Introduction The modern views of translation look at translation as “a norm-governed behavior.” In moving from the source text (ST) to the target text (TT), the translator may pursue either the ST linguistic norms by selecting material “to formulate the target text in,” or adhere to TT textual-linguistic norms by adopting certain material to “replace the original textual and linguistic material with the TT material.” In either case, there are genre-specific conventions that any successful translation will have to respect. Both poetry and rap belong to what Katharina Reiss calls the “expressive text type” in which the author/singer “exploits the expressive and associative possibilities of the language in order to communicate the thoughts in an artistic, creative way.” In translating an expressive text like a poem, the main concern of the translator is to “try and preserve aesthetic effect alongside relevant aspects of the semantic content.” However, any change in genre would require “stylistic appropriateness,” and this “features prominently in restructuring.” Appropriateness is sought by “the selection of appropriate genre and type of text, appropriate language varieties or styles, choice of formal features and lexical items.” Poetry and rap are two different genres. Arabic poetry and English rap would even be strikingly different owing to the divergent language pairs and genre pairs. Therefore, translating Arabic poetry into rap songs necessitates form-based changes called for by target-language genre conventions. As far as Arabic poetry production is concerned, poets often give much attention to the poetic diction and prosodic building of the words. A typical Arabic poem comes out in an equal sequence of lines with the force of rhythm and rhyme. In his extensive inquiry, Gelder says that the Arabic poem manifests “coherence and unity... rather than disjunction and disunity.” In the same vein, Jansson focuses on the form of the modern Arabic poem, arguing that the “words themselves in their own right and in combination with the other levels of text, i.e. the line, stanza and poem as a whole” are as important as the content itself. Accordingly, “If the SL text was written because the author wished to transmit an artistically shaped creative content, then the translation should transmit this content artistically shaped in a similar way in the TL.” However, if there is a change in the function of the text, this change in the standards of equivalence becomes a must-do in translation. More recently, a vast number of studies have examined rap in relation to its linguistic and socio-linguistic contexts. The language of rap songs has been the site of numerous

中文翻译：

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将阿拉伯诗歌翻译成英语说唱：基于形式的要求研究

引言 现代翻译观点将翻译视为“一种规范管理的行为”。在从源文本 (ST) 移动到目标文本 (TT) 的过程中，译者可以通过选择材料“制定目标文本”来追求 ST 语言规范，或者通过采用某些材料来遵守 TT 文本语言规范“用 TT 材料替换原始文本和语言材料。” 在任何一种情况下，任何成功的翻译都必须遵守特定于体裁的惯例。诗歌和说唱都属于 Katharina Reiss 所说的“表达性文本类型”，在这种类型中，作者/歌手“利用语言的表达性和联想性，以艺术和创造性的方式传达思想。” 在翻译像诗这样富有表现力的文本时，译者的主要关注点是“在语义内容的相关方面尝试并保留美学效果”。然而，流派的任何变化都需要“风格适当”，而这“在重组中具有突出特点”。适当性是通过“选择适当的体裁和文本类型、适当的语言变体或风格、形式特征和词汇项目的选择”来寻求的。诗歌和说唱是两种不同的流派。由于不同的语言对和体裁对，阿拉伯诗歌和英语说唱甚至会截然不同。因此，将阿拉伯诗歌翻译成说唱歌曲需要目标语言流派惯例所要求的基于形式的改变。就阿拉伯诗歌的创作而言，诗人往往非常注重词语的诗意用词和韵律构建。一首典型的阿拉伯诗以相同的行数出现，具有节奏和韵律的力量。在他的广泛调查中，盖尔德说这首阿拉伯诗体现了“连贯性和统一性……而不是分离和分裂”。同样，杨松专注于现代阿拉伯诗歌的形式，认为“单词本身并与文本的其他层次相结合，即行、节和诗歌作为一个整体”同样重要作为内容本身。因此，“如果 SL 文本是因为作者希望传播艺术形式的创意内容而编写的，那么翻译应该以类似的方式在 TL 中传播这种艺术形式的内容。” 但是，如果文本的功能发生变化，这种对等标准的变化就成为翻译中必须要做的事情。最近，大量研究已经研究了说唱与其语言和社会语言背景的关系。说唱歌曲的语言已经成为众多