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ous life.When it came to the medieval age, Pope GregoryⅠedited the later well-renownedGregorian Chant which then became the most authoritative hymnal, exclusively sungby the priests during the religious ceremony. In this period the congregation wasforbidden to sing hymns. Later, the hymns composed around the 10thcentury werealways magnificent in style and solemn in line.1In this period, the common believershad no touch to the hymns and the folk element was not allowed to the composition ofthem. Even the organ or other contemporarily commonly used musical instrumentswere forbidden to be used in the singing so as to steer clear of any worldly factors.But the hymnology in the ancient and medieval periods was in quite a simple waylacking in “musical notation”2and various musical instruments (of course this is notat all criteria to say it was good or bad as worship is just about the devious heart).After the Reformation Movement, the folk element began to blend in, representedby the German hymns written in this period, and a lot of nice hymns were also passedon until today and translated into various languages. The common believers alsoTo be simple, the hymn is to express the congregation’s praise, love, awe and otheremotions or affections to God. Traditionally the hymn has been to praise God andcreate a solemn and magnificent atmosphere in which it would be easier toconcentrate on the pure worship. Today, besides the former function, it is also awelcome for God to come among the congregation and to their heart. Last but notleast, it is also a good evangelic way as many non-believers would surely come to thechurch for the sake of hymns at the beginning and then converted to be Christiansafter getting some knowledge and experience of what the Christianity is all about.To quote a word by Reginald L. McAll, psalms and music are not the decorationsof the religious life, but lie in its core zone. There is nothing among the universe andall that is created by God standing closer to music than religion (林列, 1991: 5). Fromthis, it might highlight the importance and significance of the hymn.

1.2 Eugene Nida’s Theory尤金·奈达的理论

Eugene Nida is one of the representing researchers on translation and the dynamicequivalence theory, or functional equivalence theory as it was improved into,established by him is also one of the most frequently discussed translation theories ofthe 20thcentury. Actually, his dynamic equivalence theory used to open a brand-newwindow to look at the field of translation.In his book Toward a Science of Translating, published in 1964, he introduced thedynamic equivalence theory as an approach to the world and the translation producedshould give the receptors the same or maximatically the similar influence with theoriginal audience, or to be exact, the receptors should have the maximatically thesimilar response with the original audience. (Nida, 1964: 113) In Chapter 2 there willbe a detailed exhibition of Nida’s readers’ response theory.

1.3 Purpose of the Study研究目的

About Nida’s receptors’ response theory there have been all kinds of comments,among which there are praise, criticism, for, against and also question. So whetherresponses theory can be used as the judgment of a translation or a guiding principle intranslating is one of the major parts that will be dealt with in the paper.Besides, how were hymns in the New Hymnal (1983)— in this thesis t本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。