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.
d^o
［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。
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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.。