从翻译目的论视角出发研究The Importance of Being Earnest两个译本
目的论论文：从目的论角度研究英文电影片名的翻译
目的论论文：从目的论角度研究英文电影片名的翻译【中文摘要】随着中国经济的繁荣发展,以及跨文化交际的深入开展,越来越多的西方电影流入中国市场。
电影片名是电影观众接触到的第一部分,对电影的成败起着举足轻重的影响。
电影片名有很多作用：例如,给观众传达电影的相关信息,包括电影的题材,主题以及拍摄背景；一个优秀的电影片名还可以给观众美学享受。
受片名的吸引,观众的欣赏欲望被激起,就会采取实际行动去欣赏电影,从而有利于电影票房的提高。
由于文化水平的不同,并不是所有人都可以欣赏英文原版电影,因此,电影片名的翻译可以促进交流。
鉴于此,电影片名的翻译已经成为中国翻译界的又一新的重要课题。
本文主要是从论角度探讨英文电影片名的翻译。
本文选择从论角度探讨英文电影片名的翻译,原因有二：首先,之前大部分关于电影片名的翻译都以传统的对等理论为基础。
但是对等理论自身有很多缺陷。
例如,它把翻译局限在格式和意思对等上,而事实上,有些情况下对等效果很难实现,.有些情况根本不需要对等。
电影片名是以观众为导向,顾客的喜好直接影响商业利益的实现。
因此,在翻译过程中,翻译家应该采取主动性,发挥创造性。
其次,虽然近几年关于电影片名翻译的研究有所深入,但是并不尽如人意。
很多研究都集中在翻译策略方面,并没有找出相应可行的理论基础来支撑电影片名的翻译。
本文主要是从论角度研究英语电影片名的翻译。
论是由德国翻译学家费米尔提出的。
论把翻译定义为一种有的跨文化交际活动。
“决定手段”是论的精髓,这一精髓意味着翻译家可以根据翻译,采取适当的翻译方法。
论强调翻译行为的,语篇的作用,受众者的交际状况,并且授予翻译家的主动性和自由。
本文认为论可以作为电影片名翻译的理论基础。
在论的指导下,翻译家可以采取适当的翻译策略,使翻译片名更有效的发挥信息,文化,美学以及呼唤功能。
成功的电影片名翻译可以唤起观众的注意力,好奇心以及兴趣,之后,观众才有可能采取实际行动观赏电影,电影制片商的盈利得以实现。
从目的论的角度下看商务英语翻译
从目的论的角度下看商务英语翻译作者：季婧洁来源：《校园英语·上旬》2014年第06期【摘要】伴随着全球化的初步形成，我国与国际上的往来贸易也得到了迅速的发展，每个行业都有着各个国家的参与，在这里商务英语就发挥了其关键性的作用，而商务英语翻译也在各个国家的贸易往来之中的地位愈来愈显得至关重要。
商务英语属于实用类的英语类别，而在商务英语的翻译上它又和文学翻译有着很大不同，商务英语在用途上显示着其特殊性，从翻译的角度来说它们之间的差距还是很大的，故此，一些较为传统的翻译方法应用在商务英语上就有着很大的局限性，而在具体的实践活动当中也一直都没有一个准确的理论作为指导，这在一定程度上也给商务英语的翻译带来了很大的困难。
本文主要是对功能派的目的论进行详细的分析，旨在说明目的论对解决商务英语翻译有着指导性作用，也更适合商务英语翻译。
【关键词】目的论商务英语翻译商务英语属于专门用途的英语，它主要是指在不同的商务场景当中所用到的英语，比如外经贸函电和对外贸易以及国际金融和国际旅游等等。
根据相关的统计资料显示，专门用途英语翻译在整个的翻译活动中所占的比例是百分之七十，由此可看出，专门用途的英语翻译在翻译活动中的重要地位。
自从加入了世贸组织以来，我国在世界贸易范围上的活动日趋活跃起来，对外交流的不断增加商务活动呈现出频繁化。
在这一实际情况下，对于商务英语人才的需求也在进一步的扩大，而商务英语的翻译也成了最为重要的一项任务——这主要是表现在商务英语的翻译上面，对于商务英语人才的培养不仅是学习基础的英语理论知识，还要在实际交际中的一些技巧得到掌握，目的论的理论方法的应用对于商务英语翻译有着重要的进步意义。
一、目的论的几个理论发展阶段在二十世纪七十年代，功能派目的论的翻译理论兴起于德国，主要是经过了四个阶段。
在第一阶段，凯瑟琳娜•莱斯第一次把功能范畴引入了翻译批评，她把翻译策略、语言功能以及语篇类型联系在一起，并且把原文和译文功能关系作为基础的翻译批评模式得到了进一步的发展，进而提出了功能派理论思想的雏形。
翻译目的论研究综述
翻译目的论研究综述摘要：翻译目的论是当代德国最具代表性的翻译理论，也是最有影响力的翻译理论。
该理论把翻译目的作为翻译任务的出发点与根本，翻译策略、翻译方法，以及对原作形式与内容的取舍，目标文本的制作都以这个翻译目的为参照。
翻译过程以目的性为指导，以语内语际一致和忠实性为评估手段，这为翻译研究提供新的视角。
本文通过对目的论形成发展以及框架体系进行梳理评价，希望读者对该理论有更加客观全面的了解。
关键词：翻译目的论翻译研究评价一、引言纵观翻译学的历史我们不难发现：当代西方翻译理论蓬勃发展，出现了百花齐放的繁荣局面。
从20世纪中叶开始西方翻译理论已经出现了重大突破，翻译理论家们开始从阐释学、结构主义、接受美学、读者反应论等不同角度来研究翻译，于是各种各样的翻译理论应运而生，如卡特福德的系统功能语法理论，奈达的社会符号学翻译理论等。
在众多的翻译理论中，德国功能主义理论派提出的翻译目的论独树一帜，为翻译研究和实践提供了新的视角。
目的论(skopostheorie)是功能派翻译理论中最重要的理论。
Skopos是希腊词，意为“目的”，theorie 是德语词，意为“理论”。
目的论是将Skopos概念运用于翻译，认为任何行为都是有目的的，翻译也是一种有目的的跨文化交际活动，译者应该根据翻译目的来制定翻译策略。
由于语言文化的差异，译文不可能与原文完全保持一致，那么要保留什么改动什么，究竟是创作一个在形式上或在内容上忠实于原文的译文还是创作出一个能满足译人语读者要求的自由译文就要视翻译目的而定了。
翻译目的论基本上属于一种对翻译的外部研究，它将研究焦点从译文与原文的关系转移到译文的预期效果，因此无疑能够弥补传统翻译研究的不足，从而为翻译的多学科探索又增加一个崭新的研究视角。
(仲伟合，钟钰：1999)二、目的论的形成与发展目的论首先在20世纪70年代末80年代初由卡特琳娜·赖斯(Katharina Rei ss)提出。
目的论与戏剧翻译 _ 浅析莎士比亚名剧Measure for Measure的三个中文译本
目的论与戏剧翻译 _ 浅析莎士比亚名剧Measure forMeasure的三个中文译本提要众所周知,戏剧作为一种特殊的文学体裁,还同时具有舞台表演的特性,这导致了戏剧翻译中的一对矛盾:是将源文本的文化特征淋漓尽致地表达出来,还是为舞台表演牺牲部分文化因素?研究并解决这一矛盾成为当前戏剧翻译研究的重中之重。
而纵观中外翻译史,翻译界对戏剧翻译所作的研究为数并不多,且缺乏系统的理论指导,对戏剧中这一矛盾的关注更是不够。
本文尝试从目的论出发来审视这一矛盾,以目的论为研究的理论框架,试图证明目的论对研究和解决戏剧翻译中的矛盾行之有效,在戏剧翻译中意义重大。
作为文学艺术和舞台艺术的结合体,戏剧具有双重性。
这种双重性使得传统翻译理论难以指导或评估戏剧翻译。
而目的论主张翻译目的为翻译活动中的首要决定因素,这为翻译研究,特别是戏剧翻译研究开拓了新的视野。
只要译文实现了既定翻译目的,那么该译本就算是成功的译本。
为验证目的论在戏剧翻译中的可行性,本文运用该理论评价莎士比亚“Measure for Measure”的三个中文译本,以期从成功的翻译实践中找到有益启示。
全文由五个章节构成。
第一章对戏剧进行全面介绍,总结戏剧语言的特性,进一步指出戏剧翻译中的矛盾,并回顾了翻译界的相关研究。
第二章引进目的论的理论框架,阐明其主要概念及其对戏剧翻译的特殊意义。
第三章从目的论影响译者翻译方法的四个因素出发,介绍原作者莎士比亚、译者梁实秋、朱生豪和英若诚的相关信息。
第四章从目的论的角度,对三个译本进行了详尽分析,进一步验证目的论在戏剧翻译中的可行性。
第五章总结目的论在戏剧翻译中的重要意义及深远影响。
关键词:戏剧翻译,目的论,文学性,舞台表演 ivTABLE OF CONTENTSChapter I General Introduction to Drama and Drama Translation. 11.1 Definition of Drama: Literary Art & Theatrical Art11.2 Features of Dramatic Language: Speakability & Individuality.21.3 Duality of Drama Translation: Performance-oriented & Reader-oriented..31.4 Relevant Study of Drama Translation51.4.1 Drama Translation Theories in China..51.4.2 Drama Translation Theories in Western Countries7Chapter II The Skopos Theory and Drama Translation. 112.1 Development of the Skopos Theory. 112.2 Two Rules of the Skopos Theory122.3 Five Points of the Skopos Theory..132.4 Factors Affecting Translators’ Strategies from the Skopos Theory’s Standpoint..142.5 Significance of the Skopos theory for Drama Translation.15Chapter III Researches on Three Chinese Shakespearean translators from the Skopos Theory’sStandpoint..173.1 William Shakespeare and his Measure for Measure.173.2 Liang Shiqiu and his Complete Works of Shakespeare183.2.1 Initiator or Commissioner183.2.2 Translator.193.2.3 Source-text Producer and Target-text Receiver213.3 Zhu Shenghao and his Translation of Shakespeare..223.3.1 Initiator or Commissioner223.3.2 Translator.233.3.3 Source-text Producer, Target-text Receiver243.4 Ying Ruocheng and his Drama Translation..243.4.1 Initiator and Translator.243.4.2 Source-text Producer and Target-text Receiver26Chapter IV Sample Analysis274.1 Characters’ Names.274.2 Allusions.284.3 Metaphors..314.4 Idioms..344.5 Puns..374.6 Obscene Words404.7 Summary42Chapter V Conclusion 44BIBLIOGRAPHY 46vChapter I General Introduction to Drama and Drama TranslationDrama translation is a special and distinctive branch of literary translation due to thedualistic nature of drama. Then what on earth are the unique features of drama and dramatranslation? We may start our discussion with a general introduction to drama and relevantstudy of drama translation before going any further1.1 Definition of Drama: Literary Art & Theatrical ArtOriginally, the wor d “Drama” comes from a Greek word, “dran”, meaning “thingdone”, “action” or “deed”. To make it clear, the author looks up the word “drama” inseveral authoritative dictionaries and collects the following interpretations for furtherreference:ndIn the Oxford English Dictionary 2 Edition 1989, “Drama” is “a composition inprose or verse, adapted to be acted upon a stage, in which a story is related by means ofdialogue and action, and is represented with accompanying gesture, costume, and scenery,as in real life; a play”In the Encyclopedia Britannica 1964: “Drama” is “a form of art in which the artistimagines a story concerning persons and incidents without himself describing, narrating orexplaining what is happening”In the Encyclopedia Americana 1986: “Drama” is “a form of literature intended forperformance by actors. In general the subject matter is narrative in character and, in thetype of story traditionally considered suitable for presentation onthe stage”We may summarize the above interpretations like this: drama is a genre of literaturewith a story related by means of dialogue and action, and produced to be acted upon thestage. The term “drama” is used in an inclusive way that emphasizes both its literary natureon page for the reader and its potential for performance on stage for the audience. On theone hand, it is literature whose aesthetic effect depends on a collective endeavor and thereceptor’s response is mostly spontaneous and immediate. Since the play text containsstage directions and dramatic language which depict the portraits of characters and pushforward the plot, we can still read the play text as any other literary works. On the other1hand, drama is “an audiovisual presentation of time and space, involving music, dance,fine arts and literary language, with the simultaneous presence of actors and audience” Lin,1993: 4. The original intention and full potential of drama can only be brought out andrealized by performing on stage. Thus the ultimate receptor of drama is supposed to be theaudience in the theatreAlthough most dramas are produced to be performed, there is an exception. Somedramatic works are called “closet dramas” or “closet plays”, which are created to be readIn this case the playwright does not need to take theatrical performance into considerationHowever, plays with such a pure purpose are scarce, and here in this thesis, we focus ourattention on stage-oriented drama1.2 Features of Dramatic Language: Speakability & IndividualityAs a special form of literature, dramatic writing is largely different from other literarygenres. In Jiao Juyin’s words, the receptor of most literature genres, such as poetry andprose, is the text reader, while the receiver of drama includes not only the reader of theplaytext, but also the audience in the theatre. Thus the playwright needs to bear reader andaudience in mind at the same time. On this point, Robert Cohen also stated his opinion:“Because drama is often thought of as a form of literature and because many dramaticauthors begin as poets or novelists, it may be seen as if playwriting is primarily a literaryactivity. It is not. Etymology helps here: playwright is not playwrite. Writing for the theatreentails considerations not common to other literary forms.” Cohen, 2000: 82As a genre of literature, drama is mainly composed of stage directions and dramaticdialogueStage directions refer to the playwright’s imagination of the stage space Barranger,1986: 290. It is actually a description of intended paralinguistic instructions to directactors’ physical action. Stage directions can be divided into several categories, includingenvironmental description, setting description, description of characters’ facial expressions,mood and gestures. As a common role, stage directions are formal in style and concise inlanguageDramatic language, as the main content of a drama, is not merely an arrangement of2words on a page. It differs from other literary language in that it is “more than words on apage?it is the playwright’s blueprint of a special kind of experience, created to appeal asmuch to the eye as to the ear” Barranger, 1986: 89-90. It is a conceptualization of theinteractions of myriad elements in the theatrical medium: movement, speech, scenery,costume, staging, music, spectacle, and silence. As is said in An Introduction to Literature,drama is “not simply words but words spoken with accompanying gestures by performerswho are usually costumed in a particular setting” Barnet, Berm an and Burto, 1997: 536Dramatic dialogue is of essential importance in developing plots, creating characters,presenting crisis, describing circumstances and revealing the theme. The relationshipsbetween characters are, for the most time, constructed and developed through the languagethey use. Thus the creation of drama language becomes even harder. On the requirementsof dramatic language, many scholars have put forward their opinions, such as Nicoll’s“economical and artistic” Nicoll, 1985: 95, Backer’s “clear inmeaning, helpful to theadvancement of plots and in accordance with personalities” Backer, 2000: 426, LiJianwu’s “colloquial” Li, 1982:153, Lan Fan’s “actable, individual and poetic” Lan,1992: 474 and so on. Taking all these requirements into account, the most conspicuousfeatures of dramatic dialogue can be summarized into speakability and individualitySpeakability guarantees the effectiveness of being naturally spoken by actors and quicklyunderstood by the audience. And individuality defines the characterization of the wholedrama1.3 Duality of Drama Translation: Performance-oriented & Reader-orientedAs has been explored in previous sections, drama differs from other literature genres,for it is not only a linguistic art with reader-reception as its form of fulfillment, but also aperforming art with the theatre-goers as its ultimate receptor. The peculiarity of dramaresults in the duality of drama translation. Other than those general requirements forliterary translation, drama translation bears its own characteristicsAs a genre of literature, drama is loaded with the specificity of the culture it issituated in, like any other literary form. As we know, drama is to reflect real life and theproduction of drama is closely related to the life style and ideology of a certain society. To3put it in another way, drama, within hours’ performance, reflects the essence accumulatedin a culture and the seemingly concise dramatic text actually is loaded with plentifulcultural traits. Thus translator, as his mission determines, has to do his best to transmit thecultural information embedded in the original drama text, delivering the properties ofsource culture and conveying the aesthetic art of the source text as much as possibleWhile at the same time, drama is to be presented to the audience, the actualfulfillment of the essentiality of it depends as much on the extra-linguistic situation as onthe linguistic context. As a result, drama should not be translatedsimply as the text on thepage. The stage aspect of the play text should also be emphasized in drama translation, thatis, to ensure the performability of the source dramatic text on a foreign stage. According toBacker 2000: 51-52, performability means that theatrical needs are satisfied, and emotionis conveyed to audience within a certain time indirectly by actors rather than directly bythe playwright himself. But to naturally perform a foreign drama in a different context isnot an easy thing, for people from different cultures have different conventions andideologies. When translating other literary forms, we may resort to footnotes to solve thisproblem, but on the stage, it’s impossible for actors to read footnotes to the audienceTherefore adaptations to target language and culture are inevitable in drama translation,thus to avoid footnotes as well as difficulties in understanding Thus the drama translator is confronted with a central problem: to maintain theoriginal culture-bound message is a basic requirement for thetranslator. However, in orderto ensure the performability, adaptations have to be made and thus source culturalmessages will inevitably be affected. We may get a more thorough understanding of thedilemma in drama translation from A Text Book of Translation Newmark, 2004: 172:“The main purpose of translating a play is normally to have it performed successfullyTherefore a translator of drama inevitably has to bear the potential spectator in mindthough, here again, the better written and more significant the text, the fewer compromiseshe can make in favor of the reader. Further, he works under certain constraints: unlike thetranslator of fiction, he cannot gloss, explain puns or ambiguities or cultural references, nortranscribe words for the sake of local colour: his text is dramatic, with emphasis on verbs,rather than descriptive and explanatory.” 4In light of all these factors, due to the peculiarity of drama translation, traditional translation theory, which is mainly based on linguistic equivalence, could hardly help herein drama translation1.4 Relevant Study of Drama TranslationAlthough drama is the oldest genre of literature, academic study on drama translationonly got its start thirty years ago and still leaves much of its territory unexploredCompared with the study of the translation of other literary genres, study of dramatranslation lags way behind, and only a few scholars have systematically summarizedtheories of drama translation1.4.1 Drama Translation Theories in ChinaIn China, few works have been written on the central issues involved in translatingplays across languages. Yet we do have several scholars who have come up with someprinciples or theories concerning drama translation based on their own translation practicesAmong them the most prominent are Zhu Shenghao, Yu Guangzhong, and Ying Ruocheng1.4.1.1 Zhu ShenghaoMr. Zhu Shenghao, an excellent writer and translator in China, translated most ofShakespeare’s plays successfully into Chinese.In the preface to his translation ofShakespeare’s plays, he shared his experience in drama translation:While translating this book, I tried to maintain the verse of the original work to the utmost. Whenthat could not be achieved, I strained for resemblances, and lucidity and fluency are preferred inmy translated version to faithful reproduction of the original style. As for word-for-wordtranslation, I personally think poorly of this mechanical rendition. When the original text differsvastly from the Chinese version in grammatical structure, I’d rather adjust the sentence structure ofmy translation for the sake of intelligibility. After I translated a section, I would go through mytranslation as if I were a member of the audience and tried to see if there were any ambiguous andmisleading places. I would then act the translated play out as if I were an actor and see if the5translation read smooth and sounded melodious.A single hard word or sentence often may throwme into weeks of deliberationZhu, 1984: PrefaceHere Zhu Shenghao emphasizes some important aspects of drama translation: first,translation should try to preserve the original spirit; second,translation should be clear andeasy to understand; and third, translation should be smooth and easy to be pronounced bythe actors1.4.1.2 Yu GuangzhongYu Guangzhong has also summarized his tri-fold translation principle in the preface tohis translation of Oscar Wilde’s The Importance of Being Ernest: Fictional dialogue and dramatic dialogue are different in that readers can read the dialogue in afiction again and again for better comprehension, while theatre-goers can only listen to thedialogues in a play for one time. When certain information is missing, it’s gone for good. Itranslated this play not only for Chinese readers, but also for the Chinese spectators and actors,therefore I adopted a specific translation principle this time: I tried to make sure that my translationis pleasing to the eye of the readers, and pleasing to the ear of the audience, and easy to deliver byactors and actresses. I hope that my translated play turns out to be an animated drama-on-stagerather than a restrained closet-drama. Yu, 1983: PrefaceFor Yu Guangzhong, dialogues in novel and drama are written for different purposesso the translation of them should be done with different strategies. He emphasizes that thedialogue in a drama is to be heard by the audience and spoken by the actors, so a translatorshould bear in mind the principle of making his translation “pleasing to the eye of thereaders, pleasing to the ear of the audience, and easy to deliver by actors and actresses”1.4.1.3 Ying RuochengYing Ruocheng is a famous drama actor, director as well as translator. As an actor,Ying Ruocheng emphasizes the colloquialism in drama translation. In the preface to his6series of translated works, he points out some important features of drama translation andsummarizes his own principles for drama translatingA line spoken by an actor is transient; he cannot stop to annotate and explain, and this is the artisticessence of dramatic language…The dramatic language should be sonorous and forceful, whileobscurity and irrelevance should be avoided, so that an immediate effect can be produ ced…Theperformance on stage has its special requirements. What the audience wants to hear is clear andcrisp phrasing, neat and smart dialogue and verbal fights, which are available in a lot of greatworks by Oscar Wilde or Bernard Shaw. As a translator, we are responsible for presenting them infront of the audience. Therefore, colloquialism and brevity are the first and foremost principles indrama translation. Ying, 2001: PrefaceHere we can see, for Ying Ruocheng, colloquialism is important both for the sake ofthe actors and the audience, and brevity is to faithfully transfer the dramatic witticism inthe original text into the target languageThese statements on drama translation offer fresh insights into drama translation study, but the absence of a rigorous system of theory prevents them from being a solid foundationfor a systematic study of drama translation1.4.2 Drama Translation Theories in Western CountriesAt present there are mainly two principles prevailing in the fieldof drama translationOne is the “performability” standard, which derives from the semiotic ideas of drama. Theother is the “readability” one which is mainly held by Susan Bassnett, a well-knownscholar whose main focus is on the translation of deictic system in dramatic text1.4.2.1 George E. WellwarthIn his Special Considerations in Drama Translation, George E. Wellwarthsummarized the difficulties in drama translation into two principal points: “speakability”and styleGeorge defined “speakability” as “the degree of ease with which the words of the7translated text can be enunciated” qtd. in Rose, 1981: 140. The translation should soundwell on stage, and “li。
从翻译目的论看戏剧翻译
从翻译目的论看戏剧翻译作者：郑畅来源：《青年时代》2019年第30期摘要：戏剧是一门融合文学、表演、音乐、美术等艺术手段为一体的艺术形式。
这种兼具文学性和舞台表演性的双重特性使得传统文学翻译理论在指导戏剧翻译时显得力不从心，无法满足戏剧翻译的需要。
本文以奥斯卡·王尔德的戏剧作品The Importance of Being Ernest 的翻译为例，试着从翻译目的论的角度来探讨戏剧翻译。
关键词：翻译目的;戏剧翻译;The Importance of Being Ernest一、翻译目的论相关理论概述翻译目的论起源于20世纪70年代，它认为翻譯是以原文为基础的、有目的和结果的行为。
译者应该根据委托人的翻译需求、读者的情景需求及相关目的对原文实行有目的性、有选择性的有效翻译。
翻译目的论的首要原则是目的原则，译者应根据翻译目的来选择相应的翻译方法和翻译策略。
二是连贯性原则，译者应充分考虑译文的连贯性和可读性。
三是忠实原则，译文应该与原文的基本思想内涵一致。
连贯性原则和忠实原则都从属于目的原则，目的原则居于首位。
这样，“对等”不再是评判翻译的标准，取而代之的是充分实现预期翻译目的。
二、戏剧翻译的特征分析戏剧与小说、诗歌、散文并列为文学的四种基本体裁，但戏剧是一种特殊的文学形式，具有文学性和舞台性的双重特性，这就决定了戏剧翻译应保持语言简洁、台词口语化。
余光中在谈戏剧翻译时说：“戏剧翻译应该是读者顺眼，观众入耳，演员上口。
”而戏剧翻译的特殊性也决定了译者在翻译过程中不能使用注释或者音译的翻译方法来处理一些修辞手法以及和文化相关的信息，否则台下的观众完全无法理解相关的内容，欣赏原文措辞的精妙，而作为戏剧翻译呈现者的演员也无法完整的展现原剧的精髓，直接影响演出效果。
三、基于目的论的The Importance of Being Ernest的翻译分析本文选取取钱之德、余光中的译本，拟从目的论的角度探讨奥斯卡·王尔德的著作The Importance of Being Ernest的翻译。
“目的论”视角下从“可读性”出发浅谈汉译英歌词翻译技巧——以
麻 l.i于翻2译0世 目的纪论70年代的翻译目的论是以德国功能派
翻译理论为基础发展分化而成的。该理论认为翻译目的 决定了翻译策略及方法，翻译是“在目的语情景中为某 种目的及目标受众而生产的语篇”。在弗米尔的目的论框 架中，决定翻译目的的最重要因素之一是译文接受者; 同时，赖斯(2004)从功能的视角审视了翻译过程，认 为如果译文具有特殊功能和特殊读者群体，就应根据译 文的功能和读者群体类别来优先考虑译文的功能特征而 不是对等原则。在这一框架下，翻译过程更注重译文的 受众需求，翻译结果更注重译文的功能效应。
ozz
［8］ 王建华.关于语境的定义和性质QJ.浙江社会科学，2002(2). ［9］ 杨春.性M吾言研究［M］.北京：光明日报出版社，2010.
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［10］ 杨永红.语用学视角下《红楼梦》称谓语韩译研究UL北京：北
京外国语大学，2017.
［11］ 张莉萍.称谓语性别差异的社会语言学研究［D］.北京：中央民
翻译目的论有三大原则：目的性、连贯性和忠实性 原则。后来，诺德补充加入了忠诚原则。目的原则是翻 译目的论的首要原则，它指翻译应能在译入语情境和文 化中按译文接受者期待的方式发生作用。这意味着译者 需以译文读者为出发点，以满足他们的需求为翻译目的, 选择翻译方式进行翻译，即翻译目的决定翻译行为。
1.2可读性 首先明确一组概念：可读性(understandability)与可 唱性(singability)。这组概念的提出是为了区分歌词翻译 的两个目的，一是为了翻译后的歌词可以被人演绎翻唱 (cover),在这种情况下翻译的最终目的是''可唱性”，这 要求歌词译文与旋律适配；而当翻译是为了人们欣赏艺 术表演可以通过字幕明白表演者想表达的内容时，翻译 的最终目的是“可读性”，即可以看懂歌词内容。 我国早期翻译家严复在《天演论》中曾说："译事有
目的论视角下的企业外宣资料英译
目的论视角下的企业外宣资料英译随着全球化的不断深入，企业对外宣传资料的需求日益增加。
作为沟通的桥梁，外宣资料的重要性不言而喻。
然而，在实践中，外宣资料的英译却常常遇到困难。
本文从目的论的视角出发，探讨企业外宣资料的英译策略。
目的论是翻译理论中的重要学说，由德国学者提出。
目的论认为，翻译过程中，译者的主要目的是将源文本的信息以目标语言的形式传达给目标读者。
因此，在翻译过程中，目标读者的需求和文化背景是决定翻译策略的重要因素。
对于企业外宣资料的英译，目的论的应用同样具有指导意义。
我们需要明确目标读者。
通常，目标读者是英语为母语的潜在客户或合作伙伴。
他们的阅读习惯和文化背景与中文读者存在较大差异，因此需要采用适当的翻译策略。
我们需要目标读者的需求。
在目的论的指导下，翻译过程中应尽可能使目标读者理解和接受源文本的信息。
为实现这一目标，可以采用归化、直译、意译等多种策略。
同时，还需要注意保留源文本中企业独特的企业文化和品牌价值，确保在目标语言中体现出来。
另外，我们还需要考虑文化因素的影响。
不同文化背景下，人们对于色彩、符号等元素的感受和理解存在差异。
在翻译过程中，需要尊重目标读者的文化习惯，避免因文化差异引起的理解障碍。
例如，对于含有中国特色的词汇和表达方式，可以采用解释性翻译或增译的方式进行处理。
企业外宣资料的英译还需注重语言的规范性和准确性。
在确保信息准确传达的还需考虑语言的流畅性和地道性。
这需要译者在实践中不断提高语言水平和翻译技巧，以满足不同场合下的翻译需求。
目的论视角下的企业外宣资料英译需要目标读者的需求和文化背景，采用适当的翻译策略，确保信息的准确传达。
还需要尊重目标读者的文化习惯规范性和准确性语言的规范性和准确性。
通过不断提高语言水平和翻译技巧，企业外宣资料的英译将更加有效，为企业的国际化进程提供有力支持。
随着全球化的不断深入，政治外宣资料英译的重要性日益凸显。
政治外宣资料不仅是国家形象的重要体现，也是国际交流与合作的关键环节。
翻译总结
以翻译目的论为视角谈英语翻译的心得翻译目的论(Skopostheorie)是二十世纪七十年代德国学者弗米尔(Hans Vermeer)提出的一种翻译理论，弗米尔认为：翻译研究不能单单依靠语言学。
这主要有两个原因：第一、翻译并不仅仅是甚至并不主要是语言过程；第二、语言学还没有提出真正针对翻译困难的问题。
因此，他在行动理论的基础上提出了翻译的目的论。
对于翻译的定义，当代美国翻译理论家奈达说Translation consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style.（所谓翻译，是指从语义到文体上在译语中用最切近而且最自然的对等语再现原语的信息。
）对于翻译来说，不通的翻译家提出不同的翻译理论来作为翻译的指导思想，从严复的faithfulness, expressiveness and elegance (信、达、雅) 到后来的Tytler's guiding principle（泰特勒三原则），然后归化和异化理论的提出等等，都是为了更好的为翻译服务。
一、目的论的内容其核心概念是：翻译过程中最主要的因素是整体翻译行为的目的。
弗米尔将翻译研究从原文中心论的束缚中摆脱出来，认为翻译必须遵循一系列法则。
其中目的法则居于首位。
即“任何翻译行为都是由翻译的目的决定的。
也就是翻译的目的决定翻译的手段”。
翻译目的论的中心思想是：行动皆有目的。
行动者参照实际环境选择一种他认为最合适的方式以求达到预期目标；既然翻译也是一种行动，所以译者也会在翻译目的的指引下。
尽量考虑一切可能有关的因素。
从而决定最合适的行动方式；基于这种对实际情况的描述。
目的论视角下的公示语英译
目的论视角下的公示语英译向士旭【摘要】Public signs are widely used in every aspect of our lives. The importance of public signs in social activities is more and more obvious,and the translation of public signs is more and more essential. This paper discusses their special language characteristics and points out their Chinese-English translation strategies from the perspective of skopos theory.%随着中国国际化进程的加快,公示语英译的重要性越来越突出。
本文分析了公示语的语言特征及当前公示语英译的现状,并从翻译目的论的角度出发提出了相应的翻译策略,以期使公示语英译规范化和标准化。
【期刊名称】《西昌学院学报（社会科学版）》【年(卷),期】2011(023)003【总页数】3页(P11-13)【关键词】公示语;语言特征;翻译目的论;翻译策略【作者】向士旭【作者单位】重庆城市管理职业学院基础教学部,重庆401331【正文语种】中文【中图分类】H315.9随着经济全球化进程的加快，中国与世界的联系越来越紧密，英语公示语的重要性也日渐突出。
然而，目前随处可见的错误和不规范的英语公示语不仅影响了中国的对外形象，也给外国朋友的正常工作生活带来了诸多不便，因此对公示语英译规范化进行研究已是势在必行。
本文首先分析了公示语的语言特征，针对当前公示语英译的现状，从德国功能主义理论中翻译目的论的角度出发提出了相应的翻译策略，以期使公示语英译更加规范。
公示语指的是在公共场所向公众公示须知内容的语言，它包括标识、指示牌、路标、公告、警示等等[1]，具有向人们传达提示、警告、请求等信息指令的作用。
《2024年目的论视角下商务英语口译策略研究》范文
《目的论视角下商务英语口译策略研究》篇一一、引言随着全球化的推进，商务活动日益频繁，商务英语口译在跨国交流中扮演着至关重要的角色。
在口译过程中，如何高效、准确地传递信息成为口译人员面临的挑战。
目的论作为一种理论框架，为商务英语口译策略的研究提供了新的视角。
本文将从目的论的视角出发，对商务英语口译策略进行研究，以期为口译实践提供有益的参考。
二、目的论视角下的商务英语口译目的论认为，翻译的目的是为了实现信息的有效传递和交流。
在商务英语口译中，目的论指导口译人员关注翻译的目的和效果，以便在跨文化交流中达到信息的准确传递和意义的有效沟通。
因此，口译策略的选择应当以实现翻译目的为出发点。
三、商务英语口译策略研究（一）语言适应性策略语言适应性策略是商务英语口译中常用的策略之一。
由于不同语言之间存在差异，口译人员需要灵活运用语言技巧，使译文在语法、词汇、句式等方面与目标语言相符合。
此外，口译人员还需关注不同文化背景下的语言表达习惯，以实现信息的准确传递。
（二）语境理解策略语境理解策略是口译人员在理解原文基础上的重要策略。
在商务英语口译中，口译人员需要关注语境因素，理解原文的隐含意义和背景信息。
通过分析语境，口译人员可以更准确地把握原文的含义，从而在翻译过程中进行恰当的调整。
（三）预测与即时反应策略预测与即时反应策略是口译人员在口译过程中应对突发情况的重要手段。
在商务英语口译中，口译人员需要具备敏锐的洞察力和预测能力，预测讲话者的意图和后续内容。
同时，口译人员还需要具备快速的反应能力，根据实际情况进行即时调整，确保翻译的准确性和流畅性。
四、实证研究与分析本研究采用实证研究方法，对商务英语口译策略进行了分析和验证。
通过收集实际商务英语口译案例，分析口译人员在实践中采用的策略及其效果。
研究发现，语言适应性策略、语境理解策略和预测与即时反应策略在商务英语口译中具有重要作用。
这些策略的运用有助于提高翻译的准确性和流畅性，实现信息的有效传递和交流。
目的论视角下的汉语新词英译研究
目的论视角下的汉语新词英译研究作者：王玉蕊来源：《大经贸》2018年第06期【摘要】本文从翻译的目的论出发，以目的论三原则，即：目的原则，忠实原则，连贯原则为基础，对2017年《政府工作报告》中出现的10个新词的翻译方法和技巧进行了深入的探讨，最后发现：直译和意译是译者常用的两种方法，译者的目的直接决定了翻译的行为和过程。
【关键词】目的论新词政府工作报告翻译方法一、引言《政府工作报告》是政治性极强的政府文件，包含了中国政府在各个领域和各项关键问题上的态度和立场。
17年的《政府工作报告》同样受到了国内外的广泛关注，尤其是它的英译，包括个别新词和特色词汇的具体翻译方法与技巧，以及这些译法所产生的效果和目的语读者所感知到的异国文化氛围。
作者在研究过程中发现：《政府工作报告》中出现的一些具有中国特色的新词汇，背后都隐藏着深刻的含义，译者在对其进行翻译处理时，大多采用了直译和意译法，这样既保留了中国传统文化元素的风格，又考虑到了目的语读者的心理诉求和文化背景，通过追根溯源，以其翻译目的为基本诉求。
二、理论基础——目的论翻译目的论是将Skops 概念运用于翻译的理论，其核心概念是：翻译过程最重要的因素是整体翻译行为目的，其三个核心原则分别为：目的原则，忠实原则，连贯原则。
首先，目的原则强调：翻译应能在译入语情境和文化中，按译入语读者所期待的方式发生作用，并实现交际目的。
忠实原则强调译者对原文忠诚，尊重原作者的意图和目的。
连贯原则指译文具有可读性和可接受性，能够使得接受者理解并在译入语文化及使用译文的交际语境中的意义。
三、基于目的论的新词英译研究《政府工作报告》中出现的一些新词汇是中国传统文化和思想的物质外壳，对这些词汇的翻译，有很多值得讨论的内容。
首先，这些新词汇展示了中国政务方面所呈现出来的新气象，预示着中国政府在改革道路上探究出了一些治国理政的新方法，所以这些词汇的翻译效果直接关系到了中国在世界人心目中的印象。
The Importance of Being a Good Decision Maker
The Importance of Being a Good DecisionMakerBeing a good decision maker is an essential skill that impacts every aspect of our lives. From personal choices to professional decisions, the ability to make sound and effective decisions can greatly influence our success, happiness, and overall well-being. In this essay, I will explore the importance of being a good decision maker from various perspectives, including personal, professional, and societal implications. At a personal level, the ability to make good decisions is crucial for one's overall happiness and fulfillment. Every day, we are faced witha myriad of choices, ranging from simple decisions like what to eat for breakfast to more complex ones such as choosing a career path or a life partner. Making poor decisions can lead to regret, frustration, and even long-term consequences thatcan impact our mental and emotional well-being. On the other hand, being a good decision maker can lead to a sense of empowerment, confidence, and a greater sense of control over one's life. In the professional realm, the importance of being a good decision maker cannot be overstated. Whether you are a business leader, an employee, or an entrepreneur, the ability to make effective decisions can directly impact the success and growth of a company or organization. In a fast-paced and competitive business environment, the ability to make quick and well-informed decisions is often the difference between success and failure. Good decision makers are valued for their ability to assess risks, weigh options, and make choices that lead to positive outcomes, which ultimately contributes to theoverall success of the organization. From a societal perspective, the impact of good decision making is far-reaching. In a world where our choices can have significant social, environmental, and ethical implications, being a good decision maker means considering the broader impact of our actions. Whether it's making choices that promote sustainability, ethical business practices, or social justice, the ability to make decisions that benefit not just ourselves but the greater good is essential for creating a better world for future generations. The process of decision making is complex and multifaceted, involving a combination of rational thinking, emotional intelligence, and ethical considerations. Good decision makersare able to weigh the pros and cons of a situation, consider the potential outcomes, and make choices that align with their values and goals. They are also adept at managing their emotions and biases, seeking input from others, and being open to new information and perspectives. One of the key attributes of a good decision maker is the ability to remain calm and focused under pressure. In high-stakes situations, the ability to make clear-headed decisions can be thedifference between success and failure. Good decision makers are able to manage stress, stay focused on the task at hand, and make choices that are not driven by fear or panic. This requires a high level of emotional intelligence and self-awareness, as well as the ability to regulate one's emotions in order to make rational and effective decisions. Another important aspect of being a good decision maker is the willingness to take calculated risks. While making decisions inevitably involves some level of uncertainty, good decision makers are able to assess risks, gather relevant information, and make choices that have thepotential for positive outcomes. They understand that avoiding risk altogether can lead to missed opportunities, stagnation, and a lack of growth. By taking calculated risks, good decision makers are able to innovate, adapt to change, and pursue new opportunities that can lead to personal and professional growth. In addition to these individual attributes, good decision makers also recognize the value of seeking input from others. They understand that no one person has all the answers, and that diverse perspectives can lead to better decisions. Whether it's seeking advice from mentors, collaborating with colleagues, or gathering feedback from stakeholders, good decision makers are open to input from others and are willing to consider alternative viewpoints before making a final choice. In conclusion, the importance of being a good decision maker cannot be overstated. From personal happiness to professional success and societal impact, the ability to make sound and effective decisions is a critical skill that can greatly influence our lives. By cultivating attributes such as rational thinking, emotional intelligence, and a willingness to take calculated risks, we can become better decision makers and ultimately create a more positive and fulfilling future for ourselves and others.。
翻译目的论角度下《落花生》的两种译本评析
参考内容
引言
引言
《落花生》是中国现代著名作家许地山的代表作之一，其独特的文学风格和 深刻的社会寓意深受读者喜爱。本次演示将从翻译目的论的视角出发，对《落花 生》的英译本进行对比研究，探讨不同翻译策略在目标文本中的体现及其对读者 产生的的论（Skopos Theory）是由德国翻译学家汉斯·弗米尔（Hans Vermeer）提出的，他认为翻译是一种有目的的行为，翻译过程中应优先考虑目 标文本的功能和目标读者的需求。该理论包括三个原则：目的原则、连贯原则和 忠实原则。目的原则指的是翻译应遵循目标文本的功能和目的；连贯原则强调译 文应符合目标语言的语法和语用规范，具有可读性和可接受性；忠实原则则要求 译文应尽可能地传达原文的信息和意义。
1、语言风格
1、语言风格
在翻译目的论的指导下，字幕翻译应考虑目标文本的语言风格。《你好，李 焕英》是一部喜剧电影，语言幽默风趣。在翻译过程中，译者充分考虑了目标受 众的语言习惯和审美需求，采用了通俗易懂、生动形象的表达方式，使观众在享 受剧情的同时，也能感受到原作的情感和意境。
2、文化转换
2、文化转换
《落花生》英译本对比研究
1、许地山原译本
1、许地山原译本
许地山是《落花生》的原作者，他的译本自然是最为贴近原文的。在翻译过 程中，他采用了直译的策略，尽可能地保留了原文的用词和句式，使得译文在表 达方式上与原文保持一致。例如，原文中的“落花生”被翻译为“peanut”，而 没有采用意译的策略将其译为“groundnut”，这在一定程度上保留了原文的形 象和象征意义。
3、忠实原则
3、忠实原则
在忠实原则方面，张培基和刘士聪都尽可能保留了原文的思想和情感。例如， 在原文中，“母亲说，今晚我们可以做一个收获节……那晚上的天色不大好，可 是父亲也来了，实在很难得。”张培基将这段话译为“Mother sd we could have a Harvest Festival that evening…It was rather cloudy, but to our great surprise, Father came too, which was indeed rare
目的论视角下的英语翻译策略研究
丝等专业词汇、缩略词，翻译过程中可以具有专业 化和概括性，如果受众缺少专业性纺织基础知识， 那么翻译可以简易化。另外，对于专业性较强的术 语应作出解释，方便受众了解掌握。
2、遵循译入语的语言风格 目的论要求注重翻译目的外，在语际连贯性 与语内连贯性方面要求越来越高。其中，语内连贯 性是指翻译过程中的译文文化与译文背景，因此， 在翻译目的论视角下，语法与句式翻译顺序应遵循 译入语的语文风格进行翻译。例如在“However, Allen believed that the unconscious mind generates as much action as the conscious mind,and while we may be able to sustain the illusion of control through the conscious mind alone,in reality we are continually faced with a question:‘Why cannot I make myself do this or achieve that?’” 长句翻译过程中应注重主 次顺序，分清句子层次，看懂句子中的主谓宾， 才能翻译成中文：然而 , 艾伦认为潜意识产生意识 能够对行动意识造成一定影响；虽然，我们可以 通过潜意识来维持、控制存在假象 , 但在现实中我 们不断面临着一个问题 :“为什么我不能让自己这 么做或实现那个目标呢 ?”而被动语态通常都是通 过受到、为何由等词来表述被动或者是直接翻译 成无主句与主动句，方便受众理解。例如在“As for the regions where the loan certificate management is canrried out,the borrower needs to present the loan certificate verified and issued by the People’s Bank,in case of application for the foreign exchange fixed asset loan,the import certification or registration documents are also needed”英文中谓语词有 2 个被动语态和 1 个表示被动过去分词短语用作定语，英语翻译工作 者在翻译过程中必须按照汉语语言风格来翻译，中 文翻译为：执行贷款证书管理的地区 , 借款人需有 中国人民银行发行的贷款证；在外汇申请固定资产 贷款 , 需要登记文件或者是进口证明。在这个英语 翻译中两个被动句被翻译成无主句，并使用符合汉 语语言习惯的主谓短语对过去分词短语进行翻译， 方便受众接受与理解。IGHT
《目的论视角下外事口译中汉语成语的口译策略研究》范文
《目的论视角下外事口译中汉语成语的口译策略研究》篇一一、引言随着全球化进程的加速，外事口译作为国际交流的重要桥梁，其重要性日益凸显。
在目的论视角下，外事口译的最终目的是准确、高效地传达源语信息，实现跨文化、跨语言的沟通。
汉语成语作为汉语中的独特表达方式，其内涵丰富、意蕴深远，在口译过程中常成为难点。
因此，从目的论视角出发，研究外事口译中汉语成语的口译策略，对于提高口译质量和效率具有重要意义。
二、目的论视角下的外事口译目的论是翻译研究中的重要理论，认为翻译的目的决定了翻译的策略和方法。
在外事口译中，口译的目的在于准确传达原话的信息和意图，同时考虑文化背景、语境等因素。
因此，口译策略的选择应基于这一目的，确保信息的准确性和流畅性。
三、汉语成语在外事口译中的特点与难点汉语成语具有丰富的文化内涵和独特的表达方式，是汉语中的精华。
然而，在外事口译中，汉语成语往往成为翻译的难点。
一方面，成语的语义往往具有多义性和隐含性，难以在另一种语言中找到完全对应的表达；另一方面，成语的文化背景和语境往往难以在另一种文化中得到完全的理解和接受。
四、汉语成语的口译策略针对汉语成语在外事口译中的特点与难点，本文提出以下口译策略：1. 直译与意译相结合直译能够保留原文的形式和结构，意译则更注重传达原文的含义。
在口译过程中，应根据具体情况，灵活运用直译和意译相结合的方法，使译文既符合目标语的表达习惯，又尽可能保留原文的语义和文化内涵。
2. 借助语境和文化背景进行翻译成语的语义和用法往往与其所在的语境和文化背景密切相关。
在口译过程中，应充分考虑语境和文化背景因素，借助注释、解释等方法，帮助听者理解成语的含义和用法。
3. 采用归化与异化相结合的策略归化策略注重使译文符合目标语的表达习惯和文化习惯，异化策略则保留原文的异域文化特色。
在口译过程中，应根据实际情况，采用归化和异化相结合的策略，使译文既符合目标语的表达习惯，又尽可能保留原文的文化特色。
The Importance of Being a Good Motivator
The Importance of Being a Good Motivator Motivation is a crucial aspect of our lives. It is the driving force that enables us to achieve our goals and aspirations. Being a good motivator is notonly important in our personal lives but also in our professional lives. A good motivator can inspire and encourage individuals to perform at their best, leading to increased productivity and success. In this article, we will discuss the importance of being a good motivator from multiple perspectives. Firstly, from a personal perspective, being a good motivator can help individuals achieve their personal goals. For instance, if an individual wants to lose weight, a good motivator can provide them with the necessary encouragement and support to achieve their goal. A good motivator can also help individuals overcome their fears and insecurities, enabling them to lead a more fulfilling life. Furthermore, a good motivator can help individuals build their self-confidence, which is essential for personal growth and development. Secondly, from a professional perspective, being a good motivator is essential for success in the workplace. A good motivator can inspire individuals to work harder and smarter, leading to increased productivity and success. A good motivator can also help individuals overcome obstacles and challenges, enabling them to perform at their best. In addition, a good motivator can help build a positive work culture, which is crucial for employee satisfaction and retention. Thirdly, from a leadership perspective, being a good motivator is essential for effective leadership. A good leader is someone who can inspire and motivate their team to achieve their goals. A good leader can also provide their team with the necessary support and resources to perform at their best. Furthermore, a good leader can help build a positive work culture, which is essential for employee satisfaction and retention. A good leader is someone who can lead by example, inspiring their team to follow in their footsteps. Fourthly, from a societal perspective, being a good motivator is essential for building a better society. A good motivator can inspire individuals to make positive changes in their lives, leading to a healthier and happier society. A good motivator can also help individuals overcome their fears and insecurities, enabling them to contribute positively to society. Furthermore, a good motivator can help build a sense of community, which is essential for social cohesion and harmony. Inconclusion, being a good motivator is essential for personal, professional, leadership, and societal success. A good motivator can inspire and encourage individuals to perform at their best, leading to increased productivity and success. A good motivator can also help individuals overcome obstacles and challenges, enabling them to achieve their goals. Furthermore, a good motivator can help build a positive work culture and a better society. Therefore, it is important to develop the necessary skills to become a good motivator, as it can have a significant impact on our lives and the lives of those around us.。
The Importance of Being Earnest简介解析
1897年获释后，王尔德动身前往巴黎。他为了两 个孩子曾尝试与康斯坦斯复合，但阿尔弗莱德·道 格拉斯却主动来和他见面，表示想与王尔德重修 旧好，王尔德选择了道格拉斯。1898年王尔德与 道格拉斯同游意大利，但最后两人仍分手，重新 在一起的两人已不如当初，出狱后的王尔德风光 不再，道格拉斯也开始明白王尔德已不再是那个 已婚且人人敬羡的成功人士。仅管他们曾经相爱， 腻在一起聊到天南地北，但是任性的道格拉斯早 前就曾对王尔德说过：“如果你不再是那个高高 在上的王尔德，那一切都不再有趣。”
1900年，王尔德终于在他的好友且曾是他的同性情 人罗伯特·罗比·罗斯的帮助下改信天主教（罗斯是王
尔德第一个同性情人，王尔德曾称是因为罗斯的诱 惑使他走上同性恋的道路，当时罗斯17岁，王尔德 32岁。尽管王尔德后来迷恋道格拉斯，但罗斯多年
来爱慕王尔德，并给予他帮助，罗斯死后的骨灰按 照他的遗愿和王尔德葬在了一起）。于同年11月30 日因脑膜炎于巴黎的阿尔萨斯旅馆去世，终年46岁，
语言艺术：
（1）双关语：
运用双关，不仅可以使语言幽默，俏皮，诙谐，而 且还可以将喜剧效果强烈的表现出来。在王尔德的 这部作品中，作品名字本身就是一个双关语，杰克 为了方便进城寻欢作乐而为自己捏造了一个在城中 叫Ernest的弟弟。而Ernest与earnst同音，意为“认真 的”。但是，就杰克的语言来看，描绘的却是花花 公子的生活。这就形成了一个双关，并且是强烈的 喜剧效果的反双关。
从功能目的论看影视剧名的翻译
从功能目的论看影视剧名的翻译王秋月【摘要】优秀的影视剧名翻译能够帮助影视作品顺利打入异国市场,在展示本国文化的同时,赢取巨大的经济效益."功能目的论"认为,翻译方法和翻译策略必须由译文预期目的或功能决定.在此基础上,影视剧名翻译应遵循达意、文化和美学三原则,可采用直译、意译、创造性翻译等策略;该类翻译不仅涉及语言、文化知识,还涉及心理学、社会学及美学等各科知识,而且需要极强的艺术想象力和创造力.【期刊名称】《常州信息职业技术学院学报》【年(卷),期】2010(009)006【总页数】3页(P64-66)【关键词】功能目的论;影视剧名;翻译【作者】王秋月【作者单位】常州信息职业技术学院外国语学院,江苏常州,213164【正文语种】中文【中图分类】H315.9当前，中国与世界各国之间的交流越来越多，尤其是文化方面的交流愈来愈频繁，其中影视剧的传播是最为迅速且有效的途径。
优秀的影视剧名的翻译能够帮助影视作品顺利进入异国市场，在展示本国文化的同时，也能赢取巨大的经济效益。
因此，影视剧名的翻译也日益得到翻译界人士的关注。
影视剧名千奇百怪，天马行空，涵盖甚广。
若是仅凭泰特勒的“等值论”或尤金·奈达的“功能对等”等翻译基本原理，远远不能满足此类翻译的需求。
影视剧作为文化的一种载体，同时也是一种商品，如何将这类文化商品成功倾销异国，又是由异国观众的社会观、价值观与审美观所决定。
因此，起源于上世纪70年代的“功能目的论”的优势在这一类翻译中逐渐体现。
“功能目的论”即Skopos Theory，其中Skopos为希腊语，意为“动机、目的、功能”，它是由德国功能学派翻译理论的代表人物凯瑟琳娜·莱斯(Katharina Reiss)、汉斯·J·弗美尔(Hans Vermeer)和克里斯蒂安·诺德(Christiane Nord)提出并不断完善。
他们提出［1］，译者在整个翻译中的参照体系应是译文在译语文化环境中预期达到的一种或几种交际功能，即翻译方法和翻译策略必须由译文预期目的或功能决定。
The Importance of Being Earnest-文学赏析
Dramatic irony in many plays arises from conflicting goals between characters. Choose one such example of dramatic irony in The Importance of Being Earnest and explain it.A d ramatic irony is the contrast between the characters’ awareness to the situation and the readers’. A common use of a dramatic irony in The Importance of Being Earnest is to build a comic atmosphere.One example of this would be the scene in which Lady Bracknell asks Algernon for cucumber sandwiches. Algernon then blamed Lane for not offering the cucumber sandwiches, who claims that‘there were no cucumbers in the market this morning’; however, Algernon as well as the audience know that Algernon himself has eaten the sandwiches for Lady Bracknell. The audience may be amused by the fact that Lady Bracknell lacks the knowledge to see through the deception.An essential dramatic irony in The Important of Being Earnest is the double life that Algernon and Jack live in. From the conversation between Algernon and Jack, the audience learns that Algernon has created a fictional character, Bunbury, to help him visit the country, and Jack has done Earnest to help him visit the town. When Lady Bracknell invites Algernon for dinner, Algernon rejects the offer by telling her that he has to visit Bunbury, who is severely ill. Lady Bracknell is surprised by the extreme‘bad health’ Bunbury is in, but the audience knows that Bunbury does not exist. At this point, when Algernon or Jack needs a reason to leave the town or the country, they will use the names Bunbury and Earnest.An example of a dramatic irony that is caused by the different goals between characters is the misunderstanding of Gwendolen. When Jack proposes to Gwendolen , Gwendolen accepts the proposal because she likes the name ‘Earnest’. Pursuing only the name of Jack’s fictional character, Gwendolen, unlike the audience, does not knows that Jack’s name is not Earnest. Jack, on the other hand, constantly tries to convince Gwendolen that ‘Jack’ is as good a name as ‘Earnest’ so that the truth would not affectGwendolen’s decision. Gwendolen’s goal is to marry a person named ‘Earnest’, whereas Jack’s is to have Gwendolen marry himself. Although Gwendolen believes that they have the same goal but the audience knows otherwise. Thus, a dramatic irony is created.Stage directions are sometimes just as important as the lines in a dramatic work. Choose a scene in The Importance of Being Earnest and explain how stage directions are used to develop the plot, characterization, conflict, or theme of the work.Because a play only contains the conversations among characters, stage directions sometimes state essential information of how the characters interact with one another. In the scene that involves Jack, Algernon, Gwendolen and Lady Bracknell, the important of stage directions are emphasized due to the number of people involved. In a conversation with Lady Bracknell, Algernon ‘exchanges glances with Jack’ when he mentions B unbury, the fictional character he has created, and the exchanges of glances immediately gives the audience a clue that Algernon is lying. It also suggests that Algernon acts frivolously even before his elder.After the conversation, a stage direction st ates that ‘Lady Bracknell and Algernon go into the music room, Gwendolen remains behind.’ This direction defines the new setting and gives the audience a clue of what to expect. The audience already knows that Jack is looking for a chance to propose to Gwendolen and the new setting of the scene offer him the chance. Without the stage direction, the audience may wonder why Gwendolen and Jack engage in such a private conversation in front of Lady Bracknell. This shows the importance of stage directions in developing the plot.In the interview with Jack, Lady Bracknell is directed to ‘make a note in her book’. This direction indicates Lady Bracknell’s attitude towards the interview and thus marriage. From the fact that she takes notes of Jack’s answers, the aud ience learns that she views marriage as a serious business and whoever intends to marry her daughter is in need up thorough examinations. Without this stage direction, LadyBracknell’s t one of language can vary with different readers. This stage direction defines Lady Bracknell’s tone as being serious in this particular conversation; therefore, in this example, the stage directions helps the author shape the attitude of the character.。
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摘要翻译目的论将翻译的目的作为所有翻译行为所应遵循的首要法则,即目的决定方法。
本文从翻译目的论的框架出发，对王尔德喜剧The Importance of Being Earnest的两个同时期的中译本进行比较，从而得出结论，翻译目的的不同是导致译本差异的重要原因。
关键词戏剧翻译翻译目的差异
1 引言
戏剧是文学的重要组成部分，因此在翻译领域，戏剧翻译也是文学翻译重要的一支。
The Importance of Being Earnest 是著名戏剧大师王尔德七部戏剧中最成功的一部，在中国有不少译本。
大陆地区比较有名的是解放后由钱之德先生译的《名叫埃纳斯特的重要性》，台湾地区比较有名的是余光中先生的《不可儿戏》。
这两个译本出现时间前后相差不过半年，在文本语言选择上却有很大的差异，除去译者本身文学修养的不同，造成两个译本巨大差异的另一个原因就是翻译目的的差别。
1978 年汉斯·威米尔（Hans Vermeer）在《普通翻译理论框架》一书中首次提出翻译目的论的概念,把翻译置于人类行为理论的范畴中进行研究，指出翻译是人类的一种有目的的行为;并提出制约翻译过程的首要法则便是翻译行为的目的。
本文拟依据翻译目的论对这两个翻译文本进行分析研究。
2 余译《不可儿戏》与钱译《名叫埃纳斯特的重要性》
在这两个译本中，我们可以看到，余光中和钱之德是抱着不同的目的来从事这部剧作的翻译的。
对余光中先生而言，翻译应该采取什么样的方法，没有固定的模式，完全是一种变通的、两相妥协的艺术。
《不可儿戏》作为他的第一部剧本译作，完全秉承了这样的思想。
在翻译此剧本时，他曾谈到，翻译此书，“不但是为中国的读者，也为中国的演员和观众”。
充分表明了他译此剧的目的。
也正是这样，为了上演的需要，余先生采用了灵活多变的译笔，跳出了直译、意译的一般模式。
而钱之德先生本身就是一位喜爱王尔德作品的读者。
为了让其他文学爱好者和他一样有重读经典的机会，他在几乎没有任何译本参考的情况下翻译了这部作品，并且愿意把这部译作当作一部试译作，供读者欣赏阅读。
他曾指出：“我认为，‘剧本对话，究以流利为是’正是我在翻译中必须遵守的准则之一。
”因此，他
的翻译并没有像余译那样，注重其表演的需要，将对白加以灵活变化以便适应观众的要求。
相反，他更多采用直译手法，贴合原文内容，重塑了经典，适应喜爱外国文学的读者口味。
下面，就举例说明基于两者翻译目的的不同，两个译本出现的差异。
“Algernon: You have always told me it was Ernest. I have introduced you to everyone as Ernest. You answer to the name of Ernest. You look as if your name was Ernest. You are the most earnest- looking person I ever saw in my life…”
余译：你一向跟我说，你叫任真。
我也把你当任真介绍给大家。
人家叫任真，你也答应。
看你的样子，就好像名叫任真。
我一生见过的人里面，你的样子是最认真的了……
钱译：你总是对我说，你叫埃纳斯特。
我向别人介绍你，总是用埃纳斯特这个名字。
你名叫埃纳斯特，看上去你就像名叫埃纳斯特，你是我平生见到过的最埃纳斯特①的人。
（注：①这里为音译，意译为“认真”。
）
这段话的翻译，涉及到剧中人名“Ernest”的双关语意。
在全剧中这样的双关语不在少数。
余光中曾在《不可儿戏》译后记中说过：“小说的对话是给人看的，看不懂可以再看一遍，戏剧的对话却是给人听的，听不懂就过去了，没有第二次的机会。
”因此余光中采用了意译的方法。
相比之下，为了让原剧保留其本身的外来色彩，钱译向译入语国的读者介绍了大量音译的外国人名、地名，并将其中的大部分双关含义加以注解，在充分满足文学爱好者对于异国文化的种种好奇心理的同时，也表达了原剧的喜剧色彩。
3 结语
通过以上对The Importance of BeingEarnest 两个不同中译本的分析，我们不难发现，在这两个译本中，两位译者为了实现自己的翻译理想，采用了不同的翻译策略，或迎合观众需求，或满足读者意愿，创造出了两种风格截然不同的译本。
余译充分考虑了译入语受众的接受和理解能力，采用了灵活变通的翻译方法，使得译本更适合演出的需要。
钱之德先生出于自身的爱好，本着向人们再现经典的原则，给人们传递了一部忠实于原作的译本，满足了文学爱好者的文化需求，也扩大了他们的知识面。
可见，翻译目的在戏剧文学翻译中是起着非常重要的作用的，
我们可以根据目的论对戏剧文学的翻译进行很好的解释和研究。
参考文献
[1]钱之德.王尔德戏剧选[M].广州:花城出版社,1983.
[2] 熊婷婷.论巴斯奈特的戏剧翻译观[J].西华师范大学学报,2006(6).
[3]余光中.余光中谈翻译[M].北京:中国对外翻译出版公司,2004.。