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戏剧作为一种文学体裁,在东西方都有着深远的历史传承。但作为文学翻译不可分割的一个部分,戏剧翻译的地位远不及小说和诗歌翻译,缺乏系统的理论指导。长期以来,批评界主要运用奈达的“功能对等”理论,从强调读者的角度,评价戏剧翻译,而忽视了译者在翻译过程中所持“目的”对翻译结果的影响.本文将主要运用“功能目的”理论,将戏剧文学读者分为两个不同的读者群,结合戏剧审美心理,对奈达“功能对等”理论在戏剧翻译批评中的不足做一探讨。
As a literary genre, drama has far-reaching historical traditions both in East and West. However, as an integral part of literary translation, drama translation is far from the status of novels and poetry translation, the lack of systematic theoretical guidance. For a long time, critics mainly use Nida ’s theory of “functional equivalence” to evaluate drama translation from the perspective of readers, while ignoring the translator ’ s influence on translation results during translation. This paper will mainly use the theory of “functional purpose” to divide the readers of drama literature into two different groups of readers. Combining with the aesthetic psychology of drama, this article will give a brief account of the shortcomings of Nida ’s theory of “functional equivalence” in drama translation criticism Discussion.