Comparative Analysis of the Translation Theories of Yan Fu’s “Faithfulness, Expressiveness, and Elegance”and Nida’ s “Functional Equivalence”
DOI:
https://doi.org/10.63313/LLCS.9097Keywords:
Yan Fu, faithfulness, expressiveness, and elegance, Nida, functional equivalence, comparisonAbstract
Chinese and Western translation theories are characterized by their distinctive features and profound impacts. In China, Yan Fu’s “faithfulness, expressiveness, and elegance” principles are held as the golden rules of translation. Meanwhile, in the West, Eugene Nida’s “functional equivalence” theory stands out as a prominent example. This paper aims to conduct a comparative analysis of these two translation theories, exploring their similarities and differences, with a view to providing theoretical references for translation practice. Meanwhile, it also promotes the exchange and integration of Chinese and Western translation theories, jointly advancing the prosperity and development of global translation undertakings.
References
[1] Zhang Pingmei. (2015) Explore Chinese and western translation criteria-Yan Fu’s “faith-fulness, expressiveness and elegance” and Nida’s “dynamic equivalence”. Journal of Jiamusi Vocational Institute, 05, 318-319.
[2] Xu Cuiping. (2007) Two Aspects of One Subject-A Comparison of Translation Theories of Yan Fu and Nida. Journal of Luoyang Normal University, 04, 119-121..
[3] Eugene A. Nida. (1964) Toward a Science of Translation. Leiden.
[4] Chen Minjie. (2013) A Brief Discussion on Yan Fu’s “Faithfulness, Expressive-ness and Ele-gance” and Nida’s “Functional Equivalence”. Journal of Science and Education, 08, 94+97.
[5] Liao Chuanli. (2011) A Brief Discussion on Yan Fu’s “Faithfulness, Expressiveness and Ele-gance” and Nida’s “Equivalence Theory”-Starting from their translation purposes. Journal of Chifeng University 09, 76-77.
[6] Tan Kai. (2011) A Comparative Study of Yan Fu’s Theory of “Faithfulness, Expressiveness and Elegance” and Nida’s Theory of “Functional Equivalence. Young Writers (Chinese & Foreign Arts), 01, 43-44.
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