浅谈散文翻译的功能对等李婷李婷指导老师指导老师 评评 阅阅 人人 完成日期完成日期 Functional Equivalence in the Translation of English Literary ProsebyLi TingA 2007 Undergraduate of theForeign Languages Department,Taizhou Institute of Science and TechnologySupervisor: Xu GuixiangMay 2, 2011声声 明明本人郑重声明：1、坚持以“求实、创新”的科学精神从事研究工作。2、本论文是我个人在导师指导下进行的研究工作和取得的 研究成果。3、本论文中除引文外，所有实验、数据和有关材料均是实的。4、本论文中除引文和致谢的内容外，不包含其他人或其 机构已经发表或撰写过的研究成果。5、其他同志对本研究所做的贡献均已在论文中做了声明并 表示了谢意。作者签名：李 婷 日 期：2010 年 5 月 4 日Thesis:Functional equivalence in the Translation of English literary prose.Brief Introduction of Literary ProseA. The definition of Literary ProseGenerally, prose, in this paper called literary prose, is a kind of article which pays little attention to the length. According to Wei Jimu, literary prose traditionally means that: Via the vivid and authentic description of objective things, community affairs and a certain individual to express authors feelings and thoughts with vivid and beautiful language (韦济木 270).In broad sense, excepting the novels, poems, plays, it includes all kinds of essays, exposition and argumentation, such as: political comments history comments biographies, travel notes, letters, diaries, sketch, table, prologue and so on. These articles, both the carrier of sentiment and the model of language art, have the very high aesthetic value. In long-term circulated process, the literary prose watered a variety of ages in the literary field.In narrow sense, literary prose is lyric prose. Unlike other literary style, lyric prose is charactered by what is one experience and undergo, what is one hear and see and what is one think and meditate. B. The characteristics of literary prose1. Scrambled in appearance but united in spiritThis theory is put forward by Xiao Yunru which is acknowledged and spread extensively. “Scrambled in appearance” denote that it is not only a easily material-getting one but also free of time and space. Literary prose follows no set form in the technique of expression, such as narration, description, argument and exposition. The author is free to zoom in his/her own way. “United in spirit” refers that the theme the author want to convey is supposed to be clear and definite. All without exception serve for a better expression of the theme.2. Bantam length and far-reaching prospectThe author draws support from imagination and association, processing from one to another, from the shallow to the deeper to communicate the true emotion. Or rather, literary prose is closely related with such lyric art as bi xing and expressing one ambition by describing natural objects.3. Graceful, concise language and full of literary talent“Graceful” refers to the language of literary prose, pictures a gentle stream to voice the authors genuine sentiments, and is pure, fresh, bright, and beautiful. “Concise” is quoted for a terse, unadorned and flow language style of literary prose, which, barely in a nutshell, can trace out lively images and affecting scenes. That is to say, literary prose strives to speak the circumstances and refresh the emotions of the readers. The Concept of Translation EquivalenceA. The definition of the Translation EquivalenceThe most authority of the theory is Nidas “equivalence effect theory”(等效论), “equivalence theory”(奈达的等值论), or “functional equivalence”(功能对等). However, by no means does Nidas “equivalence” theory drive at perfect similarity. He and Taber put forward the term “equivalence” in 1969 and clarified as follows: The translator must strive for equivalence rather than identity. In a sense this is just another way of emphasizing the reproducing of the message rather than the conversation of the form of the utterance (Nida and Taber 12).As far as he can see, translation was not intend to render everything identity, but rather reproducing “the closest natural equivalence to the source language message” in the target language. The Translation equivalence divided into two parts, the minimal level and the maximal level. The minimal level of the “functional equivalence” shows that “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 appreciated it.” The maximal level is defined as “The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993 118; 1995 224). B. The development of the Theory “Dynamic equivalence” is reader-directed when Nida developed two essential types of equivalence in translating: dynamic equivalence and formal equivalence. A dynamic equivalence translation does not want the readers to comprehend the cultural background of the source language for the sake of understanding the message. However, the wording of “dynamic equivalence” has often been misconceived by other translators as mentioned