從接受美學(xué)角度看英文歌曲的翻譯學(xué)士學(xué)位論文

鄭州xxxxxxxxxxx學(xué)院畢業(yè)論文（設(shè)計(jì)）2011屆英語專業(yè)xxxxxxx班級(jí)題目從接受美學(xué)角度看英文歌曲的翻譯姓名xxxxxxx學(xué)號(hào)xxxxxxxxx指導(dǎo)教師xxxxxxx職稱副教授二О一1年五月一日AnalysisoftheTranslationofForeignSongsfromthePerspectiveofReceptionalAesthetic

ByxxxxxxxxxxxxxxxSupervisor:xxxxxxxxxxxxxxx

DepartmentofForeignLanguagesZhengzhouInstituteofAeronauticalIndustryManagementMay2010內(nèi)容摘要歌曲，這種糅合了語言、文學(xué)和音樂三項(xiàng)元素的藝術(shù)體裁，一直在人類文明歷史舞臺(tái)上扮演著極其重要的角色，由于各民族各國家間語言文化的差異，歌曲翻譯變的十分重要。歌曲翻譯與其他翻譯不盡相同，因?yàn)槌柙~以外，歌曲翻譯還受制于音樂，正如薛范先生所說：進(jìn)行歌曲翻譯，曲和詞已經(jīng)存在，即，先已有了水晶鞋，必須為它尋找一雙合適的腳。只有找到唯一的辛德瑞拉才能配得上那雙唯一的水晶鞋。從美學(xué)角度看，翻譯實(shí)質(zhì)上是一種審美活動(dòng)。它是審美主體(譯者)對(duì)審美客體(原作)的審美要素進(jìn)行分析、綜合、轉(zhuǎn)化加工，直至完成的審美再現(xiàn)活動(dòng)。譯者(審美主體)應(yīng)努力發(fā)掘出原作(審美容體)的語言(音樂語言和文學(xué)語言)所要表達(dá)的一切，把原作的神韻和藝術(shù)意蘊(yùn)通過譯語再現(xiàn)出來，使受眾如同直接欣賞原作那樣被打動(dòng)，得到美的享受。本文從接受美學(xué)的角度探討英文歌曲的翻譯，用一個(gè)全新的視角——讀者的角度來說明歌曲翻譯的重要性及其與接受美學(xué)的關(guān)系，系統(tǒng)的闡述了我國外文歌曲的發(fā)展歷程及歌曲翻譯的代表人物，指出了我國的歌曲翻譯面臨的問題，并針對(duì)存在的問題提出了相應(yīng)的翻譯策略。關(guān)鍵詞接受美學(xué)；英文歌曲；歌曲翻譯策略AbstractSongsarethemixtureofthreeelements(language,literatureandmusic),whichhaveplayedextremelyimportantroleinthecivilizationhistoryofhuman;fordifferentcountriesandnationshavingdifferentlanguageandculture,sothetranslationofsongsbecomeveryimportant.Songtranslationisnotthesameasothertranslation;becausewemustthinkaboutthemelodywhentranslatelyrics.Fromanaestheticperspective,translationisanactivity.Itisanactivitythataestheticsubjects(translator)analyzestheaestheticfactors,comprehensive,processing,untilyoufinishalltheaestheticemersionactivities.Thetranslatorshouldtrytoexploreoriginallanguageanditsmeaning,expresstheverveandartisticoforiginalworksviatranslationreproducing,tomakeaudiencemoved;getbeautifulenjoymentasappreciatingoriginalsongs.ThispaperdiscussedEnglishsongtranslationfromtheAngleofaesthetics,usinganewview–fromangleofreader.AndalsosystematicallyexpoundeddevelopmentofforeignsongsandtherepresentativefiguresinChina.Itpointedoutthesongstranslation'sproblemsandputforwardthecorrespondingtranslationstrategiesbasedontheexistingproblems.KeywordsReceptionalAesthetic；Englishsongs；thestrategiesoftranslationAcknowledgementsirstofall，myheartfeltthanksgotoProf．ZhangYunxia，mysupervisor,whohelpedmealotateverystageofthisthesisandneverhesitatedtogiveinvaluablesuggestions,evenwhensheisverybusy．Duetoherconstantencouragementandenlightenment,Imanagedtofinishthisthesissmoothly．MysincerethanksalsogotoallmyteachersduringmygraduatestudyatZhengzhouInstituteofAeronauticalIndustryManagement,especiallytoProfessorZhenglei.Theynotonlyledmetoailacademicworldbutalsotaughtmetherightapproachestocarryscientificresearch．Lastbutnotleast，Iownmyspecialgratitudetomyfriendsaroundmefortheiradviceandassistance．Withouttheircareandsupport,itisimpossibleformetohavecompletedthisgraduationthesis.Theirfriendshipandkindnesswillalwaysbeapreciouspartofmymemory．ContentsAbstract(inChinese)……………………ⅰAbstract(inEnglish)…………………….ⅱAcknowledgements………………...iiiContent..........................................................................ThedevelopmentofourEnglishsongtranslation….11.1Development………11.2RepresentativesandworksofEnglishsongtranslation…………………...21.3ThecurrentproblemsofEnglishsongtranslation.........................31.3.1QuantityofTranslationworksdecline.........................................31.3.2Lessandlesstranslator................................................................31.3.3Translatorteampresentaging....................................................32.Acceptaestheticstheoryanditsapplicationinthesongtranslation.………………........................................................42.1Acceptaestheticsandmainideas………42.1.1A2.1.2“Readerfocus”acceptsaesthetics……………......................42.2TheapplicationofReceptionalAestheticinthetranslationofsongs……..………………42.3Musicandliteraryattributeofthetranslationofsongs……..………………42.3.1Musicattributeofsongs'translation……..………………42.3.2literaryattributeofsongs'translation....................................................…..53.TheoutlookofthestrategiesofEnglishsongs'translationfromtheperspectiveoftheReceptionalAesthetic………..……………63.1Literaltranslation…………......63.2Freetranslation………………..73.3Extendencetranslation…………...8Conclusion……………...9WorksCited…………...10AnalysisoftheTranslationofForeignSongsfromthePerspectiveofReceptionalAestheticAbstract:Songsarethemixtureofthreeelements(language,literatureandmusic),whichhaveplayedextremelyimportantroleinthecivilizationhistoryofhuman;fordifferentcountriesandnationshavingdifferentlanguageandculture,sothetranslationofsongsbecomeveryimportant.Songtranslationisnotthesameasothertranslation;becausewemustthinkaboutthemelodywhentranslatelyrics.MusicianMr.Xuefanhassaid,songtranslation,tuneandlyricsalreadyexists,i.e.,wealreadygotslipper,mustsearchingforsuitablefoot.ThisimprovesonlyCinderelladeservestheslipper.Fromanaestheticperspective,translationisanactivity.Itisanactivitythataestheticsubjects(translator)analyzestheaestheticfactors,comprehensive,processing,untilyoufinishalltheaestheticemersionactivities.Thetranslatorshouldtrytoexploreoriginallanguageanditsmeaning,expresstheverveandartisticoforiginalworksviatranslationreproducing,tomakeaudiencemoved;getbeautifulenjoymentasappreciatingoriginalsongs.ThispaperdiscussedEnglishsongtranslationfromtheAngleofaesthetics,usinganewview–fromangleofreader.AndalsosystematicallyexpoundeddevelopmentofforeignsongsandtherepresentativefiguresinChina.Itpointedoutthesongstranslation'sproblemsandputforwardthecorrespondingtranslationstrategiesbasedontheexistingproblems.Keywords:ReceptionalAesthetic；Englishsongs；thestrategiesoftranslation1.thedevelopmentofourEnglishsongtranslation1.1DevelopmentAccordingtoprofessorQianRenKangprobation,oursongtranslationbeganintheendofQingdynasty,tracedbacktoAmericansong"<<theFeiDucaleb>>,<<dovetailedintoGeorgia>>"translatedbyYeZhonglengin1908.AftertheMayFourthmovement,theWesternculturedominates,largenumbersofforeignsongsandmusicwastranslatedtoourcountry,includingthesongsfromUK,USA,France,Germany,Italy,JapanandRussiaandothercountries.Thesetranslatedsongsroughlydividedintofollowingtypes:schoolsongs,revolutionarysongs,classicsongsandthereligionsongswith“missionaries”..1.WhenNewChinawasfoundedin1949,foreignsong’stranslationhasalsoenteredaperiodofunprecedentedprosperity,nomatterthewidthanddepthareallexceedthe1930s.ManyexcellentSongtranslatorslikeXuefan,MaoYUkuan,Zhengfeng,ShangJiaxiang,DengYingyiandLinCaibing,areemergingoutandformarelativelystableteam.Somesongsarethemostpopular,suchas<Songofjoy>,<Auld

Lang

Syne>,<Jinglebells>etc.translatedbyDengyi.XueFanhastranslatedandpublishedaround1800worldwidesongsuntilnow,ofwhich<Moscowevening>,<harbournights>,<redrivervalley>,etc,waswidelyrecited.Butgoodtimesdon'tlastlong,“Tenyearsculturalrevolution"makessongs'stranslationoncesuspendeduntilthe1980s.AfterCulturalRevolution,agloriousperiodofsongtranslationcomesinthe1950sand1960s(XueFan,2002:215).TherevelationbringslotsofpopsongsforChinaduringthisperiod.Inaddition,songserieswereeditedandpublished,oneoftheinfluentialonesis<sino-foreign300lynicsongs>lunchedbySahnghaiwenyipress,totalthreeepisodeswith450foreignsongs.Inthebiggesttrendandinfluenceofsongstranslation,manypeoplejoinedtheranks,likezhangning,HeXiDe,LuoChunakai,Shengyin,TaoShengJie,etc-thepromisingyoungpeople,theyalsoturnedintoabundantfruitsinthegardenofsongtranslation.1.2RepresentativepeopleandworksofEnglishsongtranslationOurEnglishsongtranslationexperiencesatoughtortuousprocess,manyscholarshaveworkedinthisarea,andtheymakeenduringcontributiontoChina'sEnglishsongtranslation.ZhangZhiJiangpaysattentiontotranslationproblemsofsongsandlyricsveryearly.Hethinksthelyricstranslationshouldbeobeytheoriginalmeaning,trytomakethetranslationrhymingfitness,suitableforSinging.Accordingtothecommonfeaturesoflyricsandpoetry,WangZuoliang,liuDezhongbasedontheprinciple"usingpoetrytotranslatepoems",referredto"translatesongwithsong".Meanwhile,translatorshouldclearlyknowfeaturesoflyrics:simple,colloquial,comparedwithgeneralpoetry.QianRenKangthink,songscanbepoetrythatcanbesung;translationoflyricsshouldbothcomplywiththeoriginalrhythmandcoordinatewithmusic.Thesongtranslationisharderthanpoetry,wemustconsideratetheoriginalmeaningandmetrical.LiChengrealized,becausethedifferencesbetweenChineseandwesterncultures,.2.therewouldbedifficultforunderstandingandexpressingofsongtranslation.Therefore,thelyrictranslationnotonlyneededtonotetheunderstandinglevelsandlogics,butalsouseandtranslateinsentences.Anotherimportantdetailisthatthebackgroundofsongcannotignore.LiaoZhiYangconsidersongs'translationshouldfollowfaithful,natural,elegant,sung---thefourprinciples,andestablishedthreecommonmethods:literaltranslation,meaningtranslation,changeabletranslation.XueFancomprehensivelydiscussesthesong'stranslationstrategiesaccordingtoownexperienceofsongtranslation.Hesummersuphisowntranslationexperienceinthebook<Songstranslationexplorationandpractice>witheightcharacters:"holdoriginalmeaning,moltennewwords".Songtranslationshouldtakemusicasthefirstelementofsongtranslation;thewords,syllables,mustbeequaltooriginal.1.3ThecurrentproblemsofEnglishsongtranslation1.3.1QuantityofTranslationworksdeclineInthe1990s,withthedevelopmentofhigh-tech,moreandmoreforeignsongsspreadwidelyandbesungintheworldpopularly.However,thefactisnotoptimistic,lotsoforiginalsongs,lesstranslated.Sometranslatedsongsetincluded:Lilingedited<thesino-foreignfolkmusic>Zhangningedited<JohnDenverSongs>,Xuefanedited<The1997-1991Sovietsongscuriosaset>and<worldmovieclassic500songs>etc.1.3.2LessandlesstranslatorManytranslatorsworkingintranslationareaareintheformofstragglers,livingapovertyoflife.FamoustranslatorMr.XuefanhavetranslatedandintroducedabundantSovietrevolutionarysongsintoChina.Butheisunkowntothepublicatearlyage,hisnameandsituationisknownbyothersuntiloldage.1.3.3TranslatorteampresentagingCurrentsongtranslationfacedembarrassingsituationofnostep-forwarders.Andalsosongtranslationhashighandspecificrequirementsfortranslator---notonlyneedhighforeignlanguagelevel,themostimportantisgoodmusictrainingandpoetryandliteraturetraining.Soforsongtranslation,ourmusicpersonagesoftenusetwo-cooperationways,inordertoreducetheburdenoftranslation.Butthismethodisdifficulttogetsatisfiedwork.Becauseofthis,song'stranslationbecomesharderandharderwithhigherrequirementsfortranslator,lettingsomepeopleprohibitive..3.Overall,currentsongstranslationmeet"sixmore,sixless"situation-moreforeignoriginalsongs,lesstranslated;morelearningforeignsong,lessworkingforsongtranslating;moreforeign-Chinesetranslation,lessChinese-foreign;moreEuro-poptranslated,lessmulti-ethnicsong;morelyricstranslation,lessmatchmusic;moretranslatedworks,lesssuitableforsinging.2.ReceptionalAesthetictheoryanditsapplicationinthesongtranslation2.1ReceptionalAestheticandmainideas2.1.1Receptionalaestheticstheory“Receptionalaesthetics”thisconceptformedinGermanyatendofthe1960sandearly1970s.ThemostinfluentialaestheticsrepresentativesareHansR?JaussandIserWolfgang.Thecoreideaofreceptionalaestheticisstartingfromaudience,beginningfromaccepts.Receptionalaestheticsthought,theliteraryworksnotdirectlyliesinauthor’sculturalbackgroundortextitself,butintheinteractionofreaderandthetext.Aestheticspullsreadertoheightofgod,spreadaroundtheworldafterestablishing.2.1.2“Readerfocus”ReceptionalaestheticsReceptionalaestheticstheoryestablishedreaders’importantpositioninliteraryactivity,createdbyaestheticidea"Readerfocus".InoneoffounderHansR?Jauss’sopinion:"literatureisnotedascreatedforthereceiverfundamentally",intherelationshipofwriter,worksandreader,thelatterisonepowerofcreatehistory,andshouldnotconsideraspassivefactorandsimplereaction.HansR?Jauss’srelized:therealvalueofworkscanreflectallthereader’sappreciation,review.From“Readerfocus”perspective,societyisthemostpowerfulandeffectiveconvincingforevaluationscaleforartofvocalperformance-alsoconsiderasresponseandattitudesofreceiver.Worksvaluemustbeshowinmakingamassofaudienceaccept.2.2TheapplicationofReceptionalAestheticinthetranslationofsongsThepurposeofsongs'translationhassomethingincommonwiththekeythoughtofReceptionalAesthetic:paymoreattentiontothefeelingofrecepter！Thepurposeofsongs'translationistoletmoreandmorepeopleknowthesongsandappreciatethebeautyofthemusic.Soduringthetranslationofsongs,thetranslatoroftenhavetoconsiderthefeelingofthereceptor.Onlytheevaluationoftheworksisacceptedbythereader,cantheworkbespreadwidely.AccordingtotheopinionofReceptionalAesthetic,intranslation,thereaderofthetranslatedtextsalsohashis"Horizonof.4.Expectation",whichpreventthetranslatorfromignoringtheimportantroleofthereader,andinturnthetranslatorhastocombinethetextwiththe"HorizonofExpectation",whichwillaffectthestrategyoftranslationinevitably.WecanexplaintheapplicationofReceptionalAestheticinthetranslationofsongsfromatypicalexampleofsongs'translationasbellow:.CarelessWhisperOriginaltranslation：無心快語(《classicsoffamousEnglishsongs》Guizhoucultureandradiopress,1997)Changedtranslation：忘情的呢喃Analysis：thissongistranslatedas“無心快語”。Thiskindoftranslationnotonlychangesthemeaningoforiginalsong,butalsothetranslationof“無心快語”cannotbeunderstanded.ifwecombinethesongwiththelyrics,wecansee:herecarelessmeans"bepanicbecauseofloveandbelostinlove.whisper~1]referstothetenderandmutteredwhisperbetweenlovers.Thechangedtranslationcannotonlyhaveagoodcorrespondencewiththeoriginalsong,butalsocanexpressthemeaningoftheoriginalsongexactly,andthelattertranslationisaslomoreeasilytobeacceptedbythereader.2.3Musicandliteraryattributeofthetranslationofsongs2.3.1Musicattributeofsongs'translationMusicattributeoflyricsoftenconcerntrateonrhyme,rhythm,toneandsoon.theobjectofsongs'translationisforeignsongs,forwhichthemusicandwordshaveexisted,sothetranslatorhastofeelandunderstandtheartisticimageandmusicalimagewhichtheoriginalrhymeandrhythmhasprovidedandthenexpresstheminasuitableway.Thetranslatedlyricsmustmatchthemusic,thisisthefirstelementofsongtranslation.thequalityofthetranslationofsongsmainlydependson"thematchedsong"2.3.2literaryattributeofsongs'translationTheliteraryattributeofsongs'translationmailyreflectsonthatthelyricsbelongtoliteraryandinliterarylyricsbelongtoVerseareas,forthereasonthatinverseareas,thetextsoftenperformancethecharacteristicsofpoemingeneral.Lyricsisalsocalledsongandpoem,whichisaspecialverseinliterature.Fromperspectiveofthecreationofsongs'lyric,lyricsarefrom"poet",butnotequalto.5."poet"Thetranslationoflyricsbelongstoliterarytranslation,sothelyrics'translationshouldfollowtherelatedrulesofliterarytranslation.3.TheoutlookofthestrategiesofEnglishsongs'translationfromtheperspectiveoftheReceptionalAestheticEnglishsongsaretheunificationofboththecultureoflanguageandthecultureofethnic,sowhenwetranslatethesongs,weshouldadoptflexibleapproachesinordertoreachthepurposeofexpressingboththelyricsandtheinnermeaningofthesongsandalsogivingdeepimpressiontothereaders,Stimulatingthereaders'desiretoappreciatethesongs.Thehighqualityoftranslationisthatthatcanreachthesamefunctionoftheoriginalsongs.WewillintroducesometranslationstrategiesofEnglishsongsfromtheperspectiveoftheReceptionalAestheticbellow:3.1LiteraltranslationOnthepremiseofnotcausingmisunderstanding,thesongs'translationshouldadoptliteraltranslationwhichmeanstranslatingaccordingtotheliteralmeaningofsongs.Therearemanyadvantagesofliteraltranslation:tomaintainboththeoriginalstyleand"westernstyle",topursuethebeautyofunificationoftranslatedsongandtheoriginalsong,tointroducenewwords.Forexample:《alone》byCelinedionTillnowIalwaysgotbyonmyown至今我一直孤身一人IneverreallycareduntilImetyou在遇到你之前我從來也不在乎Andnowitchillsmetothebone而現(xiàn)在我覺得寒冷刺骨HowdoIgetyoualone我怎么能讓你獨(dú)自一人Youdon'tknowhowlongIhavewanted你不知道我盼望了多久totouchyourlipsandholdyoutight,oh接觸你的嘴唇與你緊緊相擁Youdon'tknowhowlongIhavewaited你不知道我等待了多久andIwasgoingtotellyoutonight今晚我就要向你表白Butthesecretisstillmyown但是現(xiàn)在秘密還藏在我心里andmyloveforyouisstillunknown我對(duì)你的愛還無人知曉Alone獨(dú)自一人Theliteraltranslationcannotonlyexpresstheoriginalsongs'meaningsimplyandvividly,butalsomaintaintheoriginalmeaningandstyleoforiginalsongs,ithas.6.reachedtheeffectofexpressingboththestyleandspiritofthesongs.3.2FreetranslationThisstrategyemphasizesonconveyingthesubjectofsongstothelistenerandfocusingonselectingthewords.Inthetranslationofsongs,weshouldallowthetranslatoradjustthewordsappropriatelyaccordingtothecharactersoforiginalsongs.Whentranslatethethemesong《MyHeartWlllGoon》ofthefilm《Titanic》,thesongtranslatorXuefanhasadoptedthisstrategy.EverynightinmydreamsIseeyoulfeelYouThatishowlknowyougoonFaracrossthedistanceandspacesbetweenusYouhavecometoshowyougoon每夜我總夢(mèng)見你來到我身旁，依舊如同往常一樣。盡管你我中間相隔宇宙渺茫，你仍向我敘說夢(mèng)想。無論你身在何方，我相信心兒永遠(yuǎn)昂揚(yáng)??Inordertoemphasizethethemeoflove,Xuefanmakesflexibleadjustmenttotheoriginallyrics.如:他并沒有將第一句“Everynightifeelyou”字對(duì)字的翻譯成“每夜，在我夢(mèng)里，我看見你，感覺到你”，F(xiàn)orexampleinsteadoftranslatingthefirstsentence“Everynightifeelyou”as“每夜，在我夢(mèng)里，我看見你，感覺到你”,hetranslatesthesentenceas“每夜我總夢(mèng)見你來到我身旁”accordingtothecharactersoforiginalsongs'rhymeandmelody,thusnotonlymakesthesongmoreeasytobesung,butalsoaddsomeromanticstotheartisticconceptionofthesongs.3.3ExtendencetranslationWhentranslatesomeEnglishsongs,wehavetoaddsomewordstoexplaintheoriginalsongsforthepurposeofbeingloyaltotheoriginalsongsandatthesametimetakingintoaccountoftheaudience'shabitsoftargetlanguage.Thismethodofaddingwordswhentranslatingiscalled"ExtendenceTranslation".Butweshouldalsopayattentionwhenaddingwordsfordifferentwordshavedifferentmeaningandlegends.Forexample:theflyricsoffirsttwoparagraphs:.7.Thegeneralmeaningbythetranslatoristhat：”當(dāng)我煩惱時(shí)，母親告訴我，隨它去，隨它去；當(dāng)人們傷心時(shí)，有個(gè)聲音在說，隨它去，隨它去。”InfactthissongissungbyBeatleswhenMourningthepeoplediedinZeebruggeFerryDisasterandalsotheauthorofthelyricsJohnLennonhaslosthismotherwhenveryyoungandhewasbroughtupbyheraunt,sohewaslackofmother'loveinlife.Inhisanothersongnamed"Mother",hesunginthefirstsentenceasMother，youhadmebutIneverhadyou;1wantedyou，youdidn’twantme．Thetranslatortranslatedas：媽媽，你曾有我而我卻從不曾有你，我曾需要你而你卻從不需要我。Fromviewoftheexperiencesoftheauthorandthecreatingbackgroundandthemeaningofthesongs,wecanseethattheauthoristothose