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| 个人信息 |
| 姓 名： |
董译员 [编号]:3267 |
性 别： |
女 |
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| 擅长专业： |
经贸、文学、瑜伽 |
出生年月： |
1990/3/1 |
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| 民 族： |
汉族 |
所在地区： |
浙江 宁波 |
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| 文化程度： |
本科 |
所学专业： |
英语 |
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| 毕业时间： |
2012 |
毕业学校： |
台州学院 |
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| 第一外语： |
英语 |
等级水平： |
专业四级 |
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| 口译等级： |
中级 |
工作经历： |
1 年 |
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| 翻译库信息 |
| 可翻译语种： |
英语 |
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| 目前所在地： |
浙江 宁波 |
| 可提供服务类型： |
笔译、家教 |
| 每周可提供服务时间： |
都可以 |
| 证书信息 |
| 证书名称： |
专业四级 |
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| 获证时间： |
2009/12/1 |
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| 获得分数： |
67 |
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| 工作经历 |
| 工作时期： |
2008/7/1--2008/9/1 |
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| 公司名称： |
格瑞特英语培训学校 |
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| 公司性质： |
民营企业 |
| 所属行业： |
教育/培训 |
| 所在部门： |
教学部 |
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| 职位： |
英语教师 |
| 自我评价： |
对教学实践积累了一定经验，学会了与学生和家长沟通以及整理文案 |
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| 笔译案例信息 |
| 案例标题： |
JULES ET JIM |
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| 原文： |
JULES ET JIM (1953)
HENRI-PIERRE ROCHÉ
Jules and Jim (1961), France, directed by Fran鏾is Truffaut,
adapted by Truffaut and Jean Gruault; Films du
Carrosse/SEDIF.
The Novel
Henri-Pierre Roché, who was entirely unknown during his
lifetime, was made famous by Truffaut’s version of his first
novel, Jules et Jim, which he wrote in 1953 at the age of 74.
Apart from Jules et Jim, Roché wrote one other novel, Les
Deux Anglaises et le continent (also filmed by Truffaut), and
a handful of short articles and reviews.
The largely autobiographical plot of Jules et Jim chronicles
some 30 years in the lives of its three protagonists,
extending from the heady Parisian life of the Belle Epoque
to the grim era of the depression and the rise of Hitler. The story begins in Paris when Jim, a Frenchman, and
Jules, a German, meet and become close friends. Together,
haunted by the image of a smile they see on a statue, they
set off in search of the ideal woman, and their quest ends
when they meet the fascinating Catherine. With the
agreement of Jim, she becomes Jules’s girlfriend and the
three of them form an inseparable trio. When the First
World War breaks out, Jules and Catherine, now married,
settle in Germany, and Jules and Jim inevitably find themselves
fighting in the trenches on opposite sides.
After the war, Jim visits Jules and Catherine and their
young daughter Sabine, who seem to be idyllically happy,
although Jules is in fact tortured by the certainty that
Catherine will leave him. In order not to lose her completely,
he encourages a ménage à trois involving Jim and
Catherine, but it does not last long, and soon Jim returns
to Paris and his faithful lover Gilberte. When Jules and
Catherine return to France, some years later, nothing has
changed in their complex triangular relationship. Catherine’s
final act is to drive her car into the river, with Jim in
the passenger seat.
The Film
Jules and Jim is Truffaut’s fifth film, made in 1961, and certainly
one of the greatest documents of the French New
Wave. He discovered the little-known novel on which it is
based when he was a relatively unknown film critic, and
claims to have fallen in love with it immediately, attracted
by its breadth of vision, its essential dynamism, and its
modern spirit, which he described as its “new morality
incessantly reconsidered.” He vowed, as early as 1953, that
if ever he succeeded in becoming a director, he would film
this work. He later made the acquaintance of Roché, and
together they discussed the problems of adapting the book
for the cinema. Because Truffaut recognized the ambitious
nature of the project, he decided that he needed considerable
directing experience before tackling it. Roché was
very enthusiastic, particularly once he had seen photos of
Jeanne Moreau, chosen by Truffaut to play Catherine. It is
unfortunate that Roché died in 1959, and thus never saw
the film.
Filmed on location in Paris and on the C魌e d’Azur
between April and June 1961, Jules and Jim was an immediate
success, soon gaining cult status in Europe. Truffaut’s
film echoes Roché’s plot closely, and he retains much of
the original dialogue, while striving to reproduce the sense
of breathless speed and freshness he discerned in the original.
The film script, written jointly by Truffaut and Jean
Gruault, was based on close textual analysis of the novel,
guaranteeing detailed understanding and coherent adaptation.
However, once the script was complete, it was used
by Truffaut not as a rigid document, but as the basis for the
shooting; working within its parameters, he allowed
himself freedom to improvise, and to allow the actors
to improvise, where necessary. This undoubtedly contributes
a sense of spontaneity and immediacy to the film,
which is cinematically exciting and innovative, rather than
merely relying on reproducing visually the literary devices
found in the novel. The film further captivates the audience
through its excellent acting and sustained character
development.
Truffaut saw his film as a way of paying homage to
Roché’s work, and he aimed to express in it the same poetic
vision and sense of excitement he had found in the novel.
He wanted to escape the traditional approach to adaptation,
which he saw as a somewhat theatrical and predictable
exploitation of plot, and to create instead a filmed
novel that would express the vitality and beauty of the
original. Therefore, despite remaining faithful to the original
text, his film is a new expression of it, rather than an
imitation.
Truffaut decided to use an offscreen narrator for those
moments when it seemed impossible to transform the text
into dialogue; he also alternates dialogue and reading
aloud within the film, as a way of sustaining and acknowledging
its close links with the original. For the sake of
coherence and length he reduced the range of events and
characters found in the novel, but at the same time he
thought that it was essential to retain its vigor and its
breathless pace. This he achieves through the visually
stunning use of widescreen, Raoul Coutard’s black-andwhite
cinematography, and Georges Delarue’s lyric music
score. When asked what the real theme of the film was, he
claimed that it was explicitly stated in the film’s theme
song, “Tourbillon de la vie” (Whirlpool of life), and it is
possible to read the whirling, circular camera movement in
this light. As the film’s action coincides with the period of
silent film, Truffaut includes many silent-film devices in
his text as an effective way of creating the atmosphere of
the period; while, in order to capture the novel’s sense of
immediacy, he incorporates authentic newsreel footageshowing, for example, Paris in 1900, the First World War,
and the Nazi book burnings. At the same time, the film can
be seen as a fascinating catalogue of the arts, filled with
references to film, photography, sculpture, paintings, and,
of course, literature.
The shifting stresses that create the tensions composing
the central triangular relationship, and the unpredictability
and speed at which everything happens, help to
capture a sense of an unorthodox concept of morality, and
it is this, above all, that made the film so absolutely relevant
to its time, and captured the imagination of young
people everywhere.
REFERENCES
Nicholls, D., Fran鏾is Truffaut (Batsford, 1993); Truffaut, F., Truffaut
by Truffaut, tr. Robert Erich Wolf (Harry N. Abrams, 1987).
—W.E .
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| 译文： |
朱尔和吉姆（1953）
昂利-皮埃尔·罗歇
朱尔和吉姆（1961），法国，由弗朗索瓦.特吕弗执导，由特吕弗和让·格鲁沃尔改编；Carrosse/SEDIF 电影制作公司
小说
昂利-皮埃尔·罗歇，生前一直默默无闻，直到特吕弗把他在1953年他74岁时写的第一部小说《朱尔和吉姆》拍成电影，他才为世人知晓。除了《朱尔和吉姆》，罗歇还写了另一部小说《两个英国女人和一个法国男人》（也是由特吕弗翻拍的）和几篇短文和评论。《朱尔和吉姆》的主要自传体式的情节贯穿了三个主人公三十年的生活，从法国黄金时代令人陶醉的巴黎生活到糟糕的萧条时期，再到希特勒的反抗时期。故事开始于巴黎，法国人吉姆和德国人朱尔相遇，之后成为亲密好友。两人不约而同地被一具雕像的笑容深深吸引，他们开始寻找他们心中的完美女性，当他们遇到迷人的凯瑟琳，他们停止了寻找。 吉姆同意成全朱尔，凯瑟琳成了朱尔的女朋友，他们三人形影不离，跟三剑客一样。
当一战爆发时，已经结婚的朱尔和凯瑟琳定居在德国，所以朱尔和吉姆不可避免地为各自的国家战斗，成为了敌对方。战争结束后，吉姆拜访了朱尔、凯瑟琳和他们的小女儿萨宾恩，她看起来很快乐，而朱尔实际上因为凯瑟琳肯定要离开他而备受折磨。
朱尔为了不完全失去凯瑟琳，他提议结成三角关系，包括吉姆和凯瑟琳，但好景不长，很快吉姆回到巴黎，回到一直在等他的女友娇蓓的身边。当朱尔和凯瑟琳回到法国，几年过去后，他们之间复杂的三角关系没有任何改变。最后，凯瑟琳载着吉姆，将车开入了河里。
电影
《朱尔和吉姆》是特吕弗的第五部电影，拍摄于1961年，无疑是法国新浪潮最杰出的代表。当他还是一个不太有名的电影评论家时，他就发现了这部他不为人知的小说，它是特吕弗拍摄《朱尔和吉姆》的基础。他说他很快就爱上了这部小说，被其视觉的宽度，必不可少的活力和现代精神所深深吸引，他描述这现代精神是“不断被重新定义的道德观”。
早在1953年，他就发誓，如果他有朝一日成为了导演，他讲拍这个作品。之后，他与罗歇熟识，他们一起讨论了讲这部小说改编成电影的问题。因为特吕弗认识到他对这个项目是有野心的，他决定他在拍这部作品前需要一定的执导经验。罗歇满腔热情，特别是当他看了特吕弗挑选的将饰演凯瑟琳的让娜.莫罗的照片后。不幸的是罗歇于1959年去世，没能看这部电影。
拍摄地设在巴黎和蔚蓝海岸的拍摄于1961年4月至6月的《朱尔和吉姆》立刻获得了成功，在欧洲迅速受到狂热追捧。
特吕弗的电影很好地还原了罗歇的情节，而且他还保留了原著中的很多对话，他力求再现他在原著中感受到的扣人心弦的速度和鲜活感。
电影的剧本，是由特吕弗和让·格鲁沃尔一起写成的。剧本的创作是基于对原小说的深入分析，力图保证细致的理解和连贯的改编。
然而，剧本完成后，特吕弗并没有把它作为死板的文本，而只是作为拍摄的基础；在剧本的一定限制下拍摄时，他让自己有即兴发挥的自由，必要的时候，也允许演员有即兴发挥的自由。这无疑对电影的自发感和即时性做出了贡献，从电影角度来看，这是具有革新精神的，令人兴奋的，而不是仅仅依靠于从视觉上再现从小说中发现的文学手段。
这部电影在更大程度上用精彩的表演和持久的角色性格发展。
特吕弗把他的电影作为向罗歇的作品表示敬意的方式，他的目标是在电影中表达出他在小说中体会到的相同的诗意视觉效果和兴奋感。
他想要跳脱改编的传统套路，他认为传统套路是戏剧性的，可以预见的对小说情节的挖掘。他想要创造出的改编自小说的电影是能够表达原著的生命力和美感的。所以，虽然他的电影保留对原著的忠实，更是一次新的表达，而不是仿效。
特吕弗决定用画外音来表现不可能将原文转换成对话的场景；他还在电影里交替出现对话和大声朗读，作为保持和承认与原著的紧密联系。
为了连贯和长度，他删减了小说中的一些事件和人物，但同时，他认为有必要保留活力和扣人心弦的节奏。
这些的获得他是通过视觉上对宽屏的出色使用，和拉乌尔库塔尔的黑白电影术，佐治·狄奈许的抒情音乐的成功。
当被问道这部电影的真正主题是什么时，特吕弗回答说，这在电影的主题曲“生命的漩涡”中很显然地表现出来了，另外在灯光中读出旋转的环形的摄像机的移动是可能的。
因为这部电影的表演与无声电影时期一致，特吕弗在剧本中运用了很多无声电影手段，作为创造这个时期的氛围的有效方式；
而为了获得这部小说的即时感，他并入了一些真实的新闻短片的放映，如1900年的巴黎，第一次世界大战，燃烧纳粹的书籍。
同时，这电影中蕴含了一系列吸引人的艺术，充满了影片，摄影术，雕刻，绘画，当然还有文学。
变动的重点在于创造组成中心三角关系的紧张感，不可预知性和一切发生的速度，这些都有助于获得非传统的道德观。总的来说，正是这非传统的道德观让这部电影与当时法国处于的时期完全的切合，俘获了所有年轻人的想象力。
参考书目
尼科尔斯，德.,弗朗索瓦兹 特吕弗（巴茨福德，1993）；特吕弗，弗.,特吕弗 由特吕弗，特赫.罗伯特 埃里希 伍尔夫（哈瑞 尼.艾布拉姆斯，1987）
------W.E.
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