翻译家 尤金.奈达

语言学家翻译家翻译理论家1.Hislife2.Histranslationtheory3.Hisworks4.Example◆borninOklahomaCity,onNovember11,1914◆graduatedfromtheUniversityofCaliforniain1936◆attendedCampWycliffe,whereBibletranslationtheorywastaught◆becameafoundingchartermemberofWycliffeBibleTranslators,asisterorganizationoftheSummerInstituteofLinguistics◆In1939,becameinterimpastorofCalvaryChurchofSantaAna,California◆In1943,receivedhisPh.D.inLinguisticsfromtheUniversityofMichigan◆wasordainedasaBaptistminister◆1943,marriedAltheaLucilleSprague◆In1937,undertookstudiesattheUniversityofSouthernCalifornia,whereheobtainedaMaster’sDegreeinNewTestamentGreekin1939.◆Intheearly1980s,retired,livedinMadrid,SpainandBrussels,Belgium.◆diedinMadridonAugust25,2011aged96.◆In1993,AltheaSpraguedied.In1997,marriedDr.MaríaElenaFernandez-Miranda功能对等理论DynamicEquivalenceorFunctionalEquivalence所谓“功能对等”，就是说翻译时不求文字表面的死板对应，而要在两种语言间达成功能上的对等。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”(郭建中,2000,P65)。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,P67)。形式很可能掩藏源语的文化意义并阻碍文化交流。因此,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。Nidathensetsforththedifferencesintranslation,ashewouldaccountforit,withinthreebasicfactors:(1)Thenatureofthemessage:insomemessagesthecontentisofprimaryconsideration,andinotherstheformmustbegivenahigherpriority.(2)Thetypeofaudience:prospectiveaudiencesdifferbothindecodingabilityandinpotentialinterest.(3)Thepurposeoftheauthorandofthetranslator:togiveinformationonbothformandcontent;toaimatfullintelligibilityofthereadersohe/shemayunderstandthefullimplicationsofthemessage;forimperativepurposesthataimatnotjustunderstandingthetranslationbutalsoatensuringnomisunderstandingofthetranslation.■TheBibleTranslator-(JournalfoundedandeditedbyDr.Nida(retired),1949-)■Morphology:TheDescriptiveAnalysisofWords-(Univ.ofMichiganPress,1949)■MessageandMission-(Harper,1960)■Customs,CultureandChristianity–(TyndalePress,1963)■TowardaScienceofTranslating-(Brill,1964)■ReligionAcrossCultures-(Harper,1968)■TheTheoryandPracticeofTranslation-(Brill,1969,withC.R.Taber)■LanguageStructureandTranslation:Essays-(StanfordUniversityPress,1975)■FromOneLanguagetoAnother–(Nelson,1986,withJandeWaard)■TheGreek-EnglishLexiconoftheNewTestamentBasedonSemanticDomains-(UBS,1988,withLouw)■ContextsinTranslating-(JohnBenjaminsPublishingCompany,Amterdam,2002)■FascinatedbyLanguages-(JohnBenjaminsPublishingCompany,Amsterdam,2003)篇章对等又叫语篇对等。语篇是一种语言使用单位。因此，我们在进行语篇分析时不能只分析语言本身，而要看语言是怎样在特定的语境中体现意义和功能。语篇对等包含三个层面：上下文语境，情景语境和文化语境文化语境IwasnotPygmalion；IwasFrankenstein.此处翻译难点是Pygmalion和Frankenstein所涉及的文化语境。Pygmalion是希腊神话中的塞浦路斯国王。他雕了一个绝美的女像，并不由自主爱上了她。他的爱发自内心，无比忠诚，就连爱神阿芙罗狄特(Aphrodite)也为之动情，便赋予那女像以生命，二人得以终成眷属。Frankenstein是英国作家谢利(MaryW．Shelley)小说Frankenstein中的主人公，他是个年轻的医学研究者，创造了一个怪物却最终被其毁灭。可见，Pygmalion在此比喻“创造美和享受美”，而Frankenstein则比喻“自作自受，自食其果”。