第一篇：谈英语文学作品名称的汉译
最新英语专业全英原创毕业论文，都是近期写作 汉英称赞语的对比研究 Cause of Tragedy in Desire Under the Elms 3 从传统节日庆祝方式的角度比较中英文化差异 4 初中英语合作学习The Problems in English and Chinese Trademark Translation and Relevant Countermeasures 6 A Comparison of the English Color Terms 7 英汉禁忌语的文化内涵比较 8 体育新闻英语文体特点分析 爱伦坡短片小说“美女之死”主题研究 10 建构主义学习理论在中学英语教学中的应用 11 英汉自谦语的对比研究 中西方传统习俗的对比研究——出生礼，婚礼，葬礼
13文档所公布均英语专业全英原创毕业论文。原创Q 175 567 12 48 多丽丝·莱辛的《金色笔记》中的怀旧情绪 The Tragedies of Meggie and Fee in The Thorn Birds 16 中西方文化差异对商务谈判的影响 孤独而坚强的灵魂－－《被遗弃的韦瑟罗尔奶奶》中爱伦•韦瑟罗尔的性格分析 18 试论《围城》中四字成语的英译 19 从《简爱》看电影对名著的改编 20 英语专业学生词汇学习策略特点研究 A Comparison between Scarlett O’Hara and Jane Eyre from the Perspective of Feminism 22 从美国妇女社会地位的提升看英语歧视性词汇的变化 23 对话中语用意义的理论视角 24 《傲慢与偏见》中的对立与统一 25 网络委婉语中的模因现象研究 26 浅析虚词在英语写作中的重要性 27 中西方婚礼礼服颜色的对比研究 28 《红字》中的象征主义 论杰克伦敦的个人经历和信仰对《野性的呼唤》主人公巴克命运的影响 30 《德伯家的苔丝》环境细节描写的作用 31 浅析D.H.劳伦斯小说中的平衡原则 32 从礼貌原则看《威尔与格蕾丝》的对话 33 “逍遥骑士”——浅析年代美国嬉皮士文化 34 语用预设视野下的广告英语分析
《等待戈多》中的矛盾分析-分裂的语言与互补的人物 36 《飘》—斯嘉丽女性主义意识的成长历程解读 37 文化差异对英汉翻译的影响 38 浅谈商务谈判语言的特点
新课标指导下的中学英语语法教学
高中生英语学习成败归因现状调查及对策 41 反思任务型教学在高中教学中的应用 42 从文化差异看英文电影片名的汉译 43 英汉基本颜色词的文化差异及其翻译策略
从女性主义视角浅析《纯真年代》中两位女主人公爱情观的不同 45 汉英姓氏文化差异
原版英语电影在大学英语教学中的使用研究 47 双关语在广告英语中的语用分析及其运用 48 高中英语听力课中的文化教学 49 《红楼梦》中座次表达的英译比较
艾米丽·勃朗特《呼啸山庄》中男主人公希斯克利夫的形象分析 51 会话含义在商务谈判中的运用 52 论《红字》中的清教主义思想
《药》的两个英译本中翻译技巧比较
从Hofstede的文化维度角度解析中美家庭教育的差异 55 英文小说中的中国文化认同——《京华烟云》赏析
传统美德与反传统个性的结合——《小妇人》中乔的形象分析 57 永不凋落的玫瑰—从女性主义分析《红字》中的海斯特 58 Naturalism in Sister Carrie 59 《紫色》女主人公性格分析
Gone with the Wind: From Novel to Film 61 Psychological Analyses of Sethe in Beloved 62 教师的个性与语言教学
《乱世佳人》主人公斯嘉丽形象浅析 64 英文电影片名翻译策略研究 65 文化意识与语言教学
English to Chinese Translation Methods 67 迷惘一代的英雄：厄内斯特海明威与弗雷德里克亨利 68 战后美国对伊拉克娱乐文化的影响 69 浅谈英语在未来的国际地位 70
A Comparison of the English Color Terms 72 目的论视角下新闻标题汉译英研究 73 看翻译中的文化因素
中国的超前消费以及其对“八十后”的影响 75 浅析《瑞普•凡•温克尔》中的浪漫主义 76 电影英文片名汉译的原则
汉英动物词的文化内涵对比及翻译
On the Factors Leading to Different Destinies of Rhett Butler and Ashley Wilkes in Gone with the Wind 79 中西方饮食文化比较研究
从文化视角看汉英翻译中的语篇连贯性 81 汉语中叠词的英译策略
试析《献给艾米莉的玫瑰》中女主人公艾米莉的形象 83 动物习语在英汉文化中的异同分析
从女性意识的角度解读《荆棘鸟》中的女性形象 85 从《人生的枷锁》中三个女性看毛姆的婚爱观 86 《老人与海》中圣地亚哥人物形象的特点探析 87 英语非作格动词语义特征和句法属性研究 88 浅析《蝇王》中的人性黑暗
《本杰明•富兰克林自传》和《嘉莉妹妹》美国梦的对比研究 90 英汉文化差异对英语俚语汉译的影响
The Application of Cohesive Devices in Chinese-English Translation of Chinese Literary Works 92 A Comparison of Values between China and the West 93 中国文化特色词的英译——以《阿Q正传》的两个译本为例 94 从电影作品分析英语外来口音的现象 95 浅谈体态语及其在跨文化交际中的作用
Paradox in American Culture: Mainstream and the Trend of Multiculturalism 97 从广交会现场洽谈角度论英语委婉语在国际商务谈判中的功能与应用 98 国产电影字幕归化与异化研究－－以《集结号》为个案研究 99 从中英文动物词汇看中西方文化差异
Exploring How to Increase Students' Interest in English 101 论英文电影片名翻译方法的应用
A Comparison of the English Color Terms 103
解析《简爱》的帝国主义意识 105 中小学英语词汇教学法探讨 106 《新编英语教程》浅析
功能目的论视角下汉语商标的英译策略 108 A Comparison of the English Color Terms 109 中英报刊新闻标题语言特色探讨 110 中英称谓语的差异
跨文化交际下的中英文禁忌语的对比研究 112 从绝望到适应——鲁滨逊在孤岛上的心理变化 113 英语报刊标题的词汇特点和修辞特点 114 中美广告创意的文化差异性研究
The Religious Thoughts in The Pilgrim’s Progress 116 从功能主义翻译理论看商业广告的英汉翻译 117 口译中的文化差异：现象与对策
An Adaptation-based Approach to Brand Name Translation 119 浅析《简爱》的主人公简爱
马克吐温在<<哈克贝里费恩历险记>>中对人类社会的深切关注 121 人性的救赎——从电影《辛德勒的名单》看美国英雄主义的新侧面 122 组织学习障碍及相应的对策 123 英语委婉语的认知分析 124 中西方婚俗文化及差异
A Comparison Between the Novel and Movie of A Clockwork Orange 126 裘德悲剧成因的分析 127 英语禁忌语的语用研究
A Comparison of the English Color Terms 129 透过《德伯家的苔丝》看哈代托马斯的宗教观 130 《高级英语》中某些修辞手法赏析 131 商务英语谈判的语言技巧 132 无尽的欲望致使毁灭
奈达等值理论于商务英语翻译中的理解和应用
The Analysis of Promotion Strategy of L’Oréal in China 135 《厄舍古屋的倒塌》中哥特式文学特点分析
孤独的逃离者——《麦田的守望者》主角霍尔顿的反英雄形象分析 137 《麦田里的守望者》中霍尔顿的反叛和自我救赎 138 《苔丝》中的女性与自然 139 合作原则在商务谈判中的运用
任务型教学法在高中英语写作中的应用 141 欧•亨利短篇小说中的美式幽默风格的翻译
A Comparative Study of Cultural Connotations of Yellow and Huang in English and Chinese 143 浅析《格列佛游记》讽刺手法的运用
The Application of Situational Teaching Approach in the Lead-in of Middle School English Classes 145 英语歧义初探及其排除方法 146 论《小妇人》的叙事技巧 147 英语歌曲在英语教学中的应用
美国总统就职演说中隐喻的语用功能分析 149 电影《狮子王》中象征手法的运用 150 文学课程中的文化导入
151 形名组合Deep+Noun之认知研究 152 广告语篇的语用分析 153 英汉称谓语对比分析
154 以《老友记》为例浅析美式幽默 155 《麦田里的守望者》的原型分析
156 论海明威《一天的等待》的冰山原则写作风格 157 对《红字》中丁梅斯代尔的心理分析 158 Women’s Image in Pygmalion
159 从文化角度看中美家庭教育的差异 160 《夜访吸血鬼》中的模糊性别观
161 分析《简爱》和《名利场》中的女性主义 162 分析露丝的觉醒《接骨师之女》 163 从跨文化交际角度看电影片名翻译 164 华兹华斯与拜伦自由意识的主要区别
165 中西文化心理差异分析—以饮食习俗为视角 166 英语课堂中的教师提问策略
167 从《丧钟为谁而鸣》看海明威死亡情节成因 168 中英委婉语语用功能的对比研究 169 浅析汉英动物词的文化内涵及其翻译
170 论凯瑟琳•曼斯菲尔德作品中的彼得•潘情结 171 从USP理论角度论苹果公司的广告策略 172 A Comparison between Scarlett O’Hara and Jane Eyre from the Perspective of Feminism 173 任务教学法在初中英语阅读中的应用 174 BB电子商务安全
175 英国哥特小说故事情节中的怪诞表现 176 《钗头凤》英译本的对比研究 177 Advertising and Its Application 178 A Brief Study of the Impact of Affective Factors on English Teaching in Middle School 179 浅析英语原版影视欣赏和英语学习180 从《警察与赞美诗》看欧亨利式结尾 181 当代中美青年恭维言语行为对比研究 182 中美电子商务的选择性分析 183 汉英姓氏文化差异
184 论模糊语言在广告英语中的功能与运用 185 中西礼仪对比
186 自然主义在《海狼》中的表现
187 A Comparison of the English Color Terms 188 肢体语言在大学英语教学课堂中的应用 189 论《简爱》中的女性意识
190 图式理论在英语阅读教学中的应用 191 谈英语文学作品名称的汉译 192 高中英语听力课中的文化教学
193 从许渊冲“三美论”评析《声声慢》三个译本 194 美国俚语的社会文化特征
195 The Way to Success: A Comparative Study of Great Gatsby and Bill Gates 196 透过《丛林》看美国梦的破灭
197 中美家庭教育文化对比及其根源分析
198 The Analysis of the Tragic Fate of Willy in Death of a Salesman 199 《奥罗拉•李》中的女性形象解读 200 英语系动词语义属性及句法行为研究
第二篇：从中英文化差异谈英语隐喻的汉译
最新英语专业全英原创毕业论文，都是近期写作 奈达“功能对等”理论在中国电影片名英译中的运用分析 2 从功能理论角度分析电影《点球成金》字幕翻译 3 从《纯真年代》的女性角色看旧纽约的女性地位 4 浅析马拉默德小说《店员》中的“犹太性” The Similarities and the Differences between Gu Hongming and Lin Yutang 6 从电影片名翻译窥探中美文化差异 7 论《亚瑟王之死》中的骑士精神 8 《名利场》中男性与女性形象解析 9 从关联理论角度看英语广告语的修辞 10 《觉醒》中的爱与死亡 A Comparison of the English Color Terms 12 A Comparative Study on the Symbolic Meanings of Color Red Between The Scarlet Letter and Tess of the D’Urbervilles 文档所公布各专业原创毕业论文。原创Q 95 80 35 640 14 狄更斯的人道主义思想在《双城记》中的体现 15 关于汉字“打”在英语翻译中的研究 16 班德瑞曲名汉译策略之解析 图式理论在高中英语阅读教学中的应用 18 矛盾与挣扎的悲剧——浅析《献给艾米丽的玫瑰》中的主人公艾米丽 20 纽马克交际翻译理论指导下的外宣材料英译 从浪漫主义角度剖析《海上钢琴师》在中国流行的原因 22 简•奥斯丁的女权主义在《理智与情感》中的体现 23 论国际商务中的跨文化有效沟通 24 《紫色》主题的表现手法 从归化异化的角度看《围城》中隐喻及其翻译研究 26 从传统消费观念看中美文化差异 A CP-based Analysis of Humor in Friends 28 论英语中的汉语借词（开题报告+论）29 解析《红字》中的红与黑 A Study of Children Images in Huck Finn and Tom Sawyer 31 《不能承受的生命之轻》中萨宾娜和特蕾莎的人物分析 32 电影《木兰》中的动物形象反映的中西文化差异 33 从功能对等角度看英语动物习语的翻译 34 论《简爱》中的经济意识
论《海上扁舟》中的美国自然主义
Beowulf: A Christianity Guided Pagan Epic 37 An Analysis of Symbolism in Tess of the D’Urbervilles 38 唐诗意象英译中的文化障碍和策略
礼貌，商务信函的灵魂—礼貌原则及其在商务信函中的应用 40 爱情的悲歌－《荆棘鸟》悲剧成因探悉
《京华烟云》中姚木兰和《飘》中斯嘉丽的性格对比 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 以实玛利是谁－－《白鲸》与康德哲学 论《杀死一只知更鸟》中的象征 中学生英语听力障碍分析与对策
电影字幕英汉翻译中网络流行语的现象研究 分析《永别了，武器》中Henry的硬汉形象
绝望而不言败的抗争——塞林格的《麦田守望者》 论《麦田里的守望者》的意义 英语X-ful词的形态与认知构建
The Application of TBLT to Reading-teaching in Junior Middle School 论《儿子与情人》中的父子冲突
海明威短篇小说的叙述艺术－－以《一个明亮干净的地方》为例 简与林黛玉性格及命运对比 汉语外来词翻译的文化解析 浅谈涉外谈判礼仪的重要性 中西方聚会文化差异比较研究
用隐喻理论分析英汉商标的语言特色
高中英语阅读教学中学生自主学习能力的培养
A Tentative Approach To Contemporary American Romance Movies 论英语被动语态的语篇功能及其翻译策略—以《高级英语》第二册为例 从女性主义解构《飘》中塔拉庄园的象征意义 A Comparison of the English Color Terms 合作原则下幽默的语用分析 中美文化中面子理论的对比分析
从语用模糊理论看国际商务合同的模糊用语的功能 希腊罗马神话典故成语英汉翻译评析 小学英语教学中的体态语应用
从麦琪的礼物中折射出欧亨利对已故妻子的爱 英语教育产业化对英语教育的影响
中国英语与中式英语的对比研究——从英汉民族思维差异的角度 从礼貌原则分析美国总统就职演说辞的语用特色 从目的论角度分析中医药药品说明书的英译 《尤利西斯》的象征艺术
高中英语词汇教学中文化意识的培养 《欲望都市》四位女主角的爱情观分析 华盛顿•欧文与陶渊明逃遁思想对比研究 汽车品牌文化内涵
从《远离尘嚣》看托马斯哈代的生态自然观 xx大学英语专业高年级学生词汇学习策略调查 透过七夕和情人节看中西文化差异 华兹华斯诗歌的和谐观
论海明威小说《老人与海》中对生活的反思 英汉化妆品说明书对比及汉译策略
中西建筑文化差异及其形成背景分析 86 基于中西文化差异的翻译策略研究
分析托马斯•哈代对西奥多•德莱塞的文学影响 88 游戏在小学英语词汇学习中的运用
89(英语系经贸英语)贸易壁垒下中国企业跨国经营的突破之路—以华为为例 90 论《西游记》中文化因素的翻译策略——以詹纳尔和余国藩的英译本为例 91 普罗米修斯的铁链与屈原的幽兰—论中西方文学中的悲剧精神 92 《远离尘嚣》人物分析及悲剧写法
A Study of Beauty in Sound, Form and Meaning Displayed in Zhang Peiji’s Prose Translation 94 英汉广告文化和翻译
Vocabulary Teaching Based on Pragmatic Approach 96 从《鲁宾逊漂流记》看性格对命运的影响 97 是什么在作祟？—论保罗爱情失败的原因 98 唐诗宋词中颜色意象的研究及其翻译
双语字幕句法结构研究－－《老友记》个案研究 100 梅赛德斯-奔驰汽车广告语言特点分析 101 电影《少年派的奇幻漂流》中的隐喻分析 102 从关联理论看电影字幕的翻译
从《纯真年代》的人物塑造看伊迪丝华顿的女性主义意识 104 家乐福定价策略研究 105 离开“美国出品”
从电影《刮痧》看中西方文化差异
A Study on the Cross-Cultural Management in the Sino-American Joint-Venture Enterprises－－With Special Reference to Changan & Ford Motor Company 108 Stylistic Features of English Financial Reports 109 从中外节日看两种文化—以春节和圣诞节为例 110 A Study of Cultural Influence upon Internet Language 111 马斯洛需要层次理论下的《奥兰多》 112 化妆品品牌名称翻译审美与选词
An Analysis on Shear's Personality in The Bridge on the River Kwai 114 浅析《飘》中人物斯嘉丽•奥哈拉的性格特征
从《小妇人》看男性缺失时十九世纪美国女性的成长 116 叶芝：无望的爱情，多变的风格 117 论汉语成语中数字英译的语用等效性 118 中外服装品牌英文标签语言的跨文化研究 119 中西方空间观对比研究
欧•亨利《最后一片叶子》解读
美国梦的开始与破灭—试析菲茨杰拉德的《夜色温柔》 122 《傲慢与偏见》中婚姻观对当代中国的现实意义 123 凯瑟琳•曼斯菲尔德短篇小说中的意识流技巧研究 124 论《紫色》的叙事现代性分析
查尔斯狄更斯《远大前程》的自传性分析 126 浅析Gossip Girl中禁忌语的一般功能 127 中美婚姻价值观对比
英汉双语词典中的语用信息 129 王尔德家庭道德观在《认真的重要性》中的体现
超验主义在《瓦尔登湖》中的应用及其对现代中国的现实意义 131 浅析《哈克贝利费恩历险记》中的自由 132 反讽艺术在《傲慢与偏见》中的应用
交际教学法在当前高中外语教学过程中的实效性
A Superficial Analysis of Religious Consciousness of Jane Eyre 135 从现代性角度浅议商标名的改写技巧 136 从《丧钟为谁而鸣》看海明威的生死观
一个为追求自我挣扎的灵魂——看凯特•肖邦的《觉醒》 138 On the Fighting Spirit of Buck in The Call of The Wild 139 论《了不起的盖茨比》中爵士乐时代的新潮女郎
On Translation of Language Fuzziness in Chinese Literature from the Perspective of Translation esthetics 141 基本数字词在中西文化中的差异与翻译 142 论《紫色》中的性别暴力 143 中学英语互动教学研究
A Study of Maggie’s Tragedy in The Mill on the Floss 145 功能对等理论视角下汉语新词的翻译 146 论汉语新词语的英译
析《远大前程》主人公性格之路
跨文化交际中的语用失误分析及策略研究 149 从民族特性看中美高等教育差异 150 浅析《飘》中女性人物形象
151 被忽略的人群－－詹姆斯乔伊斯《都柏林人》女性角色分析 152 美国电影片名翻译研究
153 杰克的悲剧与海明威的世界观 154 美国主流文化形成探析
155 A Brief Analysis of China English and Its Future 156 浅析马拉默德小说《店员》中的“犹太性” 157 外交辞令中模糊语言的语用分析
158 A Study of Angel Clare’s Multiple Personalities in Tess of the D’Urbervilles 159 中英文颜色词的文化内涵及翻译
160 Chinese Translations of English Film Titles：A Perspective of Functional Equivalence 161 国际商务谈判中有效的非语言技巧 162 论《奥兰多》中双性同体观
163 《弗朗西斯麦康伯短促的幸福生活》中麦康伯个性转变之分析 164 狄更斯小说《远大前程》中的批判现实主义特点解读 165 Discourse, Immigrants and Identity in In the Skin of a Lion 166 英文商标的汉译
167 哥特式特征在《黑猫》中的运用
168 《红楼梦》两英译版本中姓名翻译的对比研究
169 A Research on the Symbolic Meanings of“Ghost”in Anil’s Ghost
170 The Travel of Freedom—An analysis of The Adventures of Huckleberry Finn 171 On Sister Carrie’s Broken American Dream from the Perspective of Psychology 172 浅谈古希腊罗马神话对《哈利•波特》系列小说(前四部)的影响 173 A Comparison of Advertising Culture in China and Western Countries 174 浅议提高英语阅读速度的方法
175 纳博科夫小说《洛丽塔》的爱情讽刺 176 海明威《太阳照样升起》的存在主义表达 177 英汉习语中的文化比较
178 An investigation of the Feasibility of Inquiry Teaching In Middle School English Teaching 179 论《等待戈多》中的荒诞与象征
180 解读《女勇士》中“乡村医生”里的鬼
181 从保罗的恋母情结角度分析劳伦斯的《儿子与情人》 182 A Brief Comparison of Spring Festival and Christmas Day 183 用弗洛伊德理论解析品特早期作品中的人物形象——以《房间》和《看管人》为例 184 融入与挑战－－从生态角度看《老人与海》与《瓦尔登湖》 185 英汉数字之间的文化对比研究 186 小学英语课堂任务设计的研究 187 从中英文化差异谈英语隐喻的汉译 188 《红字》中女权主义意识探析
189 浅析眼神交流在非语言交际中的作用
190 违反合作原则所表达的会话含义—以《越狱》中Theodore Bagwell话语为例 191 广告中的熟语模因探析
192 从中西文化差异看文化负载词的翻译
193 试论商务英语与普通英语的异同——商务英语书面语的特点 194 从语言角度看中英广告翻译中的文化差异 195 论文学翻译中“原作之隐形”存在的必然性 196 中式菜名的英译
197 遗忘曲线在记忆英语词汇中的运用
198 解析《喧哗与骚动》中凯蒂悲剧的必然性 199 任务型语言教学在高中英语课堂中的应用
200 从目的论看林语堂《浮生六记》翻译中增译法的运用
第三篇：目的论视角下的英语财经报道汉译
2018英语原创毕业论文参考选题(100个)1 英语复合名词的认知语义研究 商务活动中的习俗、礼节和礼仪探析 从生态女性主义视角解读《野草在歌唱》中的女性角色 4 英汉爱情隐喻的认知对比分析 解读艾丽斯沃克的《日常用品》中的黑人女性文化 7 浅谈小学英语教学中的新课导入到灯塔去的女性主义解读 Text Cohesion in English Business Contracts 10 了不起的盖茨比中的影像化叙事艺术特征 11 论中英商业广告及其翻译 浅析“Warming-up”在初中英语学习中的功能 13 影响中国高中英语课堂中任务型教学实践的因素 14 广告翻译 《荆棘鸟》女性意识浅析 逆世的美丽——分析《飘》中主要人物表现的自我意识 17 论英语字幕翻译的文化因素和翻译策略古典诗歌中典故的翻译 索尔贝娄的《银碟》中父子关系的分析 20 由女性“奴性”潜意识解析玛利娅姆多舛命运 庄子和梭罗自然观比较——以《庄子》与《瓦尔登湖》为例 22 从比较文学形象学及他者角度分析毛姆笔下的中国形象 帮写英语论文 喂 doogfang 24 浅析《雾都孤儿》中的现实主义 25 试析文化差异对商标翻译的影响美国梦在了不起的盖茨比中的幻灭增译法在商务英语汉译中的应用 28 从语言学角度探析新词 TEM-4对英语专业学生学习的反拨效应研究 Factors Affecting Marriage in Pride andd Prejudice.docx 31 《飘》中斯佳丽的人物形象浅析
Gender Difference in Daily English Conversation 33 On the Disillusion of Gatsby's American Dream
黑人女性主义视角下宠儿母爱的复杂性与多样性
目的论指导下的英文影视名称的翻译
Metaphors in the Themes of Of Mice and Men 37 英语教学中跨文化意识的培养
唐诗中比喻修辞格的翻译——以许渊冲英译本为例
A Contrastive Analysis of Table Manners and Culture between China and Western Countries 40 论田纳西.威廉斯戏剧中的象征主义手法—以《玻璃动物园》为例 41 新课标下初中英语教师角色转变的研究 42 英文影片名汉译中的文化多元性初探 43 从生态女性主义视角解读《喜福会》 44 电影龙种中的文化冲突
动物词汇的英汉互译策略
红高粱家族中乡土文化翻译研究
A Study of the Causes of Tess's Tragedy 48 跨文化交际中的商务礼仪 49 《雾都孤儿》中的反犹主义
合作学习策略在初中英语课堂教学应用的调查研究
新加坡英语和英国英语比较研究
初中英语教学中学生自主学习能力培养策略的研究
从《麦田里的守望者》看霍尔顿的摇滚情结 54 论《格列佛游记》中的讽刺
会话含义理论在法庭话语中的运用
On Hardy’s Meliorism: An Analysis of Tess of the d’Urbervilles 57 广告中的熟语模因探析
浅析《最蓝的眼睛》中的创伤和治愈
从《人鼠之间》中人物的精神分析看美国梦的幻灭
A Comparative Analysis of English Vocabulary Teaching between China and America at the Primary and Secondary School Level
从异化和归化的角度浅析中文菜单的英译 62 从《绝望主妇》各主角看美国家庭问题 63 试述《亚当夏娃日记》的圣经情结 64 对大学课程中“旅游英语”的教材分析
探究《警察与赞美诗中》的批判现实主义 66 中式菜肴名称英译的功能观
《弗朗西斯麦康伯短促的幸福生活》中麦康伯个性转变之分析 68 关于古文观止中汉语成语的翻译
场独立和场依存对不同主题阅读材料的影响研究 70 透过七夕和情人节看中西文化差异 71 信用证英语的语言特点
浅析文化差异对习语翻译的影响
《喜福会》中的中美文化差异 74 论英语自然地理术语的汉译
On the Translation of Children’s Literature in the Light of the Skopostheory:A Case Study of The Adventures of Tom Sawyer 76
目的论视角下的产品说明书翻译
师生关系与学生英语学习积极性之关联性探析 79 从伦理道德的角度解读红字中的清教主义
旅游景点名称英译中的跨文化意识解析 81 释义论角度下英语广告中双关语的翻译研究
美籍华裔文学中的中国英语研究
在高中英语课堂中发展学生跨文化交际能力的研究
Creative Treason in Film Title Translation 85 论应变能力在同声传译中的应用 86 《红字》中丁梅斯代尔的灵魂救赎
功能对等理论视角下字幕翻译中英语幽默的缺失及对策--以IT狂
论英语影视作品的字幕翻译技巧
从精神分析角度解析《一位女士的画像》中伊莎贝尔.阿切尔的婚姻悲剧 90 滑稽背后的严肃－－浅析王尔德喜剧《认真的重要性》中人物话语特征 91 英汉称呼语中折射出的文化差异
功能对等视角下英语广告中的隐喻翻译
文本分类理论与广告翻译
从《简爱》和《达洛维夫人》浅谈女权主义的发展 95 英语谚语中的性别歧视 96 论瓦尔登湖的美学价值
英语课堂中的口语纠错策略
高中英语教学中培养跨文化学习能力的问题与对策
联想记忆法在初中英语教学中的应用
文学作品的风格及其可译性
第四篇：英语电影片名汉译论文
Research on English Film Title Translation and Translation Equivalence Theory Application
Author: Huo Yishuai Supervisor: Li Liping, Associate Professor
(College of Foreign Languages, Shandong Agricultural University, Tai’an 271018)
Abstract: This paper begins with the prevalence and impact of English film in China.It discusses the importance of English film title translation and the methods and theories of current title translation.And then propose translation equivalence concept to guide the title translation.Also, this paper summarized some of the methods.At last , the paper pointed out some of the principles in accordance with the process of translation in the use of translation equivalents theory
Key words: English film;title translation theory;translation equivalence;principle 英语电影片名汉译及翻译等值理论在其中的应用的研究
摘要：本文以英语电影在中国的流行及影响出发，论述了英语电影片名汉译的重要性及当前英语电影片名汉译形成的较常用的方法和理论，并指出了翻译过程中出现的问题。进而提出以翻译等值理论指导英语电影片名的汉译，也总结了相应的一些方法。同时，还指出在运用等值理论进行翻译的过程中还应遵循的一些原则。
关键词：英语电影；片名翻译；翻译等值理论；原则
1.Description of English films in China's current situation and the necessity of translation
Film can create miracles---just like all those people who sit in the theater thinking from reality to dream world know it.Fascinating story with perfect pictures, shocking music, and great close-up scenes make you forget yourself completely.The aftertaste of a classic film bring to you is endless.When you think of the screen which make you get goose bumps, an exciting or eager showing in your eyes.People call movies is the seventh art after the literature, drama, music, dance, painting and sculpture.But, it’s not just an art.It is an art that have lots of audiences, suit both refined and popular tastes and with commercial.Today, cross-cultural communication is more active than ever, the spirit of national culture and ideology is mainly characterized by the content in the film.Therefore movies become the main channel of cultural transmission, and its influence is so large that can't be matched by other art forms.On the one hand, economic and cultural development stimulates the emerging film and television-dubbing career to flourish.Its operations around the world, including draw the materials, translation and distribution.On the other hand, the popularity of cable television and home video, the improvement of the technology(video, VCD and DVD)also plays a role in fueling the film’s spreading.Since the first movie introduced to China in 1896, the Chinese film industry has undergone enormous changes.Shoot technology innovation make the film a great audio-visual impact to the audience, and watching movies has become very common and very stylish entertainment in people’s lives now.In addition, the demand for foreign films, especially English films, is growing highly.Facing to these foreign language films, the primary task is translated them into Chinese, and the translation of the film title is one of the most important part.The film title is a link connecting the audience and film;it has the enormous influence to the film box office.First, except actor's exquisite performing skill, philosophy dialogue as well as gorgeous picture, a good film why can attract the audience has the direct relation with a film title which is pregnant with meaning and make people think a lot.The film title is a film's brand trademark.In the multitudinous film advertisement newspaper, the film title is always in the extremely striking position, and it is playing the role which leads attention directly.As a film, the title is seen firstly by the audience.Therefore, every movie screenwriter and director will highly summarize his movie content, and takes one as the title for it can both express one's ideas expressively and appeal eyeball.Second, the film express certain ideas to the audience to pass certain information , and the film title should also highlight the video content , convey the theme information and establish the entire film emotional tone.Film titles can not only summarize the content of the film succinctly , reveals the theme of the film, and make the audience seize the film's style and substance , but also inspire the imagination of the audience and watching desires with its distinctive form of language.Excellent film titles like the outstanding literary works, should be concise the summary of the content of films, succinctly revealing the theme, and stimulate the audience's imagination.The perfect unity of a good title and the good content will allow the audience to get the influence of the arts and the joy of beauty.2.Film title translation Since the first English language film was introduced to China, there are already three decades till now.This period, the translator made constantly efforts and improvements, and formed some common translation methods.Currently, there are more and more English films introduced into China.The translation industry also formed a relatively fixed translation theory, specifically;there are the following three theories: 2.1 The literal translation or free translation Literal translation and free translation are two representative methods of translation in the history of translation.Due to variations in people's understanding of literal translation and free translation, there are someone accept both of these methods, someone accept just one, someone accept neither.However, in terms of the perspective of describing translation or transfer translation, literal translation and free translation is always meaningful.Literal translation and free translation is designed to faithfully express the ideological content of the original and reproduce the original art.Simply put, the literal translation means the translation methods and sentence structure is more similar to the original sentence, but does not rule out some adjustments at the phrase level.Free translation means discarded the original expression, and find a synonymous expression equivalent to the original, or make major changes or adjustments to the original sentence structure.2.1.1 Literal translation Carefully understands the literature name and film title, we can find different types.Therefore, the translation methods vary.The following types suit for the Literal translation 2.1.1.1 Protagonists name or description for the title.Such as:
Hamlet
HA MU LEI TE,(哈姆雷特)Othello
AO SAI LUO,(奥赛罗), King Lear
LI ER WANG，(李尔王), Macbeth
MAI KE BAI,(麦克白), Romeo and Juliet
LUO MI OU YIU ZHU LI YE,(罗密欧与朱丽叶)David Copperfield
DAI WEI KE BO FEI ER,(大为.科波菲尔), Jane
JIAN ,(简), Sister Carrie
JIA LI MEI MEI ,(嘉莉妹妹), Lucky Jim
XING YUN DE JI MU，(幸运的吉姆), a lonely Johnny
GU DU DE YUE HAN NI,(孤独的约翰尼), Julius
ZHU LI SI KAI SAI,(朱丽斯凯撒), Father and Son
FU YU ZI,(父与子), Sons and Lovers
ER ZI YU QING REN,(儿子与情人).2.1.1.2 The place where the story happen for title,Such as:
Wuthering Heights
HU XIAO SHAN ZHUANG,(呼啸山庄), Chicago
ZHI JIA GE,(芝加哥), Washington Square
HUA SHENG DUN GUNAG CHANG,(华盛顿广场), Boston
BO SHI DUN,(波士顿), The Secret Garden
MI MIO HUA YUAN，(秘密花园), in the Chinese screen
ZAI ZHONG GUO PING MU SHNAG,(在中国屏幕上).2.1.1.3 Stories for titles, such as: the merchant of Venice
WEI NI SI SHANG REN,(威尼斯商人), The Adventures of Tom Sawye TANG MU SUO YE LI XIAN JI ,(汤姆索也历险记), Gulliver's travels
GE LIE FO YOU JI,(格列佛游记), Alice s Adventures in Wonderland
AI LI SI MAN YOU XIAN JING,(爱丽丝漫游仙境)，Mansfield Park
MAN SI FEI ER DE YUAN,(曼斯菲尔德园).2.1.1.4 the other types, such as: Great Expectations
YUAN DA QIAN CHENG,(远大前程), The Mayor of Casterbridge
KA SI TE QIAO SHI ZHANG,(卡斯特桥市长), The Grapes of Wrath
FEN NU DE PU TAO,(愤怒的葡萄), the Godfather
JIAO FU,(教父), Five Classics
WU JING,(五经), a Midsummer Night s Dream
ZHONG XIA YE ZHI MENG,(仲夏夜之梦), Twelfth Night
DI SH ER YE,(第十二夜), Pride and Prejudice
AO MAN YU PIAN JIAN,(傲慢与偏见), time machine
SHI JIAN JI QI,(时间机器), The Call of The Wild
YE XING DE HU HUAN,(野性的呼唤), The Sea-wolf
HAI LANG,(海狼).These titles are just a few words, but they reveal the author's intention and the true state of mind.It represents the author's effort and reflected the monumental piece of substance and essence of the film.Therefore, for those that can be translated literally must be translated by literal to keep the work formerly original and make the title and content unite in harmony.Especially when it comes to the film named after the main character.The hero is the typical character live in specific times and specific environments that are created by the author, such as Shakespeare’s Hamlet and a-Q in the works of Lu Xun.They have a distinct character, image, and destiny.The principles and methods of translation of film title or translation of literary works are the same.Both of them take the breadth of its audience and the diversity of appreciation level into account, therefore, the translation should be simple and popular, easy catchy and implying the subtle meaning.Film title suitable for literal translation should be translate as literal as possible in order to convey the information formerly and maintain the perfect unity of the original title and content.That should be a basic principle and method of the film title translation.This type title just needs to be image, vivid, concise in the text, and it can fully reproduce the content of formerly.Such as: description of a walk in the clouds is the love story of a pair of young men and women filled with the vineyards of grapes flowers, so the film is literally translated as the Walk in the Clouds, while maintaining the formerly known as the meaning and full of poetic.Such cases are: the age of innocence(The Age of Innocence), natural born killers(Natural Born Killers), the perfect world(better world), death on the Nile(Death on the Nile)rain man(Rain Man)superman(superman), citizen(Citizen Kane), schindler’ s list(Schindler's List)2.1.2 free translation Certain English film title contains very few words and the language is simple.It is apparently lightly, but the connotation is actually rich and pregnant with meaning, does not reveal.If this kind of film title translates literally, it will be difficult to reach its contents, reveal its charm.Therefore, when translation must rest on the entire book content, the original book title intention, and unit the target language characteristic, sets up a new name.In order to concise its content to reflect its implication, and executes the literary talent slightly to make the translated name and the original work style coordinates.For example: Gone With the Wind
PIAO ,(飘)，Waterloo Bridge
HUN DUAN LAN QIAO,(魂断蓝桥), Blood and Sand
BI XIE HUNAG SHA,(碧血黄沙), The Bathing Beauty
CHU SHUI FU RONG,(出水芙蓉), Polsinney Harbour
YU XIANG JI DU QING,(渔乡几度情), Wines-burg Ohio
XIAO CHENG JI REN ,(小城畸人), Earthquake
JING HUN DUO MING,(惊魂夺命), The Red Shoes
HONG LING YAN ,(红菱艳)，Speed
SHENG SI SHI SU,(生死时速), Black Mask
HEI XIA ,(黑侠)，Black Beauty
HEI JUN MA ,(黑骏马)，Dr Jekyll and Mr.Hyde
HUA SHEN BO SHI ,(化身博士)and so on 2.2 Integration of literal translation and free translation
English and American films have a number of titles in simple and concise, but moral implication and difficult to grasp.In addition, some titles originated from allusions, meaning rich and obscure, hard to check.It is difficult to understand the implied meaning of the original title.People must think about the whole content or check allusions, carefully wondering and hashing, accurately understand the intent of author when translate them.Based on the foundation of literal translation of original titles ,translator plus word or change word to some key words to make translation semantic clearly , such as: a Farewell to Arms
YONG BIE LE ,ZHANG ZHNEG;(永别了，战争)，Ghost
REN GUI QING WEI LIAO；(人鬼情未了)One Flew Over The Cuckoos Nest
FEI YUE FENG REN YUAN;(飞越疯人院), On The Golden Pond
JIN SE CHI TANG;(金色池塘), Moonlighting
PI XING DAI YUE;(披星戴月), Who Shall Live and Who Shall Die
SHENG SI DA QUAN;(生死大权), Night Killer
LAI ZHE BU SHAN;(来者不善), Shooting First
XAIN FA ZHI REN;(先发制人).for Whom The Bell Tolls SANG ZHONG WEI SHUI ER MING;(丧钟为谁而鸣), 2.3 The literal translation adds the explanation
Due to the different style of film and different points between British and Chinese language, some titles translated by word will be too abstract, implicit and irrelevant with story content.People may feel dull, and it cannot make any guiding effects.Therefore, for these titles, translator should appropriately plus a text which can reflect hero image or film content when translate them.Based on the foundation of literal translation, according to the content of film, it will play a finishing touch to the characters and film content for example, Oscar(LIE QUAN AO SI KA CHUAN QI;猎犬奥丝卡传奇), it will bursting bald if literal translation for AO SI KA(奥丝卡), also will be easily confused with Oscar Ward.Adding the word of dog , it generally works very well.And Comeback(GU LI E MENG;故里噩梦), plus the word of nightmare ,it greatly enhance the attraction and literary character.Lime Light(WU TAI DENG GUNAG;舞台灯光), Patton(BA DUN JINAG JUN;巴顿将军), Legal Eagles(FA WANG SHNE YING;法网神鹰), The Piano(GANG QIN KE;钢琴课), The French Connection(FA GUO FAN DU WANG;法国贩毒网), Silas Marner(ZHI GONG MA NAN:织工马南), this is the case.Film title translation is not only the conversion of language but also a cultural exchange.Translation needs follow the correct principles and methods, needs more inspiration and rigorous attitude , in order to make the translation of well-known and widely accepted.In recent years, we widely introduce the foreign works and films, but the introduction of the original books and films are very scarce, these are mostly translated works.Taking the important role of a film title into account, the film producer make efforts to find a proper title that can lead full content, highlight the theme and must be simple and concise, have a profound message.Moreover, the producers try to make the title to be a pair of eyes that can reveal the individuality and give the deep impression to the audience.From the title, people can understand the content of the work, the hero's image, and have a desire for the whole film.People named the film like this, the same as the film title translation.Someone may think the translation of film names is an easy shot, but translating well was not an easy thing actually.It is necessary to conform to the language specification, and should be full of charm;it is necessary to be faithful to the original content of the title, and should be reflect to the original language features of the title.So the translation of film names is the artistic recreation.However, it is not until after more than 100 years of the introduction of first foreign films in China, translation of film names begin to get its due attention.Early research on the subject, such as Brief Discussion on Foreign Film Tittles Translations(Lin Qiuyun, 1996)and Discussion on the Translation of Film Names(Ning zhishou life, 1997), simply emphasizes the translation skills and ignore the cultural and commercial characteristics of the movie title.After entering the 21st century, based on the original translation theory, scholars began to study the features of the film titles from different perspectives.Fore example, He Ying(2001)analysis the characteristics of the movie title from the source of the movie title ,style , feature and category , and made a literal translation﹑free translation ﹑transliteration and another translation.Fang Yongbin, Wang Xiaotong(2005)study from the advertisement feature and cultural characteristics.Now, researchers increasingly attach importance to the film title value reflected in cultural exchanges, business profits and the artistic.3.Problems in the current film title translation Currently, the translation of film titles as a translation not in literary field has not yet attracted enough attention.There are more Chinese people watching films and TV series than reading the literature, but Chinese academia give the translation of literary more attention than the studies of film translation.“(Qian Shao-Chang, 2000: 61).In addition, there are many film titles mistranslations in the current film title translation.I find it mainly caused by the following two reasons after a brief analysis: 3.1 Lack of understanding of cultural connotation ”Title translation should be did after the completion of other translation tasks”.(Newark, 1988:12)Therefore, the translator should translate the movie's title based on watching the whole movie and fully understand the film.The culture is the specific lifestyles and modes of expression of the groups, which use a particular language as the expression “(Newmark, 1998:21).Clearly, the film titles also include certain cultural connotation.If the translator cannot be aware of or misunderstood the cultural connotation, it is likely to have the title caused by mistranslation.E.g1: American film: American Beauty, Mainland and Hong Kong have their own respective title translation version.Mainland translated as ”《美国美人》“, Hong Kong translated as ”《美国丽人》“.Unfortunately, these two simple versions of literal translation is mistranslation.According to the American Heritage Dictionary, American Beauty is a kind of roses, flower leaf length, purple.These beautiful and sacred flowers are symbol of divine love.In the film, the director used this flower as a symbol of a girl's love with the approach of association, Taiwan's translation is《美国心·玫瑰情》and it is more appropriate.3.2 Simply pursuit of business profits
As an entertainment industry, film should to not only entertain the public but also earn the box office revenue.Therefore, the translation of film titles will inevitably be subject to the influence of the marketing strategy of the entire film.To attract audiences, some film titles translation may not have any relationship with the film's storyline.Let us look at the following example:
E.g.: Original Sin(《原罪》)
《激情叛侣》
The Shaw shank Redemption
(《肖申克的救赎》)
《月黑高飞》
Pretty Woman(《漂亮女人》)
《风月俏佳人》
The Lives Of Others(《别人的生活》)
《窃听风暴》
If the readers have read the above-mentioned movies, they will find the second movie title translation far away from the original, and not consistent with the story.Now, there are still a lot of translators, simply pursuit of commercial profit, regardless of any translation principles, resulting in a lot of mistranslation.4.Translation equivalence concept Film is a form of art loved by peoples from all over the world.Excellent film has no national boundaries and it is a very good form of cultural exchange.When we introduce a foreign film, the first thing is to give it a proper name.Good title can make the target language audience eager to see the film faster and therefore, translation of film titles is very important.Zhou Jueliang had pointed out that translations vary based on the different types.Translation of the film title has its own characteristics(He Ming, 1998).From a linguistic point of view, film titles usually have a very simple constitute, usually only a few words.Compared with the other forms of language conversion, which are clearly not limited by deep level language such as sentences, paragraphs, text.However, due to special requirements on the functional, translation of film, titles show complex phenomenon to a certain degree, and it needs to be pointed out with translation theories and principles.Among all translation theory, translation equivalence can be used as important theoretical basis of movie title translations.Translation equivalence concept is a core issue in the modern translation theory in the West.1790, Alexander Fraser Tytler said ”good translations are fully moved advantage of original language to another, make the translate language people can clearly understand, strongly felt just like the original language people feel “in his Brief Discussion on Translation Theory.He first proposed the translation equivalence concept in the history.(Zhang Ling, 1994).America linguistics and translation theorist, Jacobson believes that all human languages have equal expressive power, but in the translation process, we must first overcome the structural differences between the original language and the target language to ensure that text equivalent.Eugene Nada the same as Jacobson, he stressed the commonality of language, but from the point of view of communication science and Informatics, he proposed, “the relationship between translation recipient and translation information should be basically the same as the relationship between the original recipient and the original information.” in 1964,(Jiang Zhiwen, and Wen Jun 2000).Newmark explore the ”reciprocal“ problem from the translation theory's point of view.He divided translation into ”semantic translation“ and ”communicative translation“.Semantic translation focuses on the semantic content of the original text, and communicative translation focused on the reader's understanding and response.Newmark thinks most of the translation of non-literary texts suitable for communicative translation(Newmark, 2001).Moreover, all about this, the center of attention is the function of the language, rather than the language feature, it emphasize the functional equivalence.When it comes to the translation of English film titles, the so-called ”equivalence“ refers that the effect of the film translate title to the target language country audience should be the same as the affect of the original title to the original language nation audience , thereby to created a watching desire and achieve the aim of cultural exchange.In accordance with the principles of equivalent translation, and combine with different actual situation, we can take the method of literal translation, transliteration, free translation in English film title translation.4.1 The literal translation or transliteration Literal translation or transliteration refers that when the title is easy to understand, we can directly translate it according to the literal meaning or pronunciation of the title.Such as:
Ｂｅａｕｔｙ ａｎｄ Ｔｈｅ Ｂｅａｓｔ
《美女与野兽》 Ｂｒａｖｅ Ｈｅａｒｔ
《勇敢的心》 Ｃｉｔｉｚｅｎ Ｋａｎｅ
《公民凯恩》 Ｔｈｅ Ｇｏｄｆａｔｈｅ
《教父》 Ａｍｅｒｉｃａｎ ｂｅａｕｔｙ
《美国丽人》 Ｃａｓａｂｌａｎｃａ
《卡萨布兰卡》 Ｊａｎｅ Ｅｙｒｅ
《简爱》 Ａｎｎｉｅｎ Ｈａｌ
《安妮・霍尔》 Ｊｕｒａｓｓｉｋ Ｐａｒｋ
《侏罗纪公园》 Ｓｏｕｎｄ ｏｆ Ｍｕｓｉｃ
《音乐之声》 Ｔｉｔａｎｉｃ
《泰坦尼克号》 Ｋｉｎｇ Ａｒｔｈｕｒ
《亚瑟王》 Ｓｃｈｉｎｄｌｅｒ’ｓ ｌｉｓｔ
《辛德勒名单》 Ｇｌａｄｉａｔｏｒ
《角斗士》 Ｌｏｖｅ ｏｆ Ｍａｙ
《五月之恋》
Here is to be noted that, when some names in English film titles are unimportant consonants, it can be omitted in the transliteration.Because if the name more than four words, it is not conducive to memory and Chinese audiences would be awkward to read.Therefore, it should comply with principle of brief.(Hua Xianfa, 1999:190).Annien translated as ”An(安)“, not ”An Nien(安尼恩“;Schindler translated as ”Xin Dele(辛德勒)“, not ”Si Xindele(斯辛德勒)“.Some of the masterpieces of the world, such as Jane Eyre, Juliet, Wuthering Heights, has a relatively fixed in Chinese translation, so the English film title translation should comply with established principles and translate respectively.Which is capable of maintaining the original charm and allows viewers to immediately think of the original works? In addition, the transliteration should used the certain words provided in the transliteration table, and not use the easy associative terms, so as not to cause misunderstanding or make a fool mistake(Hua Xianfa, 1999:190).Jurassic translate as ”ZHU LUO JI(侏罗纪)“, it cannot be translated into ”ZHU RU JI(侏儒纪)“.4.2 Free translation
As mentioned above, English film has massively use of the personal name or geographical names directly as the film title.If translates literally constantly, it is a string of meaningless character to the translated language audience possibility and does not play any attraction role.Therefore, this requests the translator fully understand the movie content and display their subjective initiative, to make the translated title to be faithful to the original content, and transmit the movie content ,and express one's ideas expressively(He Ning, 1998).4.2.1 Literal translation adds the explanation Ｓｌｅｅｐｌｅｓｓ ｉｎ Ｓｅａｔｔｌｅ 《西雅图不眠夜》 Ｔｈｅ Ｎｅｔ 《网络情缘》 Ｍｏｏｎｓｔｒｕｃｋ 《月色撩人》 Ｓａｎｄ ａｎｄ Ｂｌｏｏｄ 《碧血黄沙》 Ｉｎｔｅｒｐｒｅｔｅｒ 《翻译**》
Ｅ．Ｔ． 《Ｅ．Ｔ．外星人》 Ｔｈｅ Ｆｕｇｉｔｉｖｅ 《亡命天涯》 Ｍｙ Ｆａｉｒ Ｌａｄｙ 《窈窕淑女》 Ｐｌａｔｏｏｎ 《野战排》 Ｏｎｃｅ Ｕｐｏｎ ａ Ｔｉｍｅ ｉｎ Ａｍｅｒｉｃａ 《美国往事》 Ｏｎ ｔｈｅ Ｗａｔｅｒｆｒｏｎｔ 《码头风云》 Ａｌｌ Ｑｕｉｅｔ ｏｎ ｔｈｅ Ｗｅｓｔ Ｆｒｏｎｔ 《西线无故事》 Ｆｉｒｓｔ Ｋｎｉｇｈｔ 《剑侠风流》 Ｄａｙｓ Ｔｏｕｃｈｅｄ ｂｙ Ｌｏｖｅ 《心动岁月》 4.2.2 Integration of transliteration and free translation Ｒｏｂｉｎｓｏｎ Ｃｒｕｓｏｅ 《鲁宾逊漂流记》 Ｐａｔｔｏｎ 《巴顿将军》 Ｓｈａｋｅｓｐｅａｒｅ ｉｎ Ｌｏｖｅ 《莎翁情史》 Ｂａｎｂｂｉ 《小鹿班比》 Ｎｏｔｔｉｎｇ Ｈｉｌｌ 《诺丁山情缘》 Ｐｈｉｌｌａｄｅｌｐｈｉａ 《费城故事》 Ｓｈｒｅｋ 《怪物史莱克》 Ａｎｎｅ Ｆｒａｎｋ 《安妮日记》 Ｔｈｅ Ｉｓｌａｎｄ 《神秘岛》 Ｔｈｅ Ｒｉｎｇ 《午夜凶铃》 Ｔｈｅ Ｙｅａｒ ｏｆ ｔｈｅ Ｙｅａｒ 《姚明年》 4.3 Modified translation
4.3.1 Reconstructing the cultural intention
Because of the film and its title always infiltrate into the nation’s certain culture system of literature, history, philosophy, religious, traditional, custom and legend, and plus the diaphragm of culture ring, it often can’t be known by people belongs to another culture system.Therefore, it became ”super language factors“ in language inter-conversion and understanding or communication obstacles.Without carefully consider, it is easily to cause misunderstanding.(Lin Qiuyun, 1996)Such as the film Hobson ' s Choice ,it is translated into the HUO BU XUN DE XUAN ZE(霍布逊的选择).It is about a shoe shopper named Hobson who not willing the eldest daughter married to a guy in the shop, but he give up because he is against by his three daughters’ alliance.Film actor named it Hobson, and does not have any problems apparently.However, Hobson is an English idiom, from the Observer Magazine(1712:509).Hobson is a United Kingdom Cambridge post boss in 16th century, and rental horse to their customers.However, he had a strange temper;he loves his horse very much and always insists on a fixed rotation of rental.When customers went to the stables to rent horse, they can only take the certain one even they do not like, and leave no room for negotiation.Later, people refer to the idiom, means ”there is no choice or room for negotiation“(Ma Gongru, 1997:243).Obviously, the HUO BU XUN DE XUAN ZE(霍布逊的选择)has not translated the pragmatic meaning of it, and unable to achieve functional equivalence with the original film, too.If we change the angle, switched to the culture of intention which Chinese audiences familiar with, and translated into the BIE WU XUAN ZE(别无选择),it will be better.Also Pumpkin Eater, it may be translated into the SHI NAN GUA DE REN(食南瓜的人).But it is derived from a popular nursery rhyme: ”Ｐｅｔｅｒ，Ｐｅｔｅｒ，ｐｕｍｐｋｉｎ ｅａｔｅｒ，ｈａｄ ａ ｗｉｆｅ ａｎｄ ｃｏｕｌｄｎ’ｔ ｋｅｅｐ ｈｅｒ． “So, according to the story, translate into the TAI TAI DE KU MEN(太太的苦闷)seems more appropriate.There are also a lot of success translations, such as the Waterloo Bridge(HUN DUAN LAN QIAO;魂断蓝桥), the Ghost(REN GUI QING WE LIAO:人鬼情未了), the Bridges of Madison County(LANG QIAO YI MENG:廊桥遗梦), The Red Shoes(HONG LING YAN;红菱艳), The Bathing Beauty(CHU SHUI FU RONG;出水芙蓉), Forrest Gump(A GAN ZHENG ZHUN;阿甘正传).These translations discard the literal meaning of the original title, instead of the culture of intention which the Chinese audiences familiar with.4.3.2 Adjusted according to the differences between Chinese and English language
Chinese belong to Sino-Tibetan language family, English belong to Indo-European family.As a consequence, the Chinese emphasis on the accent and English emphasis on the syntactic difference.Because of the influence of doctrine philosophy,Chinese aesthetics audience emphasis on the special balance in the words.Therefore, four-word phrases are extensively using(Chen Hongwei, 1997:28).English stressed the correct syntax, and some films even take a sentence as name.So, the translator should note the differences in Chinese and English language, and make some appropriate adjustments.So those, the translation reader can catch information according to their mode of thinking.Such as:
Ｓｏｕｎｄ ｏｆ Ｍｕｓｉｃ 《音乐之声》 Ｔｏｐ Ｇｕｎ 《壮志凌云》 Ｍｙ Ｆａｉｒ Ｌａｄｙ 《窈窕淑女》 Ｗｉｌｄ Ｗｉｌｄ Ｗｅｓｔ 《飚风战警》 Ｔｈｅ Ｗｉｚａｒｄ ｏｆ Ｏｚ 《绿野仙踪》 Ｔｈｅ Ａｇｅ ｏｆ Ｉｎｎｏｃｅｎｃｅ 《纯真年代》 Ｃｉｔｉｚｅｎ Ｋａｎｅ 《公民凯恩》 Ｂｌａｄｅ Ｒｕｎｎｅｒ 《银翼杀手》 Ｉｔ Ｈａｐｐｅｎｅｄ Ｏｎｅ Ｎｉｇｈｔ 《一夜风流》 Ｉｔ’ｓ ａ Ｗｏｎｄｅｒｆｕｌ Ｌｉｆｅ 《风云人物 Ｍｒ Ｄｅｅｄｓ Ｇｏｅｓ ｔｏ Ｔｏｗｎ 《富贵浮云》 Ｙｏｕ Ｃａｎ’ｔ Ｔａｋｅ ｉｔ Ｗｉｔｈ Ｙｏｕ 《民主万岁》
5.The principle that film titles translation should follow
5.1 Cater for the content of the original film, reflecting the themes of the original film, outstanding original film style
A good film should have a clear theme.Battle about cops and robbers or description of love, to reflect social ethics or science fiction.Film styles vary with different themes.Cops-and-gangsters films give a twist, such as
Speed、《生死 时速 》 The Rock、《石 破天 惊》 The French Connection;
《法国 贩 毒网 》 Romance or romantic lingering, or patience, often give the taste, such as Waterloo Bridge、《魂 断蓝桥》 The Bridges of Madison County、《廊 桥遗梦》 The Piano、《钢琴别恋 》 Ghost、《人 鬼情 未 了》
Shakespeare re in Love;
《恋爱 中 的莎 士 比亚 》 Social and ethical topics serious, warning or enlightenment to people, such as the Kramer VS Kramer、《克雷默夫妇》 Rain M an;
《雨人 》
Fantastic, fantasy, and horror and science fiction films are often set in one about the fantasy world that does not exist in the real world, such as
The E.T.、《外星人 》 Batman、《蝙蝠侠》
Jurassic Park.《侏罗纪公园》
Translations should be able to properly reflect the content of the original movie, its themes, and highlight their style.United States 1939 film taken of Waterloo Bridge Love Story about a pathetic: in 1914, during the first world war, in London, in an air raid alert, luoyi·kelaoning and ballet dancer Myra met Captain young military officers on Waterloo Bridge, they just clicked immediately, and soon fall in love.However, as the war lovers cannot become family members.The heroine buried on the Waterloo Bridge under the wheels, and eliminating kill.Translator translate title is relevant to the Waterloo Bridge movie content, reflects the original tragic, is just right.Translator use ”broken souls“ to make it more acceptable to the audience.United States comedy Mrs.Doubtfire, talking about a story of a divorced man Daniel Hillard dressed up as a fat old woman going to his ex-wife's domestic every day in order to be able to see the children.Comedy scenes continue to appear in the film did some marvelous impressions.The translation is FEI MA XIAN SHANG(肥妈先生).The use of ”MOM“ and ”Sir“ highlighted the comedy style very well.YUN ZHONG MAN BU(云中漫步),the translation of the United States film A Walk in the Clouds are rated as the best.Original title literally means ”in the cloud“.Description of a pair of young men and women filled with scent of grape vineyards in the moving story of love.Vineyards in the movie named ”cloud“ covers a wide, green a, enveloped, is like a dream, love the heroine walks in the park.How romantic and poetic!This translation is in line with the film theme of romantic love, to read ”full of poetic, one Kiss, saw a cloud-like grape flowers smell the aroma of melts your heart all into“ and ”translation of Jacob was decent, image better, meaning long“(He Yue sensitivity, 1997), really colorful, and dominated!
5.2 Concise, easy to remember
Film is an art suit for both refined and popular tastes, and it is a popular form of entertainment too.In a sense, it is a commodity should be widely circulated.In order to make it easier to spread, movie title should be concise and easy to remember.This probably is the “usefulness” said by He Yuemin.Actually many films translation is consistent with the requirements.Such as: Star Wars、《星球大战》
Forrest Gump、《阿甘正传 》
Superman、《超人》
Terminator、《未来战士》
Roman Holiday、《罗马假日》
My Fair Lady、《窈窕淑女》
The Sound of Music、《音乐之声》
For Whom the Bell Tolls、《战地钟声》
On the Golden Pond、《金色池塘》
Bathing Beauty
《出水芙蓉》
It is not difficult to see that these translations use only a few words to translate all the content and meaning of the original movie.Moreover, most of them only four words, just as Chinese idioms, reading full of rhythm, easy catchy and easy to remember and spread.Also some translation of the movie title failed to meet this requirement.Feng HuaZhan(1980), said he saw a movie called the Qipulian·Bolongbeisiku.This title makes him very disgusted, because it is hard to remember and struggled to speak.5.3 Film title conformed to the Chinese language standard, and suited to our viewers enjoys habit.It should be said that some films do not need translator design, just translate it with the corresponding Chinese according to the equivalence principle.Of course, the premise is not to cause the audiences understand difficulties and must conform to the Chinese language standard.For example, the American adventure spy film named North by Northwest.Someone will translate it to XI BEI PAIN BEI(西北偏北).Through the title, viewers do not know what the film about, and it is not in line with Chinese language specification.Therefore, this translation is not desirable.Another translation of the film DIE HAI FENG YUN(谍海风云)is a good translation.Which give the suspense, highlights the style of spy film, clear and concise, while correspond to the Chinese language specifications.English films always use the owner's name or location as the title of the story.There is also the case in our China film, but less.Chinese films’ habit is to use the title to summarize the content of substance.Therefore, the translation of English film Hamlet as HA MU LEI TE(哈姆雷特)is in line with our habits.Oliver Twist translated as WU DU GU ER(雾都孤儿)is better than translated as the AO LIE FU TUI SI TE(奥列佛 退斯特).Because the former give us the place where the story take place(fog city, London)and the identity of the main character(an orphan).The Chinese audience can accept it easily.The American film Gone with the Wind(LUAN SHI JIA REN;乱世佳人)based on the same name novel is a good example.The “LUAN SHI(乱世)” explain the background of the story(the civil war), “JIA REN” named the heroine of the movie and showed the heroine’s frustrated experience.Look at an example.There is a film about American campus life, called Mr.Holland's Opus, The film tells the story of a remarkable music teacher, Holland.Holland works hard for 30 years in his teaching positions.He was “not rich, not famous, but his achievements beyond fame and wealth ”.He influences every student of the school.He is the Orchestra's conductor, each student is his notes, and every student is his works(Opus).Name of the literal translation is the HE LAN XIAN SHENG DE ZUO PIN(贺兰先生的作品), but now it is translated into the CHUN FENG HUA YU(春风化雨).The new translation has a deeper meaning than the formerly and show the movie extraordinary story, allows viewers to experience a teacher’s permeated personality charm.(Cai Weidong, 2000:104-105).At the same time, wonderful translation is like a piece of art, for people to enjoy the beauty of art.6.The conclusion
When the importance of English film titles translation increasingly be reflected, when the shortcomings of the current English film titles translation theory and method is revealed, and when the relevant problems are getting cause the attention of people, I believe that people will intensify research on this area of expertise, moreover, the translation equivalent theory and attention principles I mentioned in paper will make some significances on the development and improvement of the title translation.After continuous efforts, the present translation problems will be gradually resolved, the translation of English film titles will be more standardization, and the usefulness, the literariness and the scientific nature of the translation will greatly enhance.Bibliography ．
[1] Jones, Gareth Stedman.Languages of Class [M].Cambridge: Cambridge University
Press.1983.101.[2] Saussure, Ferdinand de.Course in General Linguistics [M].London: Peter Owen Limited.1960.23, 67, 77, 20, 21, 22, 16.[3] Searle, John R.Speech Acts [M].Cambridge: Cambridge University Press.1969.75.[4] 贺莺．电影片名的翻译理论和方法［Ｊ］．外语教学，２００１（１）[5] 林秋云．外国电影片名翻译简论［Ｊ］．上海科技翻译，１９９６（３）[6] 陆谷孙.英汉大词典[M].上海：上海译文出版社.1991.[7] 顾冠华, 沈广斌.中国传统文化与高等教育[ M ] 北京: 海洋出 版社, 1999 10 [8] 陈炼，陈育．外国电影片名的翻译［Ｊ］．湖南商学院学报，２００３，（９）
Acknowledgments
After finishing my B.A thesis, I really felt that I had come a long way.Many teachers and classmates gave me supports and helps in the process of writing this paper.I’d like first to take this chance to express my sincere gratitude to my supervisor associate professor Li Liping, who generously gave me her kindly help and instructions during the whole process of my paper writing, for her patience and guidance for this thesis.I’d like to take this paper not only as the ending of my undergraduate life, but the beginning of my postgraduate study.Most important of all, I want to give my thanks to my mother university and all teachers in the College of Foreign Languages.
第五篇：英语典故性成语的来源与汉译
所谓典故性成语，指的是出自历史事件、寓言、神话、传说等一类的成语。其特点是源远流长，富含较浓厚的民族色彩，广为民间使用，约定俗成。如果说多以词、词组、句子形式出现是语言的结构特征，那么作为语言一分支的典故性成语多以词组形式而很少以句子形式出现。它虽然结构简单，但内容丰富，意义精深。其形式的固定性、意义的整体性表明不可随意改变它的结构，也不可随便将其中的各词分割开来。如cat’s
paw，可谓最简单不过的了，但又绝非杜撰和臆造，而是出自法国拉丰丹的一则寓言故事，讲一只猴子利用猫为其从火中取栗子。在现实生活中则常用来指被别人当作工具或爪牙利用的人。又如no respecter of persons在用字方面也可谓比较简单，它出自《新约·使徒行传》第十章：“Then Peter opened his
mouth，and said，of a truth I perceive that God is no respecter of persons，”原指上帝“不偏待人”，如今该成语在本义的基础上暗含“歧视”之义，然而在不民的语境中效果却不一样。G·D·H·Cole曾在“Practical Economics”中用此成语来说明墨索里尼“不偏待人”，其实是对他的讽刺。如果能将此类成语运用得恰到好处，就会使文章、演说等大为增色，从而说明深刻的道理，使人受到深刻的教育。下面拟就典故性成语的来源与汉译作下探讨：
一、源于历史故事或历史事件。历史上出现过众多的著名历史故事或事件，后人常用一简洁说法表达其内容，沿用久了就成了成语。如Sword damocles出自古代希腊的一则历史故事。业通古希腊历史、文学的罗马杰出作家与政论家西塞罗（106BC?3BC）在其论文《图斯库拉的谈话》中写道：“纪元前4世纪西西里岛上叙拉古的统治者狄奥尼修斯一世（406BC?67BC）有个亲信的佞叫达摩克里斯，他很羡慕帝王的豪华生活，常说：“君王是人世间最幸福的人”。狄奥尼修斯为了教训这个想得君位者，在一次宴会上，要他坐在国王的宝座上，当他猛然抬头，只见头顶上有一把用头发悬着的宝剑，随时都刺到头顶的危险。他吓得战战兢兢，如坐针毡，时刻提心吊胆，惶惶不安。由此便产生了“达摩克里斯的宝剑”这个成语，它被用来比喻临头的危险或情况的危急，类似于汉语的“千钧一发”。又如burn one’s boats（bridges），此成语中的bridges为美国人所使用，原指古罗马朱力斯·凯撒大军乘船越过Rubicon后就把船烧了，以此向士兵指明后路已断，不可能后退。现借用来比喻“不留后路，下定决心干到底”，同汉语的“破釜沉舟“。
二、源于寓言故事。寓言是用比喻的形式说明一定的道理，是文学作品中最为短小精练的一种形式。如kill the goose to get the eggs，源于希腊寓言，说的是曾有一个乡下人，因为发财心切杀死了自己饲养的那只能下金蛋的鹅，以为如此就可一次获得全部想象中的金块，但其结果一无所获。现借比喻只贪图眼前利益，没有长远打算。但汉语中不说“杀鹅取卵”而说“杀鸡取卵”，喻体不同，因此汉译时须遵循汉语成语的搭配规律。又如Veper
and File出自《伊索寓言》，说的是一条蝰蛇（Viper）发现一把铁锉（File），以为是一顿美餐。但铁锉说，它的天职是咬别人，而不是被别人咬。后人借此比喻“骗人者反受人骗”，汉译时要作直译或意译处理。
三、源于神话故事。神话是关于神仙或神化的古代英雄的故事，是古代人们对自然现象和社会生活的一种天真的解释和美好向往。如rain cats and dogs，源于北欧神话，猫对天气有很大影响，英国水手至今说：“猫尾巴藏大风”。据说驾暴风雨的巫士化为猫形。狗是风的信号，狗和狼都是暴风雨神奥丁的随从。在德国古画中，风被画成狗头和狼头。因此，猫被年作暴雨的象征，狗是伴随暴雨的强风，to rain cats and dogs就是to rain heavily/hard，汉译便为“下倾盆大到雨”。又如Analthea’s
horn，汉译常为“丰饶的羊角”。阿玛尔忒亚（Amalthea），希腊祖籍中一神女，是宙斯（Zeus为主神，相当于罗马神话中的朱庇特Jupiter）的保姆。婴儿时宙斯由神女阿玛尔忒亚喂以羊乳。为了感思，宙斯敲下一羊角送给她。许诺让羊角主人永远丰饶。
四、传说。传说指的是人们口头流传下来的关于某人某事的叙述。如swan song，据传说，音乐之神阿波罗（Apollo）的灵魂进入了一只天鹅，由此产生了毕达哥斯寓言：所有杰出诗人的灵魂都进入天鹅体内。另据相传天鹅（swan）在临终前唱的歌最优美动听。后人就用swan song来比喻诗人、作曲家、演员等的“最后作品”，这也是其汉译形式。又如Leave no stone unturned，相传公元前447年波斯奖军马多尼奥斯在希腊的普拉蒂亚兵败被杀后，留下一大批财宝在军帐里。底比斯的波利克拉特斯搜寻却一无所获，请示德尔斐神谕后知道要“翻转所有的石头”，最后找到了财宝。现借此比喻想方设法等，汉译为“千方百计，想尽办法”。
五、源于民间飞俗。如a bird of ill omen，源出古代占卜风俗，延至今日，猫头鹰、鹳则被视为吉祥鸟）。渡鸟嗅觉灵敏，能确定远方死尸和腐尸地点。因此渡鸟象征死亡。猫头鹰在恶劣天气来临之前喊叫，而坏天气常带来疾病，故猫头鹰被视为丧鸟，阴森之鸟。后人以此比喻“不吉利的人，常带来不幸消息的人”，汉译也是如此。又如a feather in your cap，汉译为“值得荣耀的事、荣誉”。源于广泛流行于亚洲和美洲印第安人当中的一种风俗：每杀死一个敌人就在头饰或帽子上加插一根羽毛。古代吕西亚人和许多其他古人也有类似风俗，均以此来 显示战绩与荣誉。
六、源于谚语。谚语是在人闪中间流传的固定语句，用简单通俗的话反映出深刻的道理，是社会生活经验的总结。如birds of a feather棾鲎匝栌顱birds of a feather flock together.即“物以类聚，人以群分”，转义为“一丘之貉”。在《鲁迅全集》中有这样一句：“增加混乱的倒是有些悲观论者„„将一切作者诋为‘一丘之貉’”。其英译为In fact it is these pessimists who increase the chaos by„considering all writers birds of a feather.又如 early bird，其汉泽为“早起者，早到的人”，源出谚语The early bird gets/catches the worm.意为“捷足先登（得），先下手为强”。比较First come，first served.意指“先到的先招待”，与前一个有所不同。
七、源于某些作品。英语中有较好的成语出自某些作品，有的是原封未动的摘引，有的是节缩而成。如wash one’s hands of a thing，可译为“洗手不干„„；与„„断绝关系”。出自《马太福音》，犹太巡抚彼拉多主持审判耶稣，由于他判定耶稣无罪，一些犹太人不服，因此他当众宣布洗耳恭听手辞职并交出了耶稣，以示自己与此案无关。又如as significant as the shake of Lord Burleigh’s head，其汉译为“象拍利勋爵晃脑袋般意味深长”。出自爱尔兰剧作家及政治家谢尼丹在《评论家》中的一幕模拟悲剧《西班牙无敌舰队》。伯利勋爵埋头于国事，日理万机，忙得边说话的时间都没有，靠晃脑袋表达思想。普夫则根据这个晃动解释他所表示的意思。
八、源于动物、植物、生活用品、人名、地名等。如：⑴shed crocodile tears，据西方古代传说，鳄鱼吃人畜，一边吃，一边掉眼泪，比喻坏人假装同情被害者。类似于汉语“猫哭老鼠，假慈悲”，且人们常采用此语的前一部分作为其汉译。例如All your piteous words for the tenants are no more than crocodile tears.其汉译为“你这些怜惜佃户的话，都是猫哭老鼠”。⑵the
apple of discord，其汉译为“争斗的原因或根源”。传说厄里斯女神未被邀请参加Thetis和Peleus的婚礼，她就把苹果扔有参加婚礼的神与神中间。特洛伊王子帕里斯把它给了三个女神中最漂亮的维纳斯。这就间接地引起了古希腊人和特洛伊人之间的特洛伊战争。⑶Simon
Legree，此人是美国女作家斯陀夫人所著《汤姆大伯的小屋》一书中管黑奴的工头，此人既尖酸刻薄，又好吹毛求疵。其汉译为“尖酸刻薄、好吹毛求疵的人”。⑷being
Burke，其汉译为“出身名门，贵族门第”。源于编纂《贵族人名录》作者爱尔兰人约翰·伯克（John Burke）之名，该《人名录》自1826年以来一直被公认是研究英国贵族阶级及其家谱的权威著作。故列入伯克氏贵族人名录即为贵族出身。⑸all
Dutch/Greek to me，其汉译为“一窍不通”，其中Dutch与Greek原为“荷兰语”和“希腊语”。⑹have the free-simple of May Fair，其汉译为“不受出身等限制无条件继承取得的不动产”，其中May Fair乃“伦敦西区贵族住宅区”，十八世纪时该地区每年五月均有集市，因而得名。⑺Life
is but an empty dream，其汉译为“人生如梦”。源于美国诗人Longfellow的诗文。⑻lose face汉译为“面部”或“脸”之意。⑼Jack
of all trades汉译为“杂而不精的人”，出自Jack of all trades and master of none.其中Jack原为“杰克”，trades指“多种行业”。⑽spill the beans，汉译为“泄漏消息（秘密）”，bean原为“豆类；豆科植物”等。⑾be fond of the cup/the bottle，汉译为“贪杯中之物；好酒”，cup与bottle原为“茶杯”和“瓶子”。⑿Roman
holiday，汉译为“欣赏别人受苦的娱乐”，而非“罗马的假日”。⒀as cool as cucumber，汉译为“十分冷静”，其中cucumber原指“黄瓜”。⒁like a brick，汉译为“拼命的”，brick原指“砖”。⒂have a ball at one’s foot，汉译为“有成功的机会”，源于足球运动。⒃be off the track汉译为“走入歧途，迷失方向”等，源于狩猎，原指猎狗失去嗅迹。
以上简要地谈了英语中典故性成语的来源与汉译。其实英语中还有许多这样的成语，而且掌握它们也并不那么容易，加上汉语中此类成语也不少，且它们具有类似的特点与作用，尤其是象“破釜沉舟”等一类成语，英汉两种语言的彼此巧合，会使人误以为这两种语言是彼此相通且文化背景一致。这样就错了。汉语中的“破釜沉舟”出自《史记·项羽本纪》：“项羽乃悉引兵流河，皆沉船，破釜甑，烧庐舍，持三日粮，以示士卒必死，无一还心”。双如“杀鹅取卵”，汉语中则说“杀鸡取蛋（卵）”。因此，只要透析两种语言的渊源，就不难发现其不同所在。而要使学习者克服因这些不同所带来的困难，就必须引导他们从所语言的角度去认识、去掌握与运用，切忌把两种典故性成语混为一谈，如汉语中的“猫哭老鼠”译为英语就须用crocodile’s
>tears，否则很可能会叫人不知所云，反之亦然。有人常犯诸如生搬硬套的错误，主要原因是平时学习中不注意积累有关典故性成语来源的知识与汉译的技巧，不了解英语受世界文化影响的程度，故不能灵活运用。对于学习汉语多年的外国人，如不了解中国古代光辉灿烂的文化，不留心典故性成语之出处，肯定会弄不清像“请君不瓮”等一类典故性成语的来历。因此，要在英语教学中适当改进教学内容，利用课常讲授或已有的园地刊载典故性成语来源的文章，从而更好地促进英语教学。
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