Bibliography: pages 174-184. / This thesis examines the 'New Wave' in British science fiction in the 1960s and early 1970s. The use of the terms 'science fiction' and 'New Wave' in the thesis are defined through a use of elements of the ideological theories of Louis Althusser. The New Wave is seen as a change in the ideological framework of the science fiction establishment. For oonvenience, the progress of the New Wave is divided into three stages, each covered by a chapter. Works by the four most prominent writers in the movement are discussed.

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An unusual sensitivity to nature and an exceptional power of transforming that sensitivity into artistic expression are among the most frequently remarked traits of D.H. Lawrence's genius. But few critics have examined the individual phenomena so transformed. This study makes an effort to correct that neglect by focusing on Lawrence's treatment of flowers in his fiction. Daniel Stiffler has opened the way with his dissertation, "'Say It With Flowers': A Study of Floral Imagery in the Novels of D. H. Lawrence," but much work can still be done. Because Lawrence conceived of the flower as "the most perfect expression of life" and believed with Ursula Brangwen that art is "only the truth about the real world," my emphasis is upon Lawrence's fictional flowers as representatives of his philosophy of life, a philosophy of complementary opposites. Arguing that the female aspect of his philosophy is the "root" of unconscious awareness and that the male aspect is the "blossom" of language or "verbal consciousness," I describe the flower as a perfect expression of the union between the female and male aspects of life. But because such union is never fully achieved, the flowers in Lawrence's fiction demonstrate the dynamic tension between the female and male aspects, as they approach a moment of balance. Though H. M. Daleski argues that Lawrence's fiction records a struggle to heal the "breach" in his own nature as the "male principle" within himself separated from the more intrinsic "female principle," I try to demonstrate that Daleski's description is simplistic and that the very character of the flower as a symbolic model indicates that Lawrence's consciousness was by nature perennially growing away from itself, withering back to its "root" source, and then growing outward once more. / Master of Arts

本論文以Gulliver’s Travels晚清時期的中譯本《海外軒渠錄》（1906）為研究對象，探討譯者對原文諷刺手法的翻譯策略。Gulliver’s Travels 是西方諷刺（satire）文學經典之作，主要通過「敘事角色」（persona）以及「想像遊記」（imaginary voyage）的手法取得諷刺效果。晚清時期中西文學傳統殊異，想要在中文語境中再現原文的諷刺特點，並非易事。本論文通過具體的文本對比和分析發現，由於中國文學傳統以及晚清翻譯規範的影響，譯者在翻譯過程中改寫原文，因此《海外軒渠錄》未能體現Gulliver’s Travels的諷刺手法，而譯文也從一個側面展示出中西文學相互碰撞、對話的過程。本研究希望藉此個案，從文學表現以及文學交流的角度再論晚清小說翻譯。 / This thesis examines one late Qing Chinese translation of Gulliver’s Travels in 1906, namely Haiwai Xuanqulu 海外軒渠錄. The study focuses on how the literary devices of satire employed in the original text were rendered into Chinese by the late Qing translators. These devices include a narrative "persona" and the "imaginary voyage" structure. It is a challenging task for the translator to fully render these literary techniques into Chinese in late Qing period when the Western and Chinese literatures were remarkably different. Through detailed text comparison and analysis, we find that, influenced by Chinese literature tradition and late Qing translation practice, the translators made changes in translation in a way that the original satirical effect was not retained in the translated work. The translation also reflects in some degree the clash and dialogue between Western and Chinese literatures. This thesis aims to explore late Qing fiction translation from the perspective of literary transmission. / Detailed summary in vernacular field only. / 季凌婕. / Thesis (M.Phil.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 84-93). / Abstracts also in Chinese. / Ji Lingjie.

Thesis (Ph. D.)--University of Oregon, 2003. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-231). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (Ph. D.)--Uppsala University, 1998. / Includes bibliographical references (p. 178-183) and index.

《魔戒》（The Lord of the Rings）是現代奇幻小說的代表作品，由英國語文學家、牛津大學教授托爾金創作，自二十世紀五十年代中期分三卷出版後，帶動了奇幻小說此一文學類型在英美的興起。現在流行的奇幻小說，不少仿照了托爾金《魔戒》的架構和寫法。 / 現代奇幻小說核心概念之一，是要建構一個令讀者信任的“架空世界。小說家為了創造這種獨立存在的想像世界，各出奇謀，手法不一。托爾金塑造架空世界的技巧，很大程度上來自他愛好並從事研究的領域--語言及其歷史發展。在《魔戒》的架空世界中，托爾金刻意經營了一個獨特的語言系統，本研究稱之為“奇幻語言。這個系統至少涵蓋古語、新創語和命名系統三個層面：古語隱含“中土大地 種族發展的歷史；新創語映現了種族不同而語言各殊的現象；命名系統則是前兩者的集中呈現。三者互有關聯，其相互作用加強了架空世界的内部邏輯。 / 本研究擬從奇幻語言這三個層面入手，結合中國語言及文學的特色，分析四個《魔戒》中譯本的處理手法，藉此探討不同中譯本分別呈現出來的《魔戒》面貌，以及譯文衍生的變異狀況。本研究的分析指出，架空世界的成功變形與再生，有賴譯者對作者奇幻構想的整全掌握，並在譯文中重建一套與作者奇幻構思契合、而又自洽自足的內部邏輯。 / The Lord of the Rings (LOTR) by John Ronald Reuel Tolkien (1892-1973) marked the birth of modern fantasy fiction as a genre when it was published in three volumes in the 1950s. The structure and writing techniques of LOTR have been imitated by many fantasy novels since then. / Constructing a trustworthy “Secondary World is one of the most important aims of modern fantasy novels. To reach that goal, novelists employ various methods to create such an independent existence. Tolkien’s techniques in building his Secondary World come largely from Philology, his specialized research area which studies the histories of, and relationships between, languages. An ingenious language system, named in this thesis as “fantastic language, is designed and embedded into the story of LOTR by Tolkien. It covers at least three aspects, namely archaism, invented languages and nomenclature. Archaism indicates and suggests a long history behind the Middle-earth; invented languages show how languages differ among various races; nomenclature is the intersection of the former two aspects. The interaction between the three aspects of the fantastic language enhances the inner logic of the Secondary World, making it appear to be more consistent and real. / This thesis will analyze and discuss different representations of Tolkien’s Secondary World by exploring four Chinese translations of fantastic language in LOTR with reference to specific features of Chinese language and literature. This thesis points out that the successful transformation and re-creation of a Secondary World depends on a thorough understanding of the author’s imagination, and a re-construction of a self-consistent logic compatible with the author’s design. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 張甜. / "2013年7月". / "2013 nian 7 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 194-211). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Zhang Tian. / 摘要 --- p.ii / Chapter 第一章 --- 緒論 --- p.5 / Chapter 一、 --- 研究對象 --- p.5 / Chapter 二、 --- 各章簡介 --- p.9 / Chapter 三、 --- 文獻回顧 --- p.10 / Chapter 四、 --- 研究價值和方法 --- p.15 / Chapter 第二章 --- 奇幻文學發展和特點 --- p.17 / Chapter 一、 --- 奇幻的範圍 --- p.17 / Chapter 1.1. --- 奇幻文學：廣義與狹義 --- p.19 / Chapter 1.2. --- 以“文學類型界定奇幻文學 --- p.21 / Chapter 二、 --- 奇幻創作理論基礎 --- p.29 / Chapter 2.1. --- “架空世界誕生宣言 --- p.29 / Chapter 2.2. --- 令人信服的驚奇感 --- p.30 / Chapter 2.3. --- 從《哈比人》到《魔戒》 --- p.32 / Chapter 2.4. --- 《魔戒》的奇幻技巧 --- p.34 / Chapter 第三章 --- 《魔戒》架空世界和語言的關係 --- p.36 / Chapter 一、 --- 《魔戒》與語言 --- p.36 / Chapter 二、 --- 托爾金的語言世界 --- p.37 / Chapter 2.1. --- 對語音的敏感認知 --- p.37 / Chapter 2.2. --- 對古老語言的愛好 --- p.38 / Chapter 2.3. --- 從欣賞語言到新創語言 --- p.40 / Chapter 2.4. --- 從感性探索到科學研究 --- p.41 / Chapter 三、 --- 托爾金的文學世界 --- p.42 / Chapter 3.1. --- 民間故事研究熱潮 --- p.42 / Chapter 3.2. --- 文學團體互動啓發 --- p.45 / Chapter 四、 --- 三個奇幻世界與兩次語言轉變 --- p.46 / Chapter 4.1. --- 世界一的奇幻圖景 --- p.47 / Chapter 4.2. --- 偽譯以及世界二 --- p.50 / Chapter 4.2.1. --- 溝通世界一與世界二的橋樑：偽譯 --- p.50 / Chapter 4.2.2. --- 世界二的語言結構 --- p.51 / Chapter 4.2.3. --- 世界一到世界二的變形 --- p.52 / Chapter 4.2.4. --- 奇幻語言之三個層面：互動及比重 --- p.55 / Chapter 4.3. --- 中譯以及世界三 --- p.56 / Chapter 第四章 --- 《魔戒》古語之中譯 --- p.59 / Chapter 一、 --- 奇幻小說中的古語 --- p.59 / Chapter 1.1. --- 古語的定義 --- p.59 / Chapter 1.2. --- 古語的流行與誤區 --- p.60 / Chapter 二、 --- 《魔戒》古語及其中譯 --- p.60 / Chapter 2.1. --- 《魔戒》古語中譯之困難 --- p.61 / Chapter 2.2. --- 古老的詞彙 --- p.62 / Chapter 2.3. --- 古老的語法 --- p.67 / Chapter 2.3.1. --- 詞形變化 --- p.67 / Chapter 2.3.2. --- 前置句式 --- p.68 / Chapter 2.3.3. --- 分句關係 --- p.70 / Chapter 2.4. --- 古老的寫作技巧 --- p.71 / Chapter 2.4.1. --- 套語 --- p.71 / Chapter 2.4.2. --- 詩文結合 --- p.73 / Chapter 2.4.2.1. --- 洛汗人詩歌 --- p.73 / Chapter 2.4.2.2. --- 哈比人詩歌 --- p.77 / Chapter 2.4.2.3. --- 精靈詩歌 --- p.82 / Chapter 2.4.2.4. --- 湯姆龐巴迪的詩歌 --- p.89 / Chapter 第五章 --- 《魔戒》命名系統之中譯 --- p.97 / Chapter 一、 --- 一般文學與奇幻文學的名字 --- p.97 / Chapter 1.1. --- 有意義的虛構名字 --- p.97 / Chapter 1.2. --- 奇幻小命名系統的重要性 --- p.98 / Chapter 1.3. --- 《魔戒》命名系統的獨特之處 --- p.100 / Chapter 二、 --- 《魔戒》命名系統翻譯：托爾金的觀點 --- p.100 / Chapter 2.1. --- 〈命名〉提倡的翻譯方法 --- p.101 / Chapter 2.2. --- 〈命名〉對中文譯者指導作用的局限性 --- p.103 / Chapter 三、 --- 《魔戒》命名系統中譯研究 --- p.103 / Chapter 3.1. --- 中文人地名翻譯規範 --- p.104 / Chapter 3.2. --- 哈比人名和夏爾地名 --- p.105 / Chapter 3.2.1. --- 哈比人名 --- p.105 / Chapter 3.2.1.1. --- 熟悉又陌生的哈比人名 --- p.105 / Chapter 3.2.1.2. --- 透明的哈比人姓氏 --- p.106 / Chapter 3.2.1.3. --- 不透明的哈比人姓氏 --- p.107 / Chapter 3.2.1.4. --- 不可譯元素 --- p.108 / Chapter 3.2.2. --- 夏爾地名 --- p.110 / Chapter 3.2.2.1 --- 透明的夏爾地名 --- p.110 / Chapter 3.2.2.2 --- 半透明的夏爾地名 --- p.111 / Chapter 3.2.3. --- 重要人名與地名 --- p.113 / Chapter 3.2.4. --- 夏爾人地名總結 --- p.113 / Chapter 3.3. --- 布理姓氏 --- p.114 / Chapter 3.3.1. --- 作品描述影響譯名 --- p.114 / Chapter 3.3.2. --- 出現偏差的意譯 --- p.116 / Chapter 3.3.3. --- 布理姓氏中譯總結 --- p.117 / Chapter 3.4. --- 洛汗人名、馬名和地名 --- p.117 / Chapter 3.4.1. --- 洛汗人名 --- p.118 / Chapter 3.4.2. --- 洛汗馬名 --- p.119 / Chapter 3.4.3. --- 洛汗地名 --- p.121 / Chapter 3.4.4. --- 洛汗命名系統中譯總結 --- p.122 / Chapter 3.5. --- 新創語人名和地名 --- p.122 / Chapter 第六章 --- 《魔戒》新創語之中譯 --- p.124 / Chapter 一、 --- 多語文本之中譯 --- p.124 / Chapter 二、 --- 《魔戒》裡的新創語 --- p.126 / Chapter 2.1. --- 新創語的地位 --- p.126 / Chapter 2.2. --- 《魔戒》新創語分類 --- p.127 / Chapter 三、 --- 《魔戒》新創語之中譯 --- p.128 / Chapter 3.1. --- 圖片形式的新創語翻譯 --- p.128 / Chapter 3.2. --- 文字形式的新創語翻譯 --- p.133 / Chapter 3.2.1. --- 篇幅較長的新創語翻譯 --- p.133 / Chapter 3.2.2 --- 新創語詞彙片語之翻譯 --- p.136 / Chapter 3.2.2.1. --- 《魔戒》洛汗語和矮人語翻譯 --- p.137 / Chapter 3.2.2.2. --- 《魔戒》樹人語、半獸人語和黑話翻譯 --- p.139 / Chapter 3.2.2.3. --- 《魔戒》精靈語翻譯 --- p.142 / Chapter 第七章 --- 結論 --- p.147 / Chapter 附錄一 --- 中英譯名對照 --- p.154 / Chapter 附錄二 --- 《魔戒》種族人名地名中譯表 --- p.156 / Chapter 附錄三 --- 《魔戒》命名系統指南 --- p.168 / 参考書目 --- p.194