, instead of success, it was all disaster. For Fitzgerald, who lived in the midst of the "roaring tw

51、enties" and was part of it all---driving fast cars, drinking hard whisky</p><p>　　常耀信. A Survey of American Literature [M]. Tianjin: Nankai University Press, 2003, pp. 218.</p><p>　　5. Thr

52、ee things eventually combined to break him down: loneliness, alcohol, and the awareness that he was dissipating his talent. Even in their best days together, Scott Fitzgerald, as an artist, was sober enough to feel alien

53、 to the "vanity fair" of which both he and Zelda were an integral part, and as a man at once infatuated with an ideal and emaciated by an unduly early awareness of its deceptive character, he had always stood m

54、entally aloof from the spectacle which kept passing before him.</p><p>　　常耀信. A Survey of American Literature [M]. Tianjin: Nankai University Press, 2003, pp. 221.</p><p>　　6. He might have des

55、pised himself, for he had certainly taken her under false pretenses. I don't mean that he had traded on his phantom millions, but he had deliberately given Daisy a sense of security; he let her believe that he was a

56、person from much the same stratum as herself--that he was fully able to take care of her. As a matter of fact, he had no such facilities--he had no comfortable family standing behind him, and he was liable at the whim of

57、 an impersonal government to be blown anywh</p><p>　　But he didn't despise himself and it didn't turn out as he had imagined. He had intended, probably, to take what he could and go--but now he found

58、 that he had committed himself to the following of a grail. He knew that Daisy was extraordinary, but he didn't realize just how extraordinary a "nice" girl could be. She vanished into her rich house, into

59、her rich, full life, leaving Gatsby--nothing. He felt married to her, that was all.</p><p>　　Barney, Daniel. The Great Gatsby [M]. Beijing: Foreign Language Teaching and Research Press, 2006, pp.238.</p&g