Abstract After the publication of Andrea Alciato’s Emblemata (1531), emblem books were the most popular and most widely printed vehicle for illustrated poetry in the Renaissance. European printers produced many editions of emblem books and translated them into several languages. Artisans created emblem illustrations through what we might now consider “visual paraphrase”: copying or redrawing existing images to carve new woodblocks. These (re)production habits created a pan-European discourse community. The particular reuses of illustration afforded vernacular readers a shared visual language, and translators shifted verbal signifiers to meet the demands of new audiences. This article examines image reproduction and translations of fowling emblems: Alciato’s “Dolus in Suos” and Guillaume de la Perrière’s “Emblem LIIII.” In particular, it focuses on vernacular translation practices that brought continental images to English readers. Two early English emblem books, Geffrey Whitney’s A Choice of Emblems (1586) and Thomas Combe’s The Theater of Fine Devices (1614), included language to help readers navigate the pictures and poetry. Whitney and Combe produced translations/adaptations that reshaped the emblem: instead of constructing traditional, connotative meanings between motto, poem, and picture, these translators produced a denotative word–image relationship so that English readers could more easily decipher and understand emblems’ visual vocabulary.

中文翻译：

---

广播网络和早期现代标志

摘要在安德里亚·阿尔西亚托（Andrea Alciato）的《象征》（Emblemata，1531年）出版之后，象征书籍成为文艺复兴时期最流行，印刷最广泛的插图诗歌载体。欧洲印刷商印制了许多版本的会徽书，并将其翻译成几种语言。工匠通过我们现在认为的“视觉释义”创建了会徽插图：复制或重绘现有图像以雕刻新的木刻版画。这些（再）生产习惯造就了泛欧话语界。插图的特殊重用为白话读者提供了一种共享的视觉语言，并且翻译人员转移了语言指示符，以满足新读者的需求。本文研究了禽鸟标志的图像复制和翻译：Alciato的“ Sulu中的Dolus”和Guillaume de laPerrière的“ Emblem LIIII”。特别是，它着重于为英语读者带来大陆图像的白话翻译实践。Geffrey Whitney的两本早期的英国会徽书籍，Geffrey Whitney的《 A Choice of Emblems》（1586年）和Thomas Combe的《精细设备的剧院》（Theatre of Fine Devices）（1614年）都包含了帮助读者浏览图片和诗歌的语言。惠特尼（Whitney）和科姆（Combe）制作的翻译/改编词重新塑造了标志：这些翻译者没有在座右铭，诗词和图画之间构造传统的，含意的含义，而是产生了一种意味深长的词意关系，以便英语读者可以更轻松地解读和理解标志的视觉词汇。包含的语言可以帮助读者浏览图片和诗歌。惠特尼（Whitney）和科姆（Combe）制作的翻译/改编词重新塑造了标志：这些翻译者没有在座右铭，诗词和图画之间构造传统的，含意的含义，而是产生了一种意味深长的词意关系，以便英语读者可以更轻松地解读和理解标志的视觉词汇。包含的语言可以帮助读者浏览图片和诗歌。惠特尼（Whitney）和科姆（Combe）制作的翻译/改编词重新塑造了标志：这些翻译者没有在座右铭，诗词和图画之间构造传统的，含意的含义，而是产生了一种意味深长的词意关系，以便英语读者可以更轻松地解读和理解标志的视觉词汇。