
拜求英语高手帮我翻译一下!毕业论文急!!!!!!!谢谢!
Inthepassageabove,EileenChangwasnotonlydefendingheridiosyncraticaestheticsbutalsovoic...
In the passage above, Eileen Chang was not only defending her idiosyncratic aesthetics
but also voicing her discontent with the long-revered tradition of Chinese writers’
predominant obsession with the notion of wielding the power of the pen to transmit the
Word.9 For her, the “petit” business of the heart—in its aspiration and despair, its
altruism and selfishness, its obsession and emancipation—represented a starker and yet
far more lasting reality that demanded more of our attention than the transient political
ups and downs. In this respect, Chang prefigures the future generations of literati who
show great distrust for the grand narrative, in whose place they would rather harness the
petite histoire as a more effect means of unraveling the lived experience of people.
Notwithstanding her usual stance as an apolitical writer indifferent to the
socio-political context, her novella Lust, Caution stands out in the bulk of her works as it
foregrounds the patriotic politics of the 1940s, which serves as a stage for the heroine, or
more appropriately, the anti-heroine, Chia-chih to enact her espionage plot of conspiring
with other university students to take the life of Mr. Yee, a high-ranked jackal of the
collaborationist Wang Ching-wei government. Chang is said to have begun the story in
the early 1950s; however, it took her almost three decades to ruminate over the story until
it was published in 1979 as a novella in a collection of other works. The excessively
long process of writing may point to Chang’s psychological hesitancy as she dealt with
the material which bears such a striking resemblance to her own lived experiences. In
fact, the end-product of the novella is suffused with details that verge on autobiographical
references to Chang’s first-hand experience as she lived through the 1940s. The parallel
between Wang Chia-chih’s experience and what happened to Eileen Chang is too obvious
to be neglected. To begin with, like Chia-chih, Chang was evacuated to Hong Kong
when the Pacific War broke out. Furthermore, like Chia-chih, Chang had a liaison with
an official from the Wang government, which ended up in a legal marriage, only to break
up shortly afterwards because Chang’s husband Hu Lan-cheng was a libertine womanizer. 展开
but also voicing her discontent with the long-revered tradition of Chinese writers’
predominant obsession with the notion of wielding the power of the pen to transmit the
Word.9 For her, the “petit” business of the heart—in its aspiration and despair, its
altruism and selfishness, its obsession and emancipation—represented a starker and yet
far more lasting reality that demanded more of our attention than the transient political
ups and downs. In this respect, Chang prefigures the future generations of literati who
show great distrust for the grand narrative, in whose place they would rather harness the
petite histoire as a more effect means of unraveling the lived experience of people.
Notwithstanding her usual stance as an apolitical writer indifferent to the
socio-political context, her novella Lust, Caution stands out in the bulk of her works as it
foregrounds the patriotic politics of the 1940s, which serves as a stage for the heroine, or
more appropriately, the anti-heroine, Chia-chih to enact her espionage plot of conspiring
with other university students to take the life of Mr. Yee, a high-ranked jackal of the
collaborationist Wang Ching-wei government. Chang is said to have begun the story in
the early 1950s; however, it took her almost three decades to ruminate over the story until
it was published in 1979 as a novella in a collection of other works. The excessively
long process of writing may point to Chang’s psychological hesitancy as she dealt with
the material which bears such a striking resemblance to her own lived experiences. In
fact, the end-product of the novella is suffused with details that verge on autobiographical
references to Chang’s first-hand experience as she lived through the 1940s. The parallel
between Wang Chia-chih’s experience and what happened to Eileen Chang is too obvious
to be neglected. To begin with, like Chia-chih, Chang was evacuated to Hong Kong
when the Pacific War broke out. Furthermore, like Chia-chih, Chang had a liaison with
an official from the Wang government, which ended up in a legal marriage, only to break
up shortly afterwards because Chang’s husband Hu Lan-cheng was a libertine womanizer. 展开
2个回答
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在通过上述情况,张爱玲不仅是捍卫她特有的美学
但她也表示不满,长期尊崇传统的中国作家
主要痴迷的概念,挥舞权力的笔转交
Word.9对她来说,是“小”企业的心脏,在其愿望和绝望,其
利他主义和利己主义,它的执着和解放,是一个严酷,但
更为持久的现实,要求我们更多的注意比瞬态政治
跌宕起伏。在这方面,张prefigures的后代文人谁
表现出极大的不信任的宏大叙事,在其位,他们宁愿利用
小史是一个更加有效的手段揭开生活经验的人。
尽管她平常的立场作为一个非政治的作家无动于衷
社会政治背景下,她的中篇小说色戒站在了她的大部分作品,因为它
爱国政治前景的20世纪40年代,作为一个阶段的女主人公,或
更恰当,反英雄,稼志颁布她的间谍阴谋阴谋
与其他大学的学生的生命, YEE先生,高排名的豺
通敌汪精卫政府。张说,已经开始了的故事
20世纪50年代初,但把她近30年来玩味的故事,直到
这是发表在1979年作为一个中篇小说中收集的其他工程。过分
漫长的过程写作可能指向长的心理犹豫不决,她处理
材料负有这样一个惊人的相似之处,她自己的生活经验。在
事实上,最终产品的中篇小说是弥漫细节边缘的自传
提到长的第一手经验,她经历了20世纪40年代。平行
之间王家志的经验和发生了什么事张爱玲太明显
被忽视。首先,像稼志,张被送往香港
当太平洋战争爆发。此外,像稼志,张有联系
一名官员王政府,结束了在合法婚姻中,只有打破
此后不久,因为最多长的丈夫胡邋嗯成是一个放荡womanizer 。
你有打错的!
但她也表示不满,长期尊崇传统的中国作家
主要痴迷的概念,挥舞权力的笔转交
Word.9对她来说,是“小”企业的心脏,在其愿望和绝望,其
利他主义和利己主义,它的执着和解放,是一个严酷,但
更为持久的现实,要求我们更多的注意比瞬态政治
跌宕起伏。在这方面,张prefigures的后代文人谁
表现出极大的不信任的宏大叙事,在其位,他们宁愿利用
小史是一个更加有效的手段揭开生活经验的人。
尽管她平常的立场作为一个非政治的作家无动于衷
社会政治背景下,她的中篇小说色戒站在了她的大部分作品,因为它
爱国政治前景的20世纪40年代,作为一个阶段的女主人公,或
更恰当,反英雄,稼志颁布她的间谍阴谋阴谋
与其他大学的学生的生命, YEE先生,高排名的豺
通敌汪精卫政府。张说,已经开始了的故事
20世纪50年代初,但把她近30年来玩味的故事,直到
这是发表在1979年作为一个中篇小说中收集的其他工程。过分
漫长的过程写作可能指向长的心理犹豫不决,她处理
材料负有这样一个惊人的相似之处,她自己的生活经验。在
事实上,最终产品的中篇小说是弥漫细节边缘的自传
提到长的第一手经验,她经历了20世纪40年代。平行
之间王家志的经验和发生了什么事张爱玲太明显
被忽视。首先,像稼志,张被送往香港
当太平洋战争爆发。此外,像稼志,张有联系
一名官员王政府,结束了在合法婚姻中,只有打破
此后不久,因为最多长的丈夫胡邋嗯成是一个放荡womanizer 。
你有打错的!
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