功能主义视角下的大学校歌翻译研究

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从功能加忠诚理论看校训的翻译

同校训英译过程中采用的不同翻译方法和策略，如直译、变换、整合等方法，并分析这些方法是如何帮助棱训传达其在原语语
境中的功能的。
关键词：功能加忠诚；汉语校训；英译
一
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前言
根据中华书局出版的《辞海》，校训解释为： “ 学校为
较全面较实用的翻译理论。校训翻译注重功能的体现，因此运用以是否达到预期功能为翻译评价标准的功能理论来研究
德与价值领域的追求。（晓雪）钟汉语校训大多来自儒家经以及分析所得译文对忠诚加功能理论的翻译要求的体现。典文化，非常重视德育。 “ 训育多以指道德方向之涵养、熏二、功能加忠诚理论和校训的翻译陶。” （转引自杨元业）校训的最终目的是引起注意并指导克里斯带安・诺德（ｈｉｉｅＮｏｄ）是德国功能学派代Ｃｒｓａｒｔｎ实践。表人物之一。她深受其老师莱斯的文本类型学的影响，以及最近几年对校训的研究不断增多，在中国知网跨库检索弗米尔的目的论和赫尔兹一曼塔里的翻译行为理论的影响，上输入 “ 校训”二字，能搜到４９７条相关信息，但对校训翻译认为不同的文本作用不同，翻译时要根据翻译行为的目的进的研究却相对较少。根据研究内容可将其归纳为三个方面：行翻译，及 “ 目的决定手段。但是在接受影响的同时，她还是对汉语校训本身的研究。如陈桂生（９８）１９根据有自己不同的见解。在《翻译中的语篇分析》一书中，她提
汉语校训的翻译是最好的选择。文章主要在三种翻译方法和

功能对等视域下中文歌词的英译探讨——以《月半小夜曲》为例

48功能对等视域下中文歌词的英译探讨——以《月半小夜曲》为例■王馨伟/青岛大学外国语学院摘　要：21世纪的中国，在对外开放的过程中更加注重同世界各地的文化交流。

音乐作为文化传播的新兴媒介，在文化传播中的地位至关重要。

许多优秀的中文歌曲在国外流行开来，为加深异域听众的印象，促进他们对中国文化的理解，歌词翻译显得尤为重要。

本文试以功能对等翻译理论为指导，探讨《月半小夜曲》的英译，并对其中采用的翻译技巧进行了分析。

关键词：功能对等　歌词翻译　《月半小夜曲》　翻译技巧一、前言随着中西方文化交流的日益加深，中国许多的优秀歌曲漂洋过海，进入了异域人们的视野（胡红，2013）。

由于中西方文化差异，许多中文歌曲触动人心，但歌词难以被不懂中文的外国听众理解，一定程度影响了中文歌曲的有效传播。

本文选取一首创作于上世纪80年代的流行歌曲《月半小夜曲》，由日本歌手河合奈保子作曲，中国作曲家向雪怀作词，中国香港歌手李克勤演唱，成为红极一时的中文歌曲。

近年来，在日新月异的中国音乐节目《我是歌手》中，容祖儿的翻唱又将这首歌曲推向歌单榜首，中外音乐爱好者竞相翻唱。

在文化交流日益频繁的今天，中文歌曲若要更好得走出国门，拥抱世界，为异域听众所接受，需要高质量的歌词翻译。

二、歌词翻译的要求（一）可传唱性歌词翻译首先要保证译文的可传唱性。

在英译过程中，译者应注重英文歌词的节奏和音节的处理。

胡红（2013）提出：欲将中国的文字效果最大化地呈献给国外听众，需注意原文中比喻、对偶、拟人等修辞手法的翻译，根据需要采用相应的翻译方法。

赵琳（2018）认为在英译过程中要充分考虑英文歌词的声调、韵律及风格等因素，在歌词翻译过程中灵活运用翻译策略和技巧，译文朗朗上口将有利于提高传唱度。

（二）可欣赏性音乐是一种能为观众带来美妙听觉感受的艺术形式。

译者在翻译过程中需要充分把握源语与目的语国家文化特性和风俗习惯。

多晓萍（2017）认为歌曲翻译的较高境界指的是译文的可欣赏性。

从功能等值翻译的角度看歌词翻译

20 10 年第 2 期N o, 2, 2 010九江学院学报(哲学社会科学版)J o u r n a l of J i u jian g U n i v e rs i ty ( Ph il o s o ph y an d S o c i a l S c i en c e)(总第 1 57 期)( Sum N 0 157 )从功能等值翻译的角度看歌词翻译张婷娜1, 2 王燕1, 2( 1华中师范大学湖北武汉4300792九江学院外国语学院江西九江332005)摘要: 歌词作为诗歌的一种特殊形式, 由于需考虑到音乐性歌词译配的影响, 其翻译质量很值得探讨。

本文借助现有的功能等值翻译理论, 通过阐述中英文歌词特征的不同, 讨论了歌词翻译中需要注意的几个重要方面, 比如韵律、节奏等, 以此使歌词其美学价值得到更充分的体现。

关键词: 歌词翻译功能等值韵律节奏中图分类号: J 614 91 文献标识码: A 文章编号: 16 73 -458 0( 2 010 ) 02 -01 02 -( 03 )功能翻译理论强调, 翻译是一种特殊的交际形式, 涉及三种文本: 原语文本、译者的图式文本和译语文本。

原语文本最重要的是正确理解原语的修辞功能, 而正确把握原文的认知图式又是正确理解原文修辞功能的基础。

在这个图式文本的基础上, 产生怎样的译语文本, 除了修辞功能等值之外, 还应该考虑翻译的目的和读者对象。

一、歌词翻译依据音乐学家钱仁康教授意见, 我国翻译外国歌曲开始于清朝末年。

从当时到20 世纪40年代时, 所引进的外国作品几乎很少按照原文歌词作译配介绍, 大都采用两种方式: 一是采用外国的曲调填以中国的古典诗词, 另一是采用外国的曲调自行填词。

而马塞曲国际歌伏尔加船夫曲的翻译则经历了从只作为译诗不能配曲演唱到译文在文学意境及音律和词曲结合上都十分出色的过程。

由于中英文语言发音及思维方式不同的特点, 因此造成了中英文歌词的不同。

功能对等理论下中国高校校训的翻译

语言新探功能对等理论下中国高校校训的翻译余溢彩江西财经大学校训是各大高校基于校园文化及办学特色制定的对师生有指导意义的训词，它是广大师生共同遵守的基本行为准则和道德规范，是校园文化的核心和灵魂，是学校精神面貌的真实写照。

一所高校要想提升自己在国际上的名誉，弘扬高校精神，首先要做好校训的翻译。

一个合格的译文要做到在意义、句法以及文体方面都与原文相差无几，这一翻译原则也体现在奈达的功能对等翻译理论中。

校训是一种十分精准凝练的语言，具有精炼性、延续性以及针对性。

在校训的翻译中，翻译质量参差不齐，有的完美展现了校训中的意义，有的则难以再现原文的风韵。

语言学家尤金·A·奈达曾提出著名功能对等翻译理论。

他提出不同的语言在翻译的过程中难以达到完全对等，甚至可以说两种语言之间不存在绝对的对等，因此在翻译之前要根据原文的写作风格及类型确定不同的翻译对等原则。

奈达强调，翻译过程中应注重两种语言的功能对等，而功能对等强调的是用最合适恰当的语言表达出源语言的信息。

另外，翻译的难易程度也与校训的语言风格息息相关。

有的校训原文由对仗的词语组成，也就要求译文在翻译出意思的同时，尽量寻求形式对仗。

若以形式对仗的标准来看，有些校训的翻译则达到这种标准。

如山东大学的校训“气有浩然，学无止境”的英译为“Noble in Spirit.Boundless in knowledge”。

首先从意义上看，译文准确地表达出了原文意思。

再从形式上看，译文也采取了对仗的手法，读来琅琅上口，便于记忆及传播，因此，可认为山东大学的校训译文符合功能对等的翻译原则。

再如北京大学的校训“爱国进步民主科学”由八个词语组成，简练之中意蕴丰富。

它的英译版本为“Patriotism. Advancement.Democracy and Science”。

译文用了四个名词表达出了校训的含义，同样也与原文形式对仗，风格统一，符合功能对等翻译理论中词语对等、篇章对等、句法对等以及文体对等四大原则。

从功能对等探讨英语歌名翻译

歌曲名是歌曲的重要组成部分 , 通常歌名简明扼要的诠释歌曲的主要意思 , 而且很多好歌的歌名也是歌曲的高潮部分 , 给人留下深刻印象 , 从而使歌曲久唱不衰 , 吸引歌迷注意力。好的歌名翻译能使名曲佳作广泛流传。迄今为止 , 欧美许多名曲佳作被译介到中国 , 然而对于曲名的翻译探讨却为数不多 , 为了更好地促进中西音乐文化的交流 , 笔者认为 , 探讨歌曲名的翻译很有意义。歌名的翻译既要忠实于原作 , 又要体现原文本表达的意境 , 实非易事。
音译法常用于专用名词的翻译 , 如果原曲名是以人名、地名命名的 , 通常可以采用音译法 , 音译时的选字应以约定俗成的名字为宜。如 : 经典奥斯卡影片《北非谍影》的插曲 Casablanca (卡萨布兰卡) ; 电影《音乐之声》中的经典儿童歌曲 Do - Re - Mi (多 - 来 - 咪) Mona Lisa (蒙娜丽莎) ; Oh ! Carol ( 哦 , 卡罗 ) ; LochLomond ( 罗梦湖 ) ; Clementine (克莱门泰茵) 等。音译法的最大优点是可保留原歌曲名的音韵之美 , 体现歌曲的异国情调或特色 , 易于为人接受 , 也能很好地避免误解。
④《古木怪石图》又称《木石图》, 本无款印 , 据卷后刘良佐 , 米芾题诗定为苏轼手笔。
⑤《东坡居士画怪石赋》出自孔武仲《宗伯集》卷一。孔武仲 (1041 —1097) , 宋代诗人。
⑥李公麟 (1049 —1106) , 北宋著名画家 , 被推为 “宋画第一”。他作画善用线描 , 运笔如行云流水 , 多不设色 , 人称 “白描”。
2 、意对等直译是一种重要的翻译方法 , 它能传达原文意义 , 体现原文风格等。据估算 , 大约 70 %的句子要用直译方法来处理 , 所以直译广为译者采用 , 由此可见直译法之重要。尤金 ·奈达在其 Language , Cult ureand Translation 一书中提到运用 “功能对等”原则时 , 首先建议 : “If more or less literal cor2 respondence is f unctionally equivalent in bot hdesigna2 tive and associative meaning , t hen obviously no ad2 just ment s in formare necessary. ” (贾文波 , 2004) 由于中西方文化中存在许多对等信息和概念 , 因此在不违背目的语言规范和不引起目的语受众误解的情况下 , 采取直译法能很好地忠实于原曲名形式与内容。如 : You Are t he Sunshine of My Life (你是我生命中的阳光) I Will Always Love You (我会永远爱你) ; Hero (英雄) ; Miss You (想你) ; Moon River (月亮河) ; he Sound of Silence ( 寂寞之声)

功能翻译理论视角下的英文歌曲汉译

功能翻译理论视角下的英文歌曲汉译一、本文概述在全球化的浪潮下，音乐作为一种跨越语言和文化的艺术形式，越来越受到人们的喜爱。

英文歌曲作为其中的一部分，以其独特的韵律和深邃的内涵吸引了大量中国听众。

然而，英文歌曲的汉译并非简单的语言转换，而是一项涉及文化、艺术和语言学的复杂任务。

本文旨在从功能翻译理论的视角出发，探讨英文歌曲汉译的策略与方法。

功能翻译理论强调翻译的目的和功能，认为翻译应满足特定情境下的交际需求。

在英文歌曲汉译的过程中，我们不仅要保留原曲的音乐性和歌词的文学性，还要考虑到中文语境下听众的接受度和审美习惯。

因此，本文将从功能翻译理论的角度出发，分析英文歌曲汉译的挑战和难点，提出相应的翻译策略，以期在保持原曲韵味的同时，实现歌词在中文语境中的有效传达。

具体而言，本文将首先介绍功能翻译理论的基本概念和原则，然后分析英文歌曲汉译的特点和要求。

接着，通过具体案例分析，探讨如何在保持原曲风格的基础上，实现歌词的准确传达和意境的再现。

本文将总结英文歌曲汉译的经验教训，为未来的翻译实践提供参考。

希望通过本文的研究，能够为英文歌曲汉译提供新的视角和思路，推动音乐翻译领域的发展和创新。

二、功能翻译理论概述功能翻译理论，源于20世纪70年代的德国，是由汉斯·弗米尔（Hans Vermeer）和凯瑟琳娜·莱斯（Katharina Reiss）等学者提出并逐渐发展起来的。

该理论强调翻译的目的和功能，主张翻译应根据不同的语境和目的选择适当的翻译策略和方法。

功能翻译理论突破了传统对等理论的束缚，认为翻译并非简单的语言转换，而是一种跨文化的交际行为，应以实现交际功能为首要目标。

在功能翻译理论框架内，翻译被划分为三种基本类型：信息型翻译、表达型翻译和操作型翻译。

信息型翻译旨在传递信息，如新闻、科技文献等；表达型翻译注重原文的艺术效果和作者的情感表达，如文学作品；操作型翻译则强调对读者的呼唤和引导，如广告、宣传册等。

从同质语言观到功能主义主流歌曲翻译论文

从同质语言观到功能主义主流谈歌曲翻译【摘要】多年来，世界经典名曲经久不衰，一代一代地传唱下去，歌曲的翻译可算一位大功臣。

一些大诗人、大作家认为歌曲不可译，然而语言的共通性和艺术的可意会性决定歌曲是可译的。

那么又该如何译？功能主义主流派抛弃旧时翻译法，在翻译技巧上开辟了一条新的道路。

【关键词】英文歌曲；同质性；功能主义【abstract】some world famous songs are sung from generation to generation， from country to countru. the success is attributable to the song translation. some poets and writers thought that the song is untranslatable. however，the similarity of language and the imagination of art show that the song is translatable. then， how to translate？functionalist field throw out the old way of translation，explore a new road for translation skill.【key words】english song；similarity；functionalist field0 引言当《友谊地久天长》、《莫斯科郊外的晚上》、《哆来咪》、《送别》等耳熟能详的外国歌曲在耳边响起时，可曾想过，如果这些经典名曲没有经过译者的处理，直接是英文或者俄文的原版，它们在中国的流传还会一经风靡便经久不衰吗？翻译外国诗歌要用恰当的诗歌语言，把诗中“难写之景”和“不尽之意”表达出来，已经很不容易；何况一首好诗离不开声韵之美，总是有“随语成韵，随韵成趣”的特点，译诗要保持原诗的声韵之美，就更不容易了。

功能对等理论下高校校训的汉英翻译

摘要：随着中西方高校交流的增多，中国高校对外宣传意识的逐渐增强，进而中国高校校训的汉英翻译也愈来愈受到人们的重视。

但由于理解错误、文化不同等原因，高校校训汉英翻译中存在的问题也受到越来越多的关注。

关键词：功能对等理论高校校训汉英翻译翻译原则1.引言高校校训作为大学校园文化的重要组成部分，把握办学方向，弘扬大学精神，陶铸师生灵魂，传承大学文化，在大学精神文化建设中发挥着巨大的作用。

大学校训文本是个特殊而实用的功能性文体，它的主要功能是信息功能和祈使功能，承担着对外宣传的作用。

当前中国大学校训的翻译质量参差不齐，导致译文丧失应有的交际功能，难以达到预期的目的和宣传效应。

针对存在的问题，本文本文从功能对等理论出发，研究高校校训的汉英翻译的技巧和策略。

本文主要内容分五部分，第一，本文介绍了校训的定义、功能。

第二，对比分析英汉高校的特点，讨论其相同点和不同点。

第三，介绍了功能对等理论的内涵及其对翻译的要求。

第四，本文分析了高校校训汉英翻译中常见的错误及其原因。

最后，本文探讨了功能对等理论下高校校训汉英翻译遵循的原则。

旨在帮助人们更好的理解校训及其翻译策略，促进中西方高校间的交流和中西方文化的交流。

2.校训2.1 校训的定义最早对校训的定义出自于《辞典》（1920），为“学校为训育之便利，选若干德目制成匾额，悬之校中公见之地，使人随时注意而实践之”。

《牛津高阶英汉双解词典》（1997）将其定义为"a short sentence or a phrase chosen and used as a guide or rule of behaviour，or as an expression of the aims of ideas towards a family， a country， an institute，etc." 总之，校训，是一所大学文化精神的高度提炼、概括与凝结，是其独特的办学理念和治校精神的集中表述，是广大师生共同遵守的基本行为准则与道德规范，也是校园文化建设的重要内容。

功能主义视域下英文民歌翻译探析

第31卷第4期2017年8月山西大同大学学报(社会科学版）Journal of Shanxi D ato n g U n iversity(Social Science)V ol.31 肌4A ug2017文章编号：1674-0882(2017)04-0081-04功能主义视域下英文民歌翻译探析芦文辉(晋中学院外国语学院，山西晋中030600)摘要：歌曲作为文化中不可或缺的一个元素，是由音乐、歌词结合而成，在艺术交流中扮演着尤为重要的角色。

如何将英文民歌翻译成中文是一个十分重要的话题。

阐述英文民歌内涵特征及功能主义翻译理论，分析英文民歌翻译现状，指出在功能主义视域下，英文民歌翻译要注重节奏，译文字数，节拍、韵律等因素。

关键词：功能主义；英文民歌；翻译；实践中图分类号：H315.9 文献标识码：A随着全球各国相互间交流的日益频繁，音乐作为文化中不可缺少的一部分，在国际交流中发挥着越来越重要的作用。

音乐是无国界的，歌曲可作为推动文化交流的重要载体。

歌曲作为一项特殊的文化交流活动，并非单纯的语言转换。

译语中的歌词应符合目的语文化、审美习惯，也就是英文歌曲翻译成汉语应当完全为中国人所理解。

翻译的目的不尽相同，达成目的方式也有多种，进而指导翻译的理论也不同。

英文民歌作为语言和音乐的结合体，承载着诸多因素的文化。

因此，如何将英文民歌翻译成脍炙人口的汉语歌词是一个很大的挑战。

自20 世纪八十年代以来，歌词翻译长期未得到翻译人员的有效重视，对于歌词翻译的标准而言，翻译是难以达成共识的。

[1]鉴于英文民歌在现代社会中的所能发挥的重要作用，对英文民歌翻译开展研究有着十分重要的现实意义。

本次研究通过通过功能主义视域对英文民歌展开翻译，包括翻译原则和翻译方法的指导，促进英文民歌翻译有序开展。

_、英文民歌概述(一)英文民歌英文民歌与群众生活具有十分密切的联系，其一方面涉及了人们日常生活的多种层面，诸如生活、劳动、爱情等，另一方面充分反映了社会的发展以及人们的成长，包括追求和平、崇尚友好、传承教育等。

功能翻译理论指导下《大学》英译版本探析

的ｌｅａｒｎｉｎｇ含义极为广泛，不仅包括在学校的教育，高难度科学实
为，翻译一般是作为一项任务来完成的，翻译过程的发起者决验，同时还包括自我修养、自我提升。马歇曼的Ｌｅａｒｎｉｎｇ和里雅各
功能翻译理论指导下《大学》英译版本探析
李月君徐树娟
（华北理工大学河北唐山０６３０００）
作者简介：李月君（１９９０一），女，汉族山西阳泉平定人，硕士在读，毕业于华北理工大学。
摘要：在功能翻译理论的指导下，本文对《大学》的四个英译版本进行比较，即对里雅各、马礼逊、马歇曼和林语堂的译本进行比较，探讨这四个译本在词汇翻译，句子结构对比等方面的异同。研究表明由于四位译者的翻译目标不尽相同，译文受众不尽相同，所以他们选择了不同的翻译策略。文章认为里雅各和马歇曼的译文采用文献型翻译策略，而林语堂和马礼逊的译文采用的是
《大学》是儒家经典《四书》之首，原为《礼记》第四十
理雅各原名詹姆斯莱格，英国苏格兰汉学家，他从１８４１年开
二篇。宋朝程颢、程颐兄弟把它从《礼记》中抽出，独立成始着手翻译中国经典。１８１６到１８７２年，相继出版了五卷《中国经篇，编次章句。朱熹将《大学》、《中庸》、《论语》、《孟子》书》。他是第一个系统研究并翻译中国古代经典的人。马礼逊是外

功能对等在英文歌曲歌词翻译中的应用开题报告

满丹南,从功能对等理论看英文歌曲歌词的翻译[J],黑龙江：牡丹江大学学报, 2011年12月第12期
Nida, E & Jin Di,On Translation[M], Beijing:Chinese Translation and Publishing House, 1984
指导教师意见：
朱晓蕊同学按毕业论文写作要求进行了大量的资料收集和阅读，经过认真思考后选定了The Application of Functional Equivalence to English Songs’ Lyrics Translating作为论文题目。经与指导老师的多次交流后进行了认真的修改，并完成了论文开题报告。报告中对论文主题的理论、实际意义，国内外有关本课题的研究动态，课题的主要内容研究方法，写作进程，主要措施等进行了详细的阐述。作者结合自身学习经验和所积累的专业知识，在阅读了尤金.耐达《翻译的科学探索》和众多功能对等研究论文、期刊及大量基于该理论下的翻译作品，确立了以英文歌曲歌词翻译为研究对象，并将这一研究对象与功能对等这一翻译理论结合在一起来分析研究。主要以案例分析、对比分析为研究方法，从普通中国听众的视角对英文歌曲译文进行分析，重点解读尤金.耐达的翻译理论在歌词翻译过程中的应用，具有一定的学术价值。研究设计得当，采用的方法具有一定的可行性。本文主题虽无特别的创新性观点，但能以一个大学生的视角去分析，使本文研究具有了一定的参考价值。本人同意该同学开题。
2.3.1 Culture context
2.3.2 Scene context
2.4 Stylistic Equivalence ----- mastery of both SL and TL
3.Additionalequivalence ----audience response equivalence

基于功能对等的英文歌曲汉译研究

学号：NORTH CHINA UNIVERCITY OF SCIENCE AND TECHNOLOGY毕业论文G RADUATE T HESIS论文题目：基于功能对等的英文歌曲汉译研究学生姓名：专业班级：11英语2班学院：外国语学院指导教师：2015年05月30日Chinese Translation of English Songs Based on the Functional Equivalence TheoryByA graduate thesissubmitted in partial fulfillment of the requirementsfor the degree of Bachelor of Arts to theCollege of Foreign LanguagesHebei United UniversityMay 30th, 2015摘要随着经济全球化的发展，中西文化交流日益频繁，而歌曲在文化交流中发挥着重要的作用。

但不太了解英语和西方文化的人很难真正理解英文歌曲所传达的真实意义和文化内涵。

因此研究英文歌曲的汉译显得尤为必要。

本文旨在基于奈达的功能对等理论对英文歌曲的汉译做进一步研究。

奈达指出，由于语言文化方面的差异，翻译不可能使原文与译文完全对等，而只能达到功能对等。

在翻译中，功能对等指的是译文的接受者对译文的感受应该和原文的接受者对原文的感受相同。

本文主要从下面几个方面进行论述。

首先，对国内外与英文歌曲汉译有关的研究进行考察和评析。

其次，指出英文歌曲的一些主要特点，并对功能对等理论进行阐述。

另外，将功能对等理论运用于英文歌曲的汉译，并结合实例说明在英文歌曲汉译的过程中，尽量实现音、形、意的对等是有必要的。

关键词功能对等；英文歌曲；汉译ABSTRACTWith the diversified development of world economy, cultural exchange between China and western countries are becoming more and more frequent. As an essential part of culture, songs play a important role in cultural communication. However, for those people who do not know clearly about English and western culture, i t’s difficult to understand the true meaning and cultural information conveyed by English songs. Thus, songs translation has become an essential research subject.This thesis tries to make a further study on Chinese translation of English songs based on Nida’s Functional Equivalence Theory. Nida points out that because of different languages and cultures, it’s impossible to reach an extremely equivalence between the source texts and target texts. It can only reach a functional equivalence. In translation, functional equivalence refers to the receptors' response toward the target language should be substantially the same as that of the receptors toward the source language.The thesis sets off its exposition mainly from the following aspects. First, it makes a literature review on researches from home and abroad concerning song translation. Second, it points out some main features of English songs and introduces the Functional Equivalence theory. What’s more, the thesis applies Functional Equivalence Theory into Chinese translation of English songs with specific examples. The thesis clarifies that during the process of translating English songs into Chinese, it’s necessary to realize the functional equivalence on rhythms, forms and meanings.Key Words functional equivalence; English songs; Chinese translation摘要 (3)ABSTRACT (4)Chapter 1 Introduction (1)1.1 Background of the Research (1)1.2 Purpose of the Research (1)1.3 Significance of the Research (1)1.4 The Research Methodology (2)1.5 The Structure of the Thesis (2)Chapter 2 Literature Review (2)2.1 Researches Abroad (2)2.2 Researches in China (2)2.3 The Current Research (4)Chapter 3 English Songs and Functional Equivalence Theory (4)3.1 The Definition of Song (4)3.2 Features of English Songs (5)3.2.1 Simple and Refined Language (5)3.2.2 Clear and Regular Sentence Patterns with Regular Rhythms and Rhymes (5)3.2.3 Polysyllabic, with One Syllable Fitting One Musical Note (5)3.2.4 Simple Structure and Short Length (6)3.2.5 Abundant Figures of Speech (6)3.3 Functional Equivalence Theory (6)Chapter 4 Chinese Translation of English Songs in the Light of Functional Equivalence Theory (8)4.1 The Realization of Functional Equivalence in Rhythm (8)4.1.1 The Adjustment of Feet (8)4.1.2 The Adjustment of Rhyme Scheme (9)4.2 The Realization of Functional Equivalence in Form (10)4.2.1 The Transformation of Rhymes (10)4.2.2 The Adjustment of Words Structures (12)4.2.2.1 The Transformation of Part of Speech of Words (12)4.2.2.2 The Repetition of Words (12)4.2.2.3 The Addition of Words (13)4.2.2.4 The Application of Reduplicated Words (13)4.2.3The Adjustment of Sentence Structures (13)4.2.3.1 The Shift of Sentence Orders (14)4.2.3.2 The Change of Active and Passive Structures (14)4.3 The Realization of Functional Equivalence in Meaning (15)4.3.1 Transliteration (15)4.3.2 Literal Translation (15)4.3.3 Free Translation (16)4.3.4 Creation (16)Chapter 5 Conclusion (17)BIBLIOGRAPHY (19)ACKNOWLEDGEMENTS (20)Chapter 1 Introduction1.1 Background of the ResearchAs an artistic form, song broadly exists in our daily life. With it, our life becomes relaxed and enjoyable. In China, song’s development experienced a quite long period of time. The first volume of song started from China’s first collection of poems--Shijing, which is regarded as the headstream of Chinese romantic literature. There is no doubt that Chinese songs have a very long history. People often say that there is no bound for music. As an important means of cultural communication, song translation becomes necessary and inevitable.1.2 Purpose of the ResearchChinese scholars have paid much less attention to the theoretical study of the song translation than to the song translation activity itself. Therefore, it is necessary to make a study on Chinese translation of English songs from a new perspective.This thesis tries to conduct a study on the Chinese translation of English songs from a theoretical perspective. Nida’s Functional Equivalence Theory will be used in this thesis. At the same time, some of the excellent translated English songs are cites in this thesis. By doing so, the author hopes to explore some underlying principles of Chinese translation of English songs and to prove the applicability of Nida’s Functional Equivalence Theory to English-Chinese song translation.1.3 Significance of the ResearchThere is no doubt that song translation is a difficult research subject because it combines translatology with musicology. However, we can’t give it up only because that it is difficult. On the contrary, since it is a very important part of the cultural communication between Chinese and western countries, a scientific and systematic study on it will surely be helpful for people to better appreciate English songs, to feel the true beauty of English songs, and to consummate a more systematic theoretical frame for the Chinese translation of English songs.1.4 The Research MethodologyThe main purpose of this research is to testify the applicability of Nida's Functional Equivalence Theory to Chinese translation of English songs. So, the validity of this theory will be explored in detail with examples. An analyzing and descriptive method will be used in this thesis. Meanwhile, some wide-spread English songs will be cited and analyzed one by one. By doing this, some underlying truths about Chinese translation of English songs may be found, which may show whether Nida's Functional Equivalence Theory can guide Chinese translation of English songs.1.5 The Structure of the ThesisThis thesis contains five chapters. Chapter one is introduction. It mainly states background of the research, purpose of this research, significance of the research, the research methodology and the structure of the thesis. Chapter two is literature review. It covers related studies of song translation from home and abroad conducted by far. Chapter three mainly includes the definition of song, the main features of English songs, Functional Equivalence Theory, and principles for producing functional equivalence and adjustments. Chapter four is the most important part. In this part the author attempts to explore how to realize functional equivalence and what role does the Functional Equivalence Theory play during the process of translating English songs into Chinese. Chapter five draws a conclusion.Chapter 2 Literature Review2.1 Researches AbroadThe western scholars are much more superior to our Chinese scholars in this area. In western countries, song translation has already been studied by such scholars as Fox-Strangways, Sigmund Spaeth, Lewis, Dent and Peyser. However, in this field, most of the work tended to focus on translating other languages into English.Western scholars haven’t done many efforts on translating English into Chinese until now.2.2 Researches in ChinaThe activity of songs translation in China has some important stages in differentperiods.Songs translation in China began in the last decade of the Qing Dynasty. At that time, the translators in China preferred recreating the lyrics into the traditional poetic verses to the original music than translating the original lyrics into Chinese.During 1920s, a great number of Russia songs began to be popular in China. Then, Russian songs began to be deeply rooted in Chinese people's hearts and influenced Chinese generation after generation. However, large numbers of songs are still recreated works.During the Anti-Japanese War, Russian songs were increasingly introduced into China in order to provide more inspiration to oppressed Chinese people. What’s more, some Chinese musicians also translated some other foreign countries’songs, including American songs, European songs and Japanese songs. As one of the most famous musicians at that time, Qian Renkang introduced a lot of European and American classical songs to China, Schubert's Erev Shel Shoshanim and Der Lindenbaum included. However, Russian songs were still most popular.The 1950s was a prosperous period in the history of Chinese translation of English songs. In 1952, The Song, edited by China Musician Association was published. Since then, a variety of foreign songs were introduced into China, including folk songs, art-songs, as well as rock songs. Besides, the translators began to pay more attention to translating foreign songs. During this period, most of the works can be called translations, and the lyrics translators began to attach more importance to the techniques of integrating lyrics into music. Meanwhile, a great number of excellent translators, such as Xue Fan and Deng Yingyi, were engaged in English song’s translation into Chinese, and created a lot of excellent artistic works of song translation. The Exploration and Practice of Song Translation wrote by Xue Fan can be regarded as relatively complete. In this book, he mainly discussed the inner problems of the song translation from the perspective of its characteristics. He also made a comprehensive research on the technical problems of the song translation, such as how to use rhymes, tone, and so on.From 1978, with the policy of opening-up, the types of translated English songs were diversified. Almost all types of English songs have been more or less translated. In 1982, Selected American Folk Songs, which was published by Foreign Language and Research Press, contained 28 songs. Singing , published in 1983，contained 122 songs. And English Golden Songs, published in 1992，contained 55 songs. However,most of the songs in those books were just translated out the main ideas loosely．Furthermore, 100 English New Songs and Like Rock and Roll，published in 1994 by Xi’An Jiao Tong University Press，had no Chinese translation，or just had occasional translations of some parts．The quantity and quality of Chinese translation of English songs are still not enough.2.3 The Current ResearchFrom what has been discussed above, there is no doubt that scholars have made some explorations on song translation. In spite of all their achievements, there are still a lot of related issues still left untouched or just touched a little. The researches which have been conducted in this field are still far away from mature, and need more inquiry. Research on Chinese translation of English songs is badly in need of new perspective and new theory-based view.This thesis is intended to make a further study about Chinese translation of English songs based on the Functional Equivalence Theory. The author will give some practical suggestions, and hopes that this thesis may help people know more about English songs and their translation and inspire some other scholars for further study in this field.Chapter 3 English Songs and Functional EquivalenceTheory3.1 The Definition of SongSong is defined as "a short musical composition made up of mutually dependent words and music which together produce a unique aesthetic response" in Webster's Third New International Dictionary (1976: 2172).There are a variety of classifications of songs. In terms of function, songs can be classified as Country songs, Rock and Roll, Sports songs, Film songs, Christmas songs, and so on. In terms of times, songs can be classified as classical songs, pop songs, and so on.However, no matter what category a song belongs to, it cannot separate itself from the two close elements--lyrics and music, which must synchronize perfectly asthe song goes on. As Chinese songwriter Fu Lin(付林2003: 4) put it: "Lyrics should be singable, it is closely attached to the music.”When outstanding lyrics are combined with excellent melody, it will be far superior to pure music or single words. Lyrics can show the content of the music more specifically and directly, while music will match the lyrics with more lively artistic expression.3.2 Features of English SongsEnglish songs have some obvious features. This thesis will introduce some typical ones in the following part.3.2.1 Simple and Refined LanguageFrom this point of view, English songs have the same characteristics as songs of other languages. As we all know, a song must express its spirit or theme within only a few minutes. Meanwhile, a song is designed to be performed for audiences. Therefore, the lyric it uses should be understandable as well as suitable for singing. Using obscure words will surely make singers and audiences feel strange and tired. It obviously does nothing good for the spread of a song.3.2.2 Clear and Regular Sentence Patterns with Regular Rhythms and RhymesJust like poetry, clear and regular sentences are often used in English songs, such as parallel sentences, antithetical sentences, and so on.Rhymes refer to a regular correspondence of sounds, especially at the ends of lines. The function of rhymes is to integrate the sporadic sounds into a whole tune. The rhythm in a song is closely connected to the lines, syllables, antithesis, rhymes, and cannot be separated from the pitch, intensity of sound and modulation in tone.3.2.3 Polysyllabic, with One Syllable Fitting One Musical NoteAs we all know, Chinese characters are monosyllabic. In Chinese songs, one single Chinese character usually fits one musical note, while in English songs, as English words usually contains more than one syllable, it is almost impossible to make one word fit one musical note一if so, the song cannot be sung. According tothe author's observation, English songwriters often make one syllable fit one note. That is another reason why sentence patterns of English songs are succinct and short.3.2.4 Simple Structure and Short LengthLimited by time and space, a common song usually consists of only several sentences, and each sentence is relatively short. The structure is very simple and repeated sentences are often used.3.2.5 Abundant Figures of SpeechFigure of speech is an expression that uses language in a non-literal way, such as a metaphor or synecdoche, or in a structured or unusual way, such as anaphora or chiasmus, or that employs sounds, such as alliteration or assonance, to achieve a rhetorical effect. Using figures of speech can make songs more lively and vivid, therefore can enhance the artistic effect. According to the author's data-collecting, various figures of speech are used in English songs, including: simile, metaphor, alliteration, repetition, pun, metonymy, personification, hyperbole, and rhetorical question, of which simile, metaphor, repetition and personification are most widely used.3.3 Functional Equivalence TheoryIn the field of translation, Nida’s functional equivalence theory is quite influential. The predecessor of “functional equivalence” is a “dynamic equivalence”, which was put forward by Eugene A. Nida in Toward a Science of Translatin g in 1964. He states in the book that “In such a translation one is not so concerned with matching the receptor language message with the source-language, but with the dynamic relationship, that the relationship between receptor and message should be substantially the same as that which existed between the original receptors and the message” (Nida, 2004:159) He emphasizes on the reconstruction of information not only the adjustment of language struct ure, and the “equivalence” should be standing on the point of meaning and spirit of the original language not only the complete correspondence to the language or language structure. Meanwhile, considering the receptors’ status, Nida points out that the qua lity of the translated text should be judged by the receptor-language readers for which the translation serves for them.Actually, Nida’s “dynamic equivalence” is from the starting point of the readers of the target language, so the translators are influenced by the differences of the language and culture between two countries inevitably, and as a result, it is difficult to obtain the complete equivalence as Nida says.In the 1980’s, Nida further modified the previous theory. He changes the term “dynamic equivalence” into “functional equivalence” in From One Language to Another in 1986. He further explains that “equivalence cannot be understood in its mathematical meaning of identity, but only in terms of proximity, i,e. on the basis of degrees of closeness to functional identity” (Nida, 1993:117) Though the terms are different, “dynamic equivalence” and “functional equivalence” are the same in essence, which both “aim at complete naturalness of expression, and try to relate the receptors to modes of behavior relevant within the context of his own culture; it does not insist that he understand the cultural patterns of the source-language context in order to comprehend the message.” (Nida, 2004:159)Because of historical and cultural differences, Nida divides the equivalence into two levels, the maximal and minimal equivalence. He defines the maximal and ideal functional equivalence as “The readers of translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida, 1993:118) For the minimal and realistic functional equivalence, he defines as “The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers of the text must have understood and appreciate it.”(Nida, 1993:118) The closer to maximal functional equivalence is, the better the translation is.Recently, many scholars still wonder how to realize the goal of equivalence? In the book of The Theory and Practice of Translation, Eugene A. Nida and Charles R. Taber state “Translating consists in responding in the receptor language the closest natural equivalent of the source language message, firstly in terms of meaning and secondly in terms of style.” (Nida and Taber, 1969:13) Eugen e A. Nida and Charles R. Taber point out that the essence of translation is “being equivalent”, and they place emphasis first on the “meaning” aspect, second “being closest” and “being natural” to realize the goal of translation “to be equivalent”.To sum up, Functional Equivalence is one of Nida's most important contributions to translation theory. It emphasizes "the priority of contents, translation means communication, the closest natural equivalence and readers' response" etc. It isapplicable to guide Chinese translation of English songs. There are several reasons: Firstly, the differences of language structures, the different rhythms and rhyme schemes between English songs and Chinese songs make it impossible to make a word-for-word translation between English and Chinese. Secondly, song is similar to poetry, the purpose of song is the communication of feeling, the translator must reproduce the similar feeling to the original. Thirdly, the artistic peculiarity of song translation determines that it is work of art creation. The transference of the meaning and that of aesthetic effect is very important, which satisfy the criteria of Functional Equivalence--priority of meaning and reader's response.Chapter 4 Chinese Translation of English Songs in the Light of Functional Equivalence TheoryThis chapter will make a study on Chinese translation of English songs. As has been mentioned in the previous chapter, the purpose of song translation is to reproduce, in the target song, the closest effect of understanding, singing and appreciation of the original song. Because of the characteristics of English songs, the author of the thesis thinks that the process of songs translation is mainly about the process of realizing functional equivalence of rhythm, forms and meanings. The following of the thesis mainly discusses about the transformations of various elements concerning rhythm, form and meaning with examples, so as to see how the functional equivalence of rhythm, form and meaning can be realized.4.1 The Realization of Functional Equivalence in RhythmGuo Moruo ever said, "Rhythm is the life of a poem. There is no poem which has no rhythms". Since songs are similar to poetry, and rhythm is one of important elements to embody the beauty of sound, we can say the song which has no rhythm cannot be called a song: The following parts will discuss the transformation of rhythm, which usually includes the adjustment of feet and rhyme scheme in song translation.4.1.1 The Adjustment of FeetIt is clear that English words consist of vowels and consonants; an English word has two or more than two syllables; it must have stressed and unstressed syllables."one stressed syllable and several unstressed syllables band together to build up a unit of rhythm"(薛范2002: 78)，which is called a foot. In Chinese, foot is called dun, which often refers to natural character-group based on meanings. The duns of the translated version should accord with the original pauses, otherwise the semantic group or harmony will be blemished. For example,Love's like a butterfly, (5 syllables, 3 feet)爱情/像/小蝴蝶，(3 duns)as soft and gentle as a sight. (7 syllables, 3 feet)它/飞来飞去/多敏捷(3 duns)The multicolored mood of love, (6 syllables, 3 feet)它/千姿百态/色彩鲜，(3 duns)I like its sallow wings. (5 syllables, 3 feet)我/爱它/双翅叶。

功能主义视角下的大学校歌翻译研究的开题报告

功能主义视角下的大学校歌翻译研究的开题报告
一、研究背景与意义
大学校歌是大学传统文化的重要组成部分，是大学精神文化的集中体现。

从意义上讲，大学校歌是大学的象征，可以表达大学的理念、愿景和价值观，是大学与外界
建立联系和交流的桥梁。

大学校歌由于其独特的艺术性和文化性，在音乐学、文化学、社会学等领域逐渐得到学界的关注和研究。

本研究拟从功能主义视角出发，将关注点
放在大学校歌的翻译上，探讨校歌翻译对传达大学文化信息的作用和意义。

二、研究内容
1. 大学校歌起源与文化内涵的分析。

2. 功能主义翻译理论的介绍与分析，结合大学校歌翻译特点进行探讨。

3. 通过案例分析，探讨大学校歌翻译对传达大学文化信息的影响。

三、研究方法
本研究将采用文献资料法、比较分析法和语言学研究法。

着重综合运用文化学、音乐学和翻译学等多种学科领域的理论方法，探讨大学校歌翻译对传达大学文化信息
的作用和意义。

四、研究预期结果
本研究旨在探究大学校歌翻译对传达大学文化信息的作用和意义，从而为大学校歌的翻译提供一些具有理论和实践意义的启示。

预计研究成果将有助于提高大学校歌
的文化传承及传达效果，推动大学校歌文化在海内外的传播与交流。

从功能加忠诚理论看校训的翻译-精选文档

从功能加忠诚理论看校训的翻译一、前言根据中华书局出版的《辞海》,校训解释为:“学校为训育上之便利,选若干德目支撑匾额,悬之校中公见之地,是校训,其目的在使人随时注意而实践之”。

这里的‘德目’可以理解为今天所说的德育方面的目标与内容,即各种道德与价值领域的追求。

(钟晓雪)汉语校训大多来自儒家经典文化,非常重视德育。

“训育多以指道德方向之涵养、熏陶。

”(转引自杨元业)校训的最终目的是引起注意并指导实践。

最近几年对校训的研究不断增多,在中国知网跨库检索上输入“校训”二字,能搜到479条相关信息,但对校训翻译的研究却相对较少。

根据研究内容可将其归纳为三个方面: 一是对汉语校训本身的研究。

如陈桂生(1998)根据《大中学校校训集锦》一书对中高等学校校训的采用的句式结构、常用词语及词语组合都分别作了归纳并统计出详细的数据。

钟晓雪(2003)总结汉语校训用语分借用古语和时髦词句两种,并从中分析学校的办学特色和精神追求。

杨元业(2004)从分析研究大学校训的文化内涵入题,进而着重剖析了大学校训审美的四种趋势:崇高美、时代美、传统美、个性美。

二是对中西方校训的对比研究。

对比研究其来源、语言(主要包括词汇、句法及修辞等层面)及内涵等方面的不同。

如杜争鸣(2007)总结出中英思维方式的不同,英汉语言的“静态”和“动态”特点;两种语言在结构方式上存在“一元”结构和“两元”结构倾向性的差异。

林为连,张国昌,许为民,郁怡文(2005)指出我国高校校训大部分来自儒家经典著作,注重强调人的道德义务与人伦关系,强调内心修养和精神生活的充实,而国外高效校训则具有明显的宗教色彩,主要强调对真理与学术自由的追求。

三是关于汉语校训英译的研究。

对校训汉译英的研究是最近几年兴起的。

周永模(2008)提出大学校训翻译三原则:互文性原则、传意性原则和简洁性原则。

安敬涛(2009)指出校训译文应具备三种功能:(1)译文应如实地传达中文校训所包含的信息,如内容、内涵、特点等。

翻译实践中的功能主义主流与歌词翻译

一步，通过各种训诂语文技术，超越时空限制，接近原作者。来形容女主人公玛丽亚的，因为玛丽亚生性活泼好动，耐不融和。当理解者的视野与被理解者的内容能够融和在一起，说成是 “ 9$+*1” （小丑），这个词在欧美国家尤其在孩子们心
对文本加以理解不可或缺的。正是这种包含主体性创造的 “ 9$+*1” 译成 “ 小丑” 而译成 “ 活宝” ，在中国的文化背景中，理解，在理解活动中使作品产生了意义。这种理解决不是理 “ 活宝” 一词传递的不正是与 “ 9$+*1” 相近的信息吗？解与对象的绝对吻合，它是人存在的个体性活动，理解体现了人的能动性、创造性，它使理解者在对作品的体验感悟中揭示出作品的真正意义。功能主义翻译实践认为，翻译必须把文本视为交际活动，而不是一串定型的文字与结构。翻译应该研究语言的使用，而不是把语言作为一个抽象的系统。交际是人类语言最重要的功能，翻译不仅仅是形式风格因素的转换，更应该强
［ A］ 0 上海：上海外语教育出版的” ，这和中国人的色彩感是相近的，说 “ 嫉妒的心是绿色［ " ］王克菲0 翻译文化史论示 “ 蓝色” ，又含有 “ 忧郁、沮丧” 的意思。但在中国人的观念［ = ］薛范0 歌曲翻译探索与实践［ A］ 0 武汉：湖北教育出版色” ，中国人就无法理解 “ 失去了你” 为什么世界就成了蓝色［ ? ］李程0 歌词的英汉翻译［ D］ 0 中国翻译， BCC" （B） 0 呢？如果译作 “ 忧郁、沮丧” ，这样中国听众才能认同。因此［ ! ］龚放0 论语言研究的功能主义思潮［ D］ 0 外语学刊， BCCC 在翻译时一定要考虑到不同受众的要求，而采之以不同的译法。这样由翻译引出的交际活动才是一次成功的交际行为。我国著名歌曲译配家薛范先生在歌曲译配中成果颇丰。【责任编辑G 马重阳】（"） 0

功能主义翻译理论视阈下音乐剧歌词翻译中的变译——以《信》中文版为例

功能主义翻译理论视阈下音乐剧歌词翻译中的变译——以
《信》中文版为例
徐依馨;由志慎
【期刊名称】《文化创新比较研究》
【年(卷),期】2022(6)29
【摘要】音乐剧作为我国文化产业中的新兴要素,发展潜力巨大、前景广阔。

其中,中文版音乐剧发展迅速,承担了培育和扩大市场的作用,而中文版音乐剧的制作发行与歌词的翻译工作密不可分。

该文首先分析了音乐剧翻译中区别于其他文本的特征,然后在功能主义翻译理论指导下,以改编自东野圭吾同名小说的音乐剧《信》的中日歌词为例,探析音乐剧歌词翻译中的变译现象。

【总页数】6页(P26-31)
【作者】徐依馨;由志慎
【作者单位】大连理工大学外国语学院
【正文语种】中文
【中图分类】H059
【相关文献】
1.功能翻译理论维度下的翻译失误研究——长沙市旅游景点公示语译例分析
2.变译理论在语言景观翻译中的特殊效用——以大雁塔简介的翻译为例
3..变译理论视阈下影视字幕的翻译研究——以《花木兰》为例
4."机器翻译+译后编辑"模式下的经济史文本翻译研究
——以《20世纪经济理论知识史(1890—1918):
资本主义黄金时代的经济学》自译章节为例5.功能主义翻译理论视角下的文本类型与目的性翻译——以赖斯的翻译理论为例
因版权原因，仅展示原文概要，查看原文内容请购买。

从功能对等理论角度分析英文歌曲汉译——以泰勒·斯威夫特作品为例

从功能对等理论角度分析英文歌曲汉译——以泰勒斯威夫特
作品为例
蒋哲东
【期刊名称】《海外英语》
【年(卷),期】2018(000)002
【摘要】该文从尤金·A·奈达（Eugene A.Nida）的功能对等理论角度,以美国著名女歌手泰勒·斯威夫特（Taylor Swift）的音乐作品为例,对汉译英文歌曲中所使用的翻译策略进行研究,从而使目的语观众能够跨越语言和文化的障碍,和源语观众同样理解并欣赏英文歌曲所传递的情感。

【总页数】4页(P139-141)
【作者】蒋哲东
【作者单位】宁波大学科学技术学院浙江宁波315000
【正文语种】中文
【中图分类】H315.9
【相关文献】
1.从功能对等理论角度分析英文歌曲汉译——以泰勒·斯威夫特作品为例 [J], 蒋哲东
2.从功能对等理论角度分析英文歌曲歌词的翻译 [J], 师福荣
3.从关联理论角度分析韩国漫画汉译中的注释——以韩国漫画《未生》汉译本为例[J], 洪微微
4.许渊冲“三化论”在英文歌词翻译中的应用——以泰勒·斯威夫特的作品为例 [J], 韩欣桃
5.许渊冲“三化论”在英文歌词翻译中的应用——以泰勒·斯威夫特的作品为例 [J], 韩欣桃
因版权原因，仅展示原文概要，查看原文内容请购买。