翻译论文写作小论文.docx

河 南 科 技 大 学 A Translation Report on Fitness for the Jazz Dance 翻译实践报告 姓 名 张 爽 院 系 外国语学院 专 业 翻 译 硕 士 学 号 154207250378摘要 近年来随着经济的发展和群众生活水平的提高，对舞蹈感兴趣的年轻人也越来越多。本篇翻译实践材料选自爵士舞：爵士舞学习的基础和拓展（以下简称爵士舞）的第十章。爵士舞是著名舞蹈教师MG Kraines和E Pryor 撰写，并于2004年出版。本文简单易懂，为学生提供了图文并茂的基本爵士舞步和舞姿。该书为所有对爵士舞感兴趣的读者打开了一扇窗。 针对该文的文本特点，笔者在奈达的功能对等理论指导下，采用了词义引申、减译、增译等翻译技巧，用以解决翻译过程中所遇到的问题，以期最大限度的接近读者，达到信息传递的目的，希望通过本文的理论探讨和案例分析总结相关的经验教训，并为之后的翻译提供些许参考。在本翻译报告中，笔者介绍了本翻译任务的文本来源、翻译目的，收录了爵士舞第十章的原文和本文作者的译文，对自己的译文、翻译方法以及翻译中的问题进行了分析，同时，笔者总结全文，并阐述了自己在整个翻译过程中的心得体会、存在的问题及展望。关键词：功能对等理论；翻译技巧；归化；AbstractIn recent years, with the development of the economy and the improvement of living standards, the number of young people who are interested in dance has increased rapidly. This translation report is based on the translation practice of Chapter 10 Fitness for the Jazz Dance from Jump Into Jazz: The Basics and Beyond for Jazz Dance Students (refered as Jump Into Jazz). Jump Into Jazz was written by MG Kraines and E Pryor. Published in 2004, in an accessible, easy-to-read style, this text provides students with well-illustrated descriptions of all basic jazz steps and movements.The book opens a window for all those who have curiosity in the jazz dance. Aimed at the characteristics of the text, with the guidance of functional equivalence theory, some translation skills such as extension, additionandsubtraction are used to solve problems in the translation practice process, which is for getting close to readers as much as possible and transferring information of the text to them. It is hoped that something can be learned by theoretical discussion and case analysis in this report for translation in the future.This report introduces the source of the text and the purpose of translating it, he original text and suggested translation, an analysis of the authors translation including the translation process, guiding theories, translation techniques as well as mistakes in the previous Chinese translation. Moreover, what have been learned in this translation project as well as unresolved issues are discussed.Key words: functional equivalence theory; translation skills; naturalization;目 录摘 要IAbstractII目 录III1 引言12 翻译任务描述12.1 任务来源12.2 原文文本分析12.3 任务意义23 翻译过程描述23.1 译前准备2 3.2 翻译中发现的问题及难点23.2 译后的审核及校对34 翻译案例分析34.1 功能对等翻译理论34.2 翻译方法3 4.2.1 词义引申 3 4.2.2 拆译4 4.2.3 减译5 4.2.4 增译54.3 小结65 翻译实践总结65.1 翻译教训和启示65.2 尚待解决的问题7参考文献8致谢9附录一10附录二11III1.引言爵士舞是非洲舞蹈的延伸，由黑奴带到美国本土，在美国逐渐演进，形成本土化、大众化的舞蹈。自传入我国以来，爵士舞在我国作为新兴的舞蹈，因其独特的表现方式和独具一格的舞台魅力，在当今舞台大放光彩。与此同时, 在商业文化的强大推动力下，我国许多大城市，特别在北京、上海、武汉、广州等地，爵士舞在民间繁盛起来，我们称之为流行性爵士舞，即当代爵士舞。以街头爵士舞和现代爵士舞为主体，融合了大量当代流行舞蹈元素，集流行性与娱乐性于一体，极具创新性，但却又有规范性和系统性缺乏的不足之处。而在在国际上，特别是部分欧美国家，爵士舞发展已日臻成熟和完善。特别是在基本动作技术的研究上也形成了完整且规范的理论系统，非常值得我们学习和借鉴。面对当前国内爵士舞发展现状，借鉴国外优秀爵士舞的教学内容便有十分重要的意义。不仅可以极大的帮助爵士舞学生学习理论和实践，而且还能有效的帮助爵士舞教练更好的指导学生。爵士舞就是这样的一本书。本次项目的任务就是将本书的第十章从英语翻译成汉语。2. 翻译任务描述本次项目的任务就是将本书的第十章从英语翻译成汉语。2.1 任务来源本次翻译任务是受河南科技大学艺术设计学院的大四学生委托，翻译材料由委托方提供，要求在一周内保质保量的完成。其中有多个翻译材料，本翻译报告以其中一篇爵士舞的第十章为例进行分析。2.2 原文文本分析本次的翻译材料选自图书Jump Into Jazz: The Basics and Beyond for Jazz Dance Students的第十章。从词法上说，文中生僻词汇较多，专业术语林立，此外还有许多在专业术语的基础上创造的合成词，从句法上说，该文句子长度一般相对较长，且结构层次复杂，堆砌现象明显，从逻辑上说，由于句子过长，结构层次较多，因此逻辑关系容易混淆，判断分析起来有一定难度。2.3 任务意义本次翻译任务完成之后，鉴于本次翻译任务是受艺术与设计学院大四学生委托用于论文中的文献参考，因此此次翻译的完成对于他们的论文的完成具有指导意义。同时，该书的翻译，也为舞蹈爱好者提供了实用的训练方法和注意事项。对于我国现在爵士舞在动作技术上更多的是强调运用大量芭蕾和现代舞的基本动作技术的传统风格来说，引进国外优秀教学书籍对我国舞蹈不断吸收美国传统爵士舞的教学内容，完善基础动作技术训练内容也有十分重要的意义。从翻译报告的撰写方面说，首先，通过翻译报告可以记录该次翻译实践活动，并促使译者将翻译实践活动中的经验教训进行系统总结和阐述，以文字的方式展现给读者，便于与翻译同行就相关翻译策略和技巧进行探讨，此外，也为之后的翻译工作提供一些参考和借鉴。3 翻译过程描述 笔者的翻译过程包括译前准备、正式翻译、审核和校对三个部分。值得注意的是，为保证译文质量，特别注重译文的审核和校对。3.1 译前准备因为只有一周的翻译时间，笔者在拿到原稿之后就立即开展翻译前的准备工作。首先，通读全文，充分了解原文及背景，奈达就把译前准备列入翻译的过程，称之为“背景准备”，由此可见译前准备十分重要。第一步，通过反复阅读熟悉原作；其次是通过各种渠道收集并查询各种相关资料，比如对翻译中所涉及的专有名词、术语的翻译，笔者为此准备了多本汉英字典包括艺术类专业词典。因袭在进行正式翻译之前，笔者首先确定了专业词汇表（详见附录一）。除此之外，笔者利用网络资源收集并阅读了一些相关文本资料，包括我国与世界爵士舞发展现状的特点、舞蹈教育的现状与发展、初级爵士舞练习教程等。笔者还通过维基百科和百度百科进行相关查询，以便提高笔者的翻译质量和翻译效率。3.2 翻译中发现的问题及难点 在翻译实践过程中笔者发现，该文本的一个明显特点是专业性术语比较多，再加上该篇是指导性的文章，若是在翻译过程中处理不得当，容易造成句子冗乱，并产生歧义，给目的语读者带来理解上的困难。此外，很少能查阅到比较有参考价值平行文本，特别是专业术语方面的翻译，通过网络查询到的翻译大多不是非常准确，这在一定程度上增加了翻译难度。并在一定程度上。英汉这两种语言在句子结构和遣词造句上存在极大的差别，因此，翻译成合乎汉语的表达习惯的译文也是重点和难点。3.3译后的审核及校对翻译完成后，在同学的帮助下，译者首先根据大家提出的意见及建议对由于翻译技巧不当等造成的问题进行了分析，并做出了相应的修改，之后，译者又对文本做了二次审核，对其中由于笔误或其他原因造成的非翻译策略和方法问题，如语法错误、拼写错误和前后不一致等进行了修改，尽力保证翻译质量。4 翻译案例分析在这一章，笔者针对翻译中所遇到的问题及难题进行了分析，并通过对翻译实践过程中典型案例的分析，探讨相应的翻译技巧。4.1 功能对等翻译理论“功能对等”是由尤金奈达提出的，为使源语和目的语的之间的转换有一 个标准，减少差异，从语言学的角度出发，根据翻译的本质，提出了著名的“动态对等”翻译理论。在这一理论中，他指出“翻译是用最恰当、自然和对等的语言从语义到文体再现源语的信息”。奈达有关翻译的定义指明翻译不仅是词汇意义上的对等还包括语义、风格和文体的对等，翻译传达的信息既有表层词汇信息也有深层的文化信息。“动态对等”中的对等包括四个 方面：1、词汇对等；2、句法对等；3、篇章对等；4、文体对等。在这四个方面中，奈达认为“意义是最重要的，形式其次”（郭建中，2000：65)。形式很可能掩藏源语的文化意义并阻碍文化交流。因此，在文学翻译中，根据奈达的理论，译者应以动态对等的四个方面作为翻译的原则准确地在目的语中再现源语的 文化内涵。在这一章，笔者针对翻译中所遇到的问题及难题进行了分析，并通过对翻译实践过程中典型案例的分析，探讨相应的翻译技巧。4.2 翻译方法 根据功能对等理论，在尽量保证原文形式的基础上，译者力求达到意义上对 等，使译作能够达到和原作一样的效果。为了消除文化差异，对原文中需要解释 的词语进行了增译，对于有些不易理解的词汇，译者使用了归化等译法，以目的语为中心，多用短句，确保译文能达到和原作对等。4.2.1词义引申根据功能对等理论，如果形式的改变仍然不足以表达原文的语义和文化，可 以采用“重创”这一翻译技巧来解决文化差异，使源语和目的语达到意义上的对 等。翻译时，有时会遇到某些词在英语辞典上找不到适当的词义，如果任意硬套 或逐词死译，就会使译文生硬晦涩，不能确切表达原意，甚至会造成误解。这时 就应根据上下文和逻辑关系，从该词的根本含义出发，进一步加以引伸。 例1： 原文：The resistance used is your own body weight. 初译：体重就是你的阻力。 再译：自身的体重就是你运动时的阻力。这里的 resistance是电阻、阻力的意思，简单地直译为“体重就是你的阻力。”显然对目的语读者而言，是不太能清楚理解的。因此，笔者在这里进行了词义引申，讲句子再译为“自身的体重就是你运动时的阻力”。这样一来，目的语读者也能够清楚明白句子所要表达的意思。4.2.2拆译 众所周知，英语重形合，句法连绵，一个主句可以与众多的修饰词组、短 语、从句共同组成句子，讲究一气呵成。汉语重意合，句法短促，从容不迫。 英汉翻译中最重要的手段就是拆译，即在译文中将原文打破重组（杨士焯， 2011：41)。英语句子之所以需要拆译，是因为中文表述无法按照其英文句法展开。中 文最忌讳的是长长的一句话中间不带一个标点符号，非拆不可（杨士焯， 2011：44)。例2：原文：Knowing the fitness values and principles that apply to a jazz dance class can provide motivation for working hard, working safely, and setting goals.译文：了解适用于爵士舞课程的体能训练的意义和原则，为爵士舞爱好者提供了努力和安全锻炼以及确立目标提供了动力支持。例3：原文：When overloading the duration of an aerobic workout, the principle of progression would add 3 to 5 minutes to the workout once the initial workout had reached a comfortable state. 译文：超负荷原则应用于持续的有氧运动时，一旦最初的锻炼已经达到了舒适的状态，渐进性原则将会增加3至5分钟的锻炼。例4：原文：For example, for an individual improve the performance of the shot put, the person must perform an exercise that overloads the arm muscles and a training motion that closely resembles the motion of the shot put.译文：例如，对于一个想提高铅球的表现的人来说，必须用类似于铅球运动的训练方式对手臂肌肉进行超负荷训练。以上三个例子，都是把比较长的句子进行拆分来译，这样方便读者理解。4.2.3 减译在英译汉时，译者应注意的一点是，英语句型中有很多连接成分，相对而言中文结构比较松弛，词句也比较简洁。译者应该看透原文，省去不必要的成分，将汉语重“意合”的特点发挥出来。例5：原文：If the legs are exercised, fitness is built in the legs. If the arms are exercised, fitness is built in the arms.译文：如果锻炼腿部，腿部体能增强。如果锻炼手臂，手臂体能增强。再译：锻炼腿部，增强腿部体能；锻炼手臂，增强手臂体能。相比中规中矩的翻译出原文的意思，笔者发现，使用减译的方法译文更简洁，而且也没有重大的意义缺失，同时方便读者阅读。莎士比亚曾说过，“Brevity is the soul of wit”（简洁是智慧的精华）。笔者认为，译者在翻译中也应以这句话为警钟，时刻提醒自己保证最简洁明了的译文。4.2.4 增译关于增译的目的，杨士焯教授在其英汉翻译教程中给了翻译学习者清晰的解释：“增译的目的就是使译文显化、明晰化、明朗化：一是出于句法上的考虑，即将原文句法上的省略成分按汉语习惯补出；二是根据原文上下文的意思、逻辑关系，在译文中增添有助于译文读者理解的显 化表达，或者说将原文隐含的信息显化于译文中，使意思更明确，逻辑更清楚。形象点说，译者应善于给原文圆话，但不是画蛇添足。”（杨士焯，2011：54)由于英汉语言差异，中英文句式存在明显的差别，为了给读者正确反馈出原文意思，在翻译中，译者多使用了增补译法，解释补充英语原文中省略的部分。例6: 原文：The resistance used is your own body weight. 初译：体重就是你的阻力。 再译：自身的体重就是你运动时的阻力。初译的译文只是仅仅翻译出了字面上的意思，但是却对目的语读者的正确理产生误导。因此在英译汉中，为了保证译文意思的完整性，需要增补一些原文中暗含而没有明言的词语来达到与原文功能对等的效果。4.3 小结本章回顾了翻译实践过程中笔者所遇到的部分翻译难点和经典案例，并就词义引申、增译和减译法等翻译技巧在其中的应用进行了充分阐释和分析探讨，这对之后同类文本的翻译有一定的参考借鉴意义。5. 翻译实践总结在对所选文本的翻译过程中，笔者遇到了很多的困难，经过认真的思考和推敲，感悟颇多。5.1.翻译教训和启示 首先是专业生僻词汇较多，一开始笔者主要采用词典及网络作为该问题的解决办法，但经过一段时间的翻译后，笔者发现有的词虽然能够查到，但却意思过多或者找不到贴合原文的释意，还有一部分词根本就查不到，后来通过平行文本的阅读，笔者发现选词义和解读单词的准确性大大提高了。因此，我认识到：(1)翻译前的准备工作十分重要，不能拿到译文就开始翻译，要做好调查，包 括作者的一些著作，研究其语言和写作风格，此外还要査找大量优秀译本，学习 长处，减少失误。翻译前通读全文，深层次理解文意，理清逻辑关系，也是保证翻译思路清晰的重要前提。(2)在翻译过程中，不能盲目借助网络或者参考资料，对不同的平行文本进行分析，求好去次，多方考查。(3)翻译结束后还要不断修改，不能一次结束。因为好的翻译都是在多次修改 和推敲后才能“完美”。对专有词汇的翻译要确保正确，不能按照自己的想法随便翻译，所以在翻译结束后，对一些不太明确的地方仍需查证。5.2.尚待解决的问题在本次翻译实践中，笔者本着认真的态度、负责的精神、专业的素养加以对待，努力保证文本翻译的质量，但由于对文本所涉及专业领域了解不是十分深刻，文中的有些翻译还有待商榷，同时也还有部分翻译有待改进。之后笔者会继续坚持学习并不断练习，不断提高自己的翻译能力与水平。 参考文献1 Nida, Eugene A, Toward a Science of Translating. Shanghai Foreign Language Education Press, 2004.2 MG Kraines, E Pryor, Jump Into Jazz: The Basics and Beyond for Jazz Dance Students, McGraw-Hill Education (5 edition), 2004.3 郭建中, 文化与翻译, 中国对外翻译出版社, 2000.4 何刚强, 笔译理论与技巧, 北京, 外语教学与研究出版社, 2009.5 爵士舞发展综析, 中国论文网, 2016.6 彭鑫,爵士乐的发展历程及爵士乐在我国现状的研究, 哈尔滨师范大学,2011.7 杨士焯, 英汉翻译教程（第二版, 北京：北京大学出版社, 2011.致谢时光如梭，转眼间两年的MTI学习生活已经过去一年了。这一学期以来，在翻译硕士论文写作课堂上所学到的知识让我受益匪浅，带给了我太多的收获与回忆，这些都将使我受益终身，一生难忘。因此，在这里我首先要感谢翻译硕士论文写作老师赵老师，感谢您在课堂上的悉心教导。不论是您认真的工作态度，还是严谨的治学精神都给我带来很深的影响。同时也要感谢我在校期间的各科任教老师，您们在教给我知识的同时，也教会了我许多做人的道理，使我受益无限。其次要感谢翻硕班的同学们，感谢你们在生活和学习上对我的帮助。特别要感谢我的好朋友们，是她们在我伤心难过的时候鼓励我陪伴我，让我重新振作。 最后也要感谢我的家人，是你们在生活上的帮助与精神上的鼓励为我去除了所有的后顾之忧，使我得以全心全意投入学习之中。最后真诚的感谢所有帮过我的你们！附录一:Isometric contraction等长收缩Static contraction静态收缩Push-ups俯卧撑Leg lifts抬腿Plis蹲下起立Ligament韧带Hip joint髋关节Soft tissue软组织Flexibility柔韧性Endurance 耐力Muscular Endurance肌肉耐力Cardiorespiratory Endurance心肺功能Sit-up仰卧起坐Cardiovascular system 心血管系统Respiratory system呼吸系统Aerobic activity有氧运动Lactic acid乳酸Jump跳跃Leap跃起Turn旋转Fast footwork快速的步法Anaerobic metabolism无氧代谢Progression渐进性Specificity principle特异性原则Overload principle超负荷原则附录二：Strength DevelopmentMost jazz dance classes develop strength through isometric, or static contraction. In an isometric contraction, tension is developed in the muscle, but the muscle does not shorten and there is no joint movement. A simple example of an isometric contraction is tightening the abdominal muscles (holding the stomach in). In a dance class, a dancer continually contracts isometrically by maintaining correct alignment. In particular, balance exercises require isometric contraction. The dances must use a wide variety of muscle groups to achieve balance and to move through the exercises in a controlled manner.Jazz dance classes also develop strength through isotonic training. In an isotonic contraction the muscle shortens and joint movement occurs. Push-ups, leg lifts, and plis examples of isotonic exercises. The resistance used is your own body weight.FLEXIBILITYAlthough flexibility is generally associated with the elasticity of muscles, the total concept of flexibility is denoted by the range of motion of a certain joint and its corresponding muscle groups. Flexibility is influenced by the structure of the joints bones and ligaments, the amount of bulk that surrounds the joint, and the elasticity of the muscles whose tendons cross the joint.The range of motion of the bodys various joints is defined as joint mobility. Joint mobility is measured by the amount of movement that exists where two joint surfaces articulate with each other. The greater the range of motion at the joint, the more the muscles can flex and extend. This range of motion, or joint mobility, is specific to each joint in the body. For example, your hip joint may be extremely flexible, whereas your shoulder joint may be inflexible.The movement range of muscles and joints not used regularly throughout their full range of motion becomes limited. There are several reasons why good joint mobility and muscular elasticity should be maintained. Good joint mobility and muscular elasticity can increase resistance to muscular injury and soreness. However, too much flexibility in certain joints such as the weight-bearing joints of the hips, knees, or ankles may make a person susceptible to injury or hamper performance. Loose ligaments may allow a joint to twist abnormally, tearing the cartilage and other soft tissue. In general, it is advisable to achieve and maintain a normal amount of flexibility throughout the body normal range varies with each individual.To increase flexibility, the muscles must be stretched about 10 percent beyond their normal range of motion. As flexibility increases, the range of the stretch must also increase for flexibility to continue increasing.Flexibility DevelopmentDance requires a tremendous amount of flexibility. During the warm-up section of class, the muscles are warmed and then put through a lengthy routine of stretching, or flexibility-enhancing exercises. The hip joint receives a great deal of attention during the stretching routine. Hip-joint flexibility aids the dancer in achieving high leg lifts. The Achilles tendon needs flexibility for high jumps and smooth landings. The back must be flexible, as well as the ankles and shoulder joint, so that the body can achieve a myriad of positions. Because flexibility is so essential to the dancer, every jazz class focuses on exercises to achieve it.ENDURANCEEndurance is the ability of a muscle or group of muscles to perform work (repeated muscular contractions) for a long time. With endurance, a muscle is able to resist fatigue when a movement is repeated over and over or when a muscle is held in a static contraction. There are two types of endurance: muscular and cardiorespiratory.Muscular EnduranceMuscular endurance is the ability of skeletal muscles to work strenuously for progressively longer periods of time without fatigue. Muscular endurance is attained by applying resistance to the muscles, either by adding weight or by increasing repetitions. Note that muscle endurance is highly specific; it is attained only by the specific muscles exercised.In jazz dance class, during the floor warm-up, muscular endurance can be developed in the abdominals through the repetition of sit-ups.Push-ups develop triceps and pectoral muscles. (Sit-ups and push-ups are presented in Chapter 6.) The repetition of plis, relevs, and battements (these movements are discussed in Chapter 4) increases the muscular endurance of the leg muscles.Cardiorespiratory EnduranceCardiorespiratory endurance is the ability of the cardiovascular system (heart and blood vessels) and the respiratory system (lungs and air passages) to function efficiently during sustained, vigorous activity. Such activity includes running, swimming, and cycling. To function efficiently, the cardiorespiratory system must be able to increase both the amount of oxygen-rich blood it delivers to the working muscles and the amount of carbon dioxide and waste products that it carries away. For cardiorespiratory endurance to be developed, a person must regularly engage in aerobic activities.Cardiorespiratory endurance may or may not be developed in a jazz dance class; it depends on the teaching style of the instructor. If the teacher leads you through a continuous warm-up for a half hour or more and the warm-up is vigorous enough to maintain a heart rate of at least 130 to 170 beats per minute, then you are developing your cardiorespiratory endurance. This type of exercise is aerobic exercise. Aerobic “with oxygen” 一 that is, you are able to provide oxygen to the working muscles so they are able to contract without accumulating fatiguing waste products. If in the warm-up you frequently stop for corrections and explanations or if your heart rate does not reach 130 beats per minute, then you are not significantly taxing your cardiorespiratory system; cardiorespiratory endurance will not improve. Aerobic exercise must be sustained for about 20 minutes for improvement to occur. The best exercises to achieve cardiorespiratory endurance are jogging, swimming, biking, and aerobic dance.The dancer must also perform anaerobic exercise. Anaerobic exercise occurs when the body works at a very high intensity and cannot deliver enough oxygen to prevent the buildup of lactic acid. The lactic acid makes the muscles feel fatigued very quickly, so anaerobic exercise can be sustained for only short bursts of 1 to 2 minutes. By continually stressing the anaerobic response, the body can gradually increase its tolerance of lactic acid. As a result, with conditioning, the body can prolong anaerobic bursts of energy.Jazz dance stresses the anaerobic response with across the floor locomotion: jumps, leaps, turns, and fast footwork. Combinations of these movements usually last for up to 2 minutes. Routine jazz dance combinations also provide anaerobic exercise and improve anaerobic metabolism.TRAINING PRINCIPLESTo affect the components of fitness we have discussed so far(strength), flexibility, muscular endurance, and cardiorespiratory endurance。we must apply certain training principles to fitness conditioning. Adhering to the following training principles will help you to achieve the many benefits from participating in dance as an exercise program.Training EffectThe term training effect refers to the physiological changes that occur in the body due to regular and proper participation in an exercise program. To achieve a training effect and experience the benefits of exercise (whether strength, flexibility, or endurance), the individual must apply the concepts ofThreshold of trainingSpecificity principleOverload principleProgressionThreshold of TrainingIn developing physical fitness, there is a correct amount of exercise that will produce effective conditioning results. The threshold of training is the minimum amount of exercise necessary to produce improvements in physical fitness.Each component of fitness strength, flexibility, and endurance has its own threshold of training.Specificity PrincipleThe specificity principle (specific adaptations to imposed demands SAIDprinciple) is a unifying concept that applies to all areas of fitness. It means that the human body adapts specif