从接受美学角度看英文歌曲的翻译学士学位论文.doc

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郑州xxxxxxxxxxx学院毕业论文（设计）2011届英语专业xxxxxxx班级题目从接受美学角度看英文歌曲的翻译姓名xxxxxxx学号xxxxxxxxx指导教师xxxxxxx职称副教授二О一1年五月一日 AnalysisoftheTranslationofForeignSongsfromthePerspectiveofReceptionalAesthetic  ByxxxxxxxxxxxxxxxSupervisor:xxxxxxxxxxxxxxx  DepartmentofForeignLanguagesZhengzhouInstituteofAeronauticalIndustryManagementMay2010 内容摘要歌曲，这种糅合了语言、文学和音乐三项元素的艺术体裁，一直在人类文明历史舞台上扮演着极其重要的角色，由于各民族各国家间语言文化的差异，歌曲翻译变的十分重要。歌曲翻译与其他翻译不尽相同，因为除歌词以外，歌曲翻译还受制于音乐，正如薛范先生所说：进行歌曲翻译，曲和词已经存在，即，先已有了水晶鞋，必须为它寻找一双合适的脚。只有找到唯一的辛德瑞拉才能配得上那双唯一的水晶鞋。从美学角度看，翻译实质上是一种审美活动。它是审美主体(译者)对审美客体(原作)的审美要素进行分析、综合、转化加工，直至完成的审美再现活动。译者(审美主体)应努力发掘出原作(审美容体)的语言(音乐语言和文学语言)所要表达的一切，把原作的神韵和艺术意蕴通过译语再现出来，使受众如同直接欣赏原作那样被打动，得到美的享受。本文从接受美学的角度探讨英文歌曲的翻译，用一个全新的视角——读者的角度来说明歌曲翻译的重要性及其与接受美学的关系，系统的阐述了我国外文歌曲的发展历程及歌曲翻译的代表人物，指出了我国的歌曲翻译面临的问题，并针对存在的问题提出了相应的翻译策略。关键词接受美学；英文歌曲；歌曲翻译策略 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；thestrategiesoftranslation Acknowledgementsirstofall，myheartfeltthanksgotoProf．ZhangYunxia，mysupervisor,whohelpedmealotateverystageofthisthesisandneverhesitatedtogiveinvaluablesuggestions,evenwhensheisverybusy．Duetoherconstantencouragementandenlightenment,Imanagedtofinishthisthesissmoothly．MysincerethanksalsogotoallmyteachersduringmygraduatestudyatZhengzhouInstituteofAeronauticalIndustryManagement,especiallytoProfessorZhenglei.Theynotonlyledmetoailacademicworldbutalsotaughtmetherightapproachestocarryscientificresearch．Lastbutnotleast，Iownmyspecialgratitudetomyfriendsaroundmefortheiradviceandassistance．Withouttheircareandsupport,itisimpossibleformetohavecompletedthisgraduationthesis.Theirfriendshipandkindnesswillalwaysbeapreciouspartofmymemory． ContentsAbstract(inChinese)……………………………………………………ⅰAbstract(inEnglish)…………………………………………………….ⅱAcknowledgements………………………………………………...iiiContent..........................................................................1.ThedevelopmentofourEnglishsongtranslation………………….11.1Development………………………………………11.2RepresentativesandworksofEnglishsongtranslation…………………………………...21.3ThecurrentproblemsofEnglishsongtranslation.........................31.3.1QuantityofTranslationworksdecline.........................................31.3.2Lessandlesstranslator................................................................31.3.3Translatorteampresentaging....................................................32.Acceptaestheticstheoryanditsapplicationinthesongtranslation.………………........................................................42.1Acceptaestheticsandmainideas………………………………………42.1.1Acceptaestheticstheory2.1.2“Readerfocus”acceptsaesthetics……………………………......................4 2.2TheapplicationofReceptionalAestheticinthetranslationofsongs……………………..………………42.3Musicandliteraryattributeofthetranslationofsongs……………………..………………42.3.1Musicattributeofsongs'translation……………………..………………42.3.2literaryattributeofsongs'translation....................................................…..53.TheoutlookofthestrategiesofEnglishsongs'translationfromtheperspectiveoftheReceptionalAesthetic………………………..……………63.1Literaltranslation…………………………......63.2Freetranslation………………………………………………..73.3Extendencetranslation…………………………………………...8Conclusion……………………………………………………………...9WorksCited…………………………………………………………...10 AnalysisoftheTranslationofForeignSongsfromthePerspectiveofReceptionalAestheticAbstract: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"<>,<>"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,,etc.translatedbyDengyi.XueFanhastranslatedandpublishedaround1800worldwidesongsuntilnow,ofwhich,,,etc,waswidelyrecited.Butgoodtimesdon'tlastlong,“Tenyearsculturalrevolution"makessongs'stranslationoncesuspendeduntilthe1980s.AfterCulturalRevolution,agloriousperiodofsongtranslationcomesinthe1950sand1960s(XueFan,2002:215).TherevelationbringslotsofpopsongsforChinaduringthisperiod.Inaddition,songserieswereeditedandpublished,oneoftheinfluentialonesislunchedbySahnghaiwenyipress,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.Hesummersuphisowntranslationexperienceinthebookwitheightcharacters:"holdoriginalmeaning,moltennewwords".Songtranslationshouldtakemusicasthefirstelementofsongtranslation;thewords,syllables,mustbeequaltooriginal.1.3ThecurrentproblemsofEnglishsongtranslation1.3.1QuantityofTranslationworksdeclineInthe1990s,withthedevelopmentofhigh-tech,moreandmoreforeignsongsspreadwidelyandbesungintheworldpopularly.However,thefactisnotoptimistic,lotsoforiginalsongs,lesstranslated.Sometranslatedsongsetincluded:LilingeditedZhangningedited,Xuefaneditedandetc.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.Onlytheevaluationoftheworksisacceptedby thereader,cantheworkbespreadwidely.AccordingtotheopinionofReceptionalAesthetic,intranslation,thereaderofthetranslatedtextsalsohashis"Horizonof.4.Expectation",whichpreventthetranslatorfromignoringtheimportantroleofthereader,andinturnthetranslatorhastocombinethetextwiththe"HorizonofExpectation",whichwillaffectthestrategyoftranslationinevitably.WecanexplaintheapplicationofReceptionalAestheticinthetranslationofsongsfromatypicalexampleofsongs'translationasbellow:.CarelessWhisperOriginaltranslation：无心快语(《classicsoffamousEnglishsongs》Guizhoucultureandradiopress,1997)Changedtranslation：忘情的呢喃Analysis：thissongistranslatedas“无心快语”。Thiskindoftranslationnotonlychangesthemeaningoforiginalsong,butalsothetranslationof“无心快语”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在遇到你之前我从来也不在乎Andnowitchillsmetothebone而现在我觉得寒冷刺骨HowdoIgetyoualone我怎么能让你独自一人Youdon'tknowhowlongIhavewanted你不知道我盼望了多久totouchyourlipsandholdyoutight,oh接触你的嘴唇与你紧紧相拥Youdon'tknowhowlongIhavewaited你不知道我等待了多久andIwasgoingtotellyoutonight今晚我就要向你表白Butthesecretisstillmyown但是现在秘密还藏在我心里andmyloveforyouisstillunknown我对你的爱还无人知晓Alone独自一人 Theliteraltranslationcannotonlyexpresstheoriginalsongs'meaningsimplyandvividly,butalsomaintaintheoriginalmeaningandstyleoforiginalsongs,ithas.6.reachedtheeffectofexpressingboththestyleandspiritofthesongs.3.2FreetranslationThisstrategyemphasizesonconveyingthesubjectofsongstothelistenerandfocusingonselectingthewords.Inthetranslationofsongs,weshouldallowthetranslatoradjustthewordsappropriatelyaccordingtothecharactersoforiginalsongs.Whentranslatethethemesong《MyHeartWlllGoon》ofthefilm《Titanic》,thesongtranslatorXuefanhasadoptedthisstrategy.EverynightinmydreamsIseeyoulfeelYouThatishowlknowyougoonFaracrossthedistanceandspacesbetweenusYouhavecometoshowyougoon每夜我总梦见你来到我身旁，依旧如同往常一样。尽管你我中间相隔宇宙渺茫，你仍向我叙说梦想。无论你身在何方，我相信心儿永远昂扬⋯⋯Inordertoemphasizethethemeoflove,Xuefanmakesflexibleadjustmenttotheoriginallyrics.如:他并没有将第一句“Everynightifeelyou”字对字的翻译成“每夜，在我梦里，我看见你，感觉到你”，Forexampleinsteadoftranslatingthefirstsentence“Everynightifeelyou”as“每夜，在我梦里，我看见你，感觉到你”,hetranslatesthesentenceas“每夜我总梦见你来到我身旁”accordingtothecharactersoforiginalsongs'rhymeandmelody,thusnotonlymakesthesongmoreeasytobesung,butalsoaddsomeromanticstotheartisticconceptionofthesongs.3.3ExtendencetranslationWhentranslatesomeEnglishsongs,wehavetoaddsomewordstoexplaintheoriginalsongsforthepurposeofbeingloyaltotheoriginalsongsandatthesametimetakingintoaccountoftheaudience'shabitsoftargetlanguage.Thismethodofaddingwordswhentranslatingiscalled"ExtendenceTranslation". Butweshouldalsopayattentionwhenaddingwordsfordifferentwordshavedifferentmeaningandlegends.Forexample:theflyricsoffirsttwoparagraphs:.7.1.WhenIfindmyselfintimesoftroublemotherMarycomestome／SpeakingwordsofwisdomLetitbe／Andinmyhourofdarknesssheisstandinginfrontofme／Speakingwordsofwisdom．Letitbe．一2．Thebroken—heartedpeoplelivingintheworldagree／There’11beananswerLetitbe。／For1thoughtheymaybepartedthereisstillachancethattheycouldsee／TherewillbeananswerLetitbe．Thegeneralmeaningbythetranslatoristhat：”当我烦恼时，母亲告诉我，随它去，随它去；当人们伤心时，有个声音在说，随它去，随它去。”InfactthissongissungbyBeatleswhenMourningthepeoplediedinZeebruggeFerryDisasterandalsotheauthorofthelyricsJohnLennonhaslosthismotherwhenveryyoungandhewasbroughtupbyheraunt,sohewaslackofmother'loveinlife.Inhisanothersongnamed"Mother",hesunginthefirstsentenceasMother，youhadmebutIneverhadyou;1wantedyou，youdidn’twantme．Thetranslatortranslatedas：妈妈，你曾有我而我却从不曾有你，我曾需要你而你却从不需要我。Fromviewoftheexperiencesoftheauthorandthecreatingbackgroundandthemeaningofthesongs,wecanseethattheauthoristothosewoundedhearts,themotherinthesongreferstoHolyMotherMaria,butnottheauthor'smotherorsomeordinarypeople'smother.Thelyricsbeforecanalsobetranslatedas:”当我生活中有了麻烦，圣母玛利亚来到我面前，说着睿智之言‘随它去’每当我神情黯然，她仿佛就站在我面前，说着睿智之言‘随它去’ 世上心碎的人们相信，一切都会过去虽然会有与亲人的别离，但终有一天还会相聚一切都会过去。”.8.ConclusionAnyviableartformsarebothcontinuanceandchangeable.Intoday'smusicworld,weneedtobreakallbarriersandprejudice,haveanattitude"riversrunintosea"andconcept"musicunbound",neithersedulouslyrefused,ordon'tpainstakinglypursue,makingallkindsofstyle,genreandcontentcolorfulwithanattitudeofnature,inclusive,open-minded;onlyshowingthemusiclife’simmense,puredeepthatwillberichpeople’sspiritualandculturallife,implementtheaimofservepeople.Allinall,everynationandeverycountryhasitsuniquecharmingandculturewhichhasalonghistory.andthesongsareoneoftheformofthiskindofculture.Thesongshasbecomeabridge,whichpromotestheexchangeoftheeastandwestandalsothroughthisbridgewecangetabetterunderstandingofoneanother'scultureandlearnmorefromeachother.thesongsplayanimportantroleintheinternationalcommunication. .9.WorksCited[1]程金莉．从接受美学看文学翻译的多样性[J]．合肥工业大学学报，20O5，(3)．[2]顾正阳．古诗词曲文英译文化探索[M]．上海：上海大学出版社，2007．[3]辜正坤.诗歌比较鉴赏与翻译理论[M].北京:清华出版社，2003.[4]高延．英文歌词翻译法之我见[J]．锦州师范学院学报，1998,(1).[5]仝亚辉．接受美学对翻译研究的启示[J]．福建外语，2002,(3).[6]H．R．姚斯，R．C．霍拉勃著．周宁，金元浦译．接受美学与接受理论[M].沈阳：辽宁人民出版社,1987．[7]何善秀．许渊冲教授诗歌翻译中的美学追求-孟浩然的两首英诗赏析[J]．华东交通大学学报，2O05,（3）.[8]李程．歌词的英汉翻译[J]．中国翻译，2002，(3)．[9]刘宓庆．翻译美学导论[M]．中国对外翻译出版公司，2005.[10]李程歌词的英汉翻译[J]．中国翻译，2002,(2).[11]刘风梅．从接受美学视角论翻译[J]．北京第二外国语学院学报，2005,(2).[12]马辉．歌曲写作教程[M]．北京：华乐出版社，1996．[13]Savory，T．H_TheArtofTranslation[M]．London：Capepress,1993．[14]SchleiermacherF．TheTranslationmethod[M]．OxfordUniversityPress,1997．[15]Steiner，George．MierBabel：AspectsofLanguage&Translation[M]．NewYork：OxfordUniversityPres,2002.[16]许渊冲．中国学派的古典诗词翻译理论[J]．外语与外语教学，2005，(11)．[17]许渊冲．翻译的艺术[M]．五洲传播出版社，2OO6．[18]许渊冲．唐诗三百首[M]．北京:高等教育出版社，2000．[19]薛范．歌曲翻译研究与探索[M]．武汉：湖北教育出版社，2002．[20]薛范．名歌经典(外国作品卷)[M]．北京：中国国际广播出版社，2005.[21]杨荫浏．语言与音乐[M]．北京：人民音乐出版社，1983．[22]杨丽华．诗歌翻译中美感的移植与再现[J]．夕语教学，2007,(4).[23]朱立元．接受美学[M]．上海：上海人民出版社，1989． .10.