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beat out the tempo meticulously(Amadi,1965; 35)"，叙述本身已经足 以向读者说明斜体词是乐器名称(Sridhar.1982:295)0 其次.再现环境要求作者使用有特殊文化含义的语言。图图奥拉((A. Tutuola)在《棕搁酒醉 鬼》(The Palmwine Drinkard)中有“there was a special room in this house to play gamble"，和“… both land and heaven were tight friends"(O' Donnell邑Todd，1991:139)。"to play gamble”和 "tight friends”是约鲁巴语(Yoruba)里的说法。奥克拉(G. 0k ara)在《声音》(The voice)里用了 大量的埃角语((Ijav)的主宾谓句式: It was the day's ending and Okolo by a window stood. Okolo stood Looking at the sun behind the tree tops falling…Okolo at the palm trees looked. They were like wom- en with hair hanging dovn.dancing .possessed. Egrets，like white flower petals strung slackly across th e river ,swaying up down,were returning home. And ,on the river,ca- noes were craving home with bent backs and tired hands ,paddling (The Voice:13). 奥克拉主张“硬译”，其作品就是贯彻他的主张的样品(Schmied .1991;125) o 最后，在新英语国家中，英语只是人fi 7'质常使用的两种或多种语言之一，并不是一切人都 靠它来交流思想，在经常使用英语的人群中，语言能力也大不一徉，这就给新英语作家提出了 一个难题，即如何去表现素材、环境中的话语差别。常见的处理方法有三种。第一是用国际英. 语，但在最必要的地方夹杂音译的地方词。如马来西亚的林本汉((Lim Beng Hap)在“Poonek”中 写道: ，Watch out，Mahsen，watch out!，Mahsen turned to look at Louisa. She was still sitting on the branch of the tree，but now she was pointing towards the water.， Buaya!"she screamed. '} A crocodile!”(Platt et all，198-1:183) 克鲁(W. J. Crewe,1978;83-=1)认为一旦。rocodile从小姑娘嘴里叫出来，话语的真实性就被 破坏了，所以作者宁可硬加一种解释，也要用马来语词buayao 第二种办法是用本民族的标准英语写.但尽可能保留人物原型的地理方言和社会方言色 彩。菲律宾的贾握拉纳((S.Javellana)笔下的农民说: "Hey,Richardo,son of Juan Sucrtc,"Gondoy shouted,"don，t you hear the church bell in town ringing the Angelus?Aba,to look at you one would think you married with a dozen children to feed.”(Javellana.1976:4) 最后一句话是菲律宾英语;对人说话时.在姓名后面又加“son of Juan Suerte”是某种地理方言 的习惯。 印度的戴(L. B. Day)有另外一段话: "Come in，"said Badan，and jumped out of the verandah towards the door. "Come in， Acharya Mahasaya;this is an auspicious day when the door of my house has been blessed with the dust of your honour s feet. Gayaram,fetch an asan本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。