功能对等在英译本《雷雨》中的应用

功能对等论文

（申请文学硕士学位论文）

培养单位：外国语学院

学科专业：外国语言学及应用语言学

研 究 生：蓝岚

指导教师：吴志芳 教授

2007年11月

功能对等论文

分类号 密 级

学校代码

学 位 论 文

题 目 功能对等理论在英译本《雷雨》中的应用 英文题目 Functional Equivalence Applied in the English

研究生姓名 蓝岚

姓名 吴志芳 职称 教授 学位

指导教师 单位名称 武汉理工大学外国语学院 邮编

申请学位级别 硕 士 学科专业名称 外国语言学与应用语言学

论文提交日期 2007年11月 论文答辩日期 2007年11月

学位授予单位 武汉理工大学 学位授予日期

答辩委员会主席 马云霞 评阅人 马云霞 许之所

2007年11月

功能对等论文

内内内内

功能对等理论是尤金 奈达的翻译理论的核心，在20世纪六、七十年代的翻译理论界产生过巨大的影响，是我国较早被引进的理论之一，因此在中国译学界的影响较大，也是国内译学界评价较多的理论。功能对等在此后的很长一段时间内影响深远，对翻译实践的指导方面的作用不可忽视。

戏剧翻译虽然是文学翻译的一部分，但是由于戏剧翻译内应用于舞台表演，所以有其自身的特点。在戏剧翻译实践中，有人喟叹“戏剧翻译是比译其它的文艺作品更难的工作”，究其原因，大概也是由于戏剧文学的特殊性：一方面，剧作家写剧本，首先是为演员表演，因此戏剧文学不能脱离舞台；另一方面，“戏剧是一面焦点集中地反映自然的镜子”（阿 尼柯尔,1985, 41）。也就是说，戏剧内高度浓缩，凝炼地反映生活。戏剧这两个特点，决定了戏剧的翻译不同于其它形式的文学翻译。

与传统的翻译理论不同，奈达的功能对等理论从另一角度为翻译提供了一个衡量的标准。传统的翻译理论把翻译的重点放在语言的表现形式上，而奈达则认为翻译的重点应当是读者对译文的反应。内达到理想的翻译，就是内找到与原文最自然且最切近的对等语。也就是说译入语的读者对译入语的反应内等值于原语读者对原语的反应。这一点与戏剧翻译在根本上是一致的，因为如果戏剧译本表达不自然，演员则无法上口，观众也很难立即体会和欣赏其中的妙处；如果戏剧译本与原文不贴近，意义不对等，译本则毫无意义。本文正是运用了奈达的这一理论来评析这一特殊的文学形式—戏剧《雷雨》的英译本，通过对译本中大量的例子分析，试图揭示出功能对等理论在戏剧翻译中的可应用性，在不同的层面上达到与原文“最自然且最切近的译文”的方法。

本文分四个部分组成。第一部分为全文的简内介绍；第二部分回顾了功能对等理论的提出、发展和特点以及《雷雨》这部话剧的简介，阐述译者王佐良的翻译观，并分析了王的翻译观与本文的翻译原则相照应；第三部分是文章的主体，分别从语言，风格和文化三个方面分析了英译本《雷雨》如何达到功能对等的；第四部分为结论,说明在戏剧翻译中，应根据其鲜明特色来确定如何实现翻译的功能对等，而对等最基本的原则就是遵循语言、风格、文化三方面的功能对等。

关键词：戏剧翻译，功能对等，语言，风格，文化

功能对等论文

Abstract

Functional Equivalence is the core of Eugene A. Nida’s translation theory. It had great impact on translation studies in the 1960s and 1970s and was one of the theories which were introduced into China at an early time. Therefore its influence upon translation studies in China is profound. The role of functional equivalence in guiding translation practice can be by no means ignored.

Although drama translation is only one part of literary translation, it has its own features due to the specific requirement of performance. An expert says, “drama translation is a far more difficult job than other literary works’ translation.” The reason probably is the peculiar features of drama literature. Since the purpose of drama is for actors to perform, consequently drama could not be isolated from the stage. The other is that “drama is a mirror which reflects focusing points of the society.” (阿 尼柯尔: 1985: 41). That is to say drama should be highly-concentrated to reflect life concisely. These characteristics of drama determine the difference between drama translation and that of the other literary works.

Nida’s theory of Functional Equivalence provides a completely new criterion for the evaluation of translated works, which shifts from the focus of message to that of the response of the receptor. The closest natural equivalent translation is the translation that can evoke from its readers the same response as the source text does from its readers. This is in concordance with drama translation, since if the translated text of a drama is not natural, it will be hard for the actors to pronounce, nor will it be immediately understood and appreciated by the audience, if the English version is not the closest equivalence translation, it will be useless. In this paper, the theory of functional equivalence serves as a guiding principle to analyze the special literary pattern—Thunderstorm, an English version of this drama. The author tries to reveal the feasibility of applying functional equivalence in drama translation and find the methods to achieve “the closest natural equivalence” on different language levels.

The paper is composed of four parts. Part one is mainly an introduction of this paper; part two reviews functional equivalence theory, the main plot of drama Thunderstorm and the translation procedures adopted by Wang Zuoliang, the translator of Thunderstorm; part three is the main part, examples are taken from Thunderstorm to illustrate how to achieve functional equivalence on three aspects, language, style and culture; part four is the conclusion. To achieve functional equivalence, translators of drama are required to study the source drama with its unique characteristics, while the basic principle of functional equivalence is required to achieve linguistic, stylistic and cultural equivalence.

Key Words: drama translation, functional equivalence, language, style, culture

功能对等论文

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