功能目的论在电影字幕翻译中的运用
滨州学院
毕业设计（论文）
题目功能目的论在电影字幕翻译中的运用系（院）外语系
专业英语
班级2010级1班
学生姓名沈晨
学号1014030208
指导教师孟丽华
职称教授
二〇一四年六月十日
Application of Skopos Theory in Film Subtitle Translation
A Thesis Submitted
to Foreign Languages Department of
Binzhou University
in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts
By
Shen Chen
Supervisor：Meng lihua
June 10, 2014
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二〇一四年六月十日
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二〇一四年六月十日
功能目的论在电影字幕翻译中的运用
摘要
随着全球一体化进程的不断深入，电影作为一种文化载体在国际间的交流日益频繁，电影翻译的重要性也日益凸显。电影翻译可以使观众更全面地了解外国电影的内容，为电影在世界范围内理想地实现其传播功能提供帮助。事实上，大部分中国人都不具备直接欣赏外语影片的能力，而很多影片却恰恰是原声发音、外语字幕。本文从目的论的角度对电影字幕翻译进行综合分析，指出电影翻译是一个专业领域，不仅是受翻译理论约束，还受影片自身约束。本文试图用《功夫熊猫》这一案例，以功能目的论为视角对电影字幕翻译进行研究。文章首先分析了电影中的中国元素及其语言特征。从语言、风格和文化不同方面，通过具体的例子对翻译理论进行探讨。同时结合字幕自身的特点和限制，总结出字幕翻译中所需要用到的翻译策略，最后指出，功能目的论给译者提供了一个全新的视角，为电影字幕翻译提供理论参考。
关键词：字幕翻译；功能目的论；翻译策略；《功夫熊猫》
Application of Skopos Theory in Film Subtitle
Translation
Abstract
Along with the deepening of globalization, film, as a kind of cultural carrier, has been a way to communicate frequently among different countries. Therefore, the significance of movie translation is increasingly growing. Film translation can make the audience fully understand the content of foreign films, and help the film to realize its communication function all over the world. In fact, most Chinese people don't have the ability to appreciate foreign film directly, but lots of films apply original pronunciation with English subtitles. This paper analyzes film subtitle translation from the perspective of skopos theory, pointing out that film translation is a professional field, which is not only bound by the translation theory but also by the film itself. This paper attempts to take Kung Fu Panda as a case, to study film subtitle translation by skopos theory. Initially, this paper analyses the Chinese elements in the movie and its linguistic features. From different aspects of language, style and culture, it utilizes concrete examples to discuss this translation theory.This thesis analyzing the characteristics and limitations of subtitle, summarizes the translational strategies for its translation, and finally points out that functional skopos theory gives a new perspective to translators and provides theoretical reference for the film subtitle translation.
Key words: subtitle translation; skopos theory; translational strategies;
Kung Fu Panda
Contents
Introduction (1)
Chapter One Theoretical Basis of the Study (1)
1.1 An overview of skopos theory (2)
1.2 Rules of skopos theory (3)
1.3 Significance of the skopos theory (4)
Chapter Two A Brief Introduction of Film Subtitle Translation (5)
2.1 Effects of film subtitle translation (5)
2.2 Features of film subtitle translation (5)
2.3 Factors that influence the quality of film subtitle translation (7)
Chapter Three Application of Skopos Theory into Subtitle Translation of Kung Fu Panda (8)
3.1 A brief introduction of Kung Fu Panda (8)
3.2 An analysis of the translation of Kung Fu Panda (9)
3.3 Summary (14)
Conclusion (15)
References (16)
Acknowledgements (17)
Introduction
Nowadays, with the speeding up of globalization, the intercultural communication between China and other countries has become more and more frequently. Many Chinese famous films are translated into English and many English films are translated into Chinese. Therefore, the importance of film subtitle translation has been reflected more deeply than ever before. It is necessary to overcome the obstacles of language and cultural issues in the process of enjoying English films. Subtitling has played an unprecedentedly important role for China’s economic growth and technical restrictions exerted on film translation. A lot of attention has been paid into subtitle translation and studies in this field have been executed more widely and centrally in the western countries, so treaties are founded in terms of strategies and quality measures. Professors like Delabastita, Ian Mason, Aline Remeal and Anne Jackel dedicate their time into subtitle translation. Some periodicals and articles about researches of film subtitle translation, international meetings, drilling curriculums for subtitle translators and MA projects for theoretical side of subtitle translation have symbolized the rise of its impact. On the contrary, studies in this area have a comparatively short history in China. Chinese subtitle translators began their work in 1949. Changchun Film Studio brought in a Russian movie which is the first achievement in subtitle translation. Then numerous foreign movies have been introduced into China after 21st century, meanwhile, film subtitle translation has started booming. For instance, Qian Shaochang, an expert in film subtitle translation, has implemented an operational research in this point named “Audio-Visual Translation—An Important Area in the Field of Translation Studies”. He briefly states the significance of film subtitle translation and appeals the translators to pay close attention to it. Thus more and more attention on subtitle translation has been draw from domestic translation professors.
This thesis provides a case analysis of a famous American movie Kung Fu Panda. Skopos theory is applied as a basic theoretical foundation of the study. Effort will be made to give skopos-oriented method for the subtitle translation through a case analysis followed for further explanation.
Chapter One Theoretical Basis of the Study
1.1 An overview of skopos theory
Skopos theory is a method to translation from functionalism which was first put forward in Germany by Reiss and her student Vermeer (1984) in their book General Foundations of Translation Theory. It shows a general change from primary language and official translation theories to a more purposeful and socio-culturally guided notion of translation. This change derives afflatus from text theory, text linguistics, action theory and communication theory, as well as from activity in literary studies toward reception theories (Baker, 2004, p. 235). The word “skopos” rooted in Greek is an academic jargon for the goal or objective of translation. At present, skopos theory is the foremost theory for functionalism as well as the base of the functionalist means to translation. Reiss and Vermeer have played important roles in establishing the skopos theory.
Reiss first brought a functional directory into her “objective approach to translation criticism” in 1971, which is regarded as the origin for professionally analyzing translation in Germany. In his point of view, a qualified translation should be one “in which the aim in target language is equivalence as regards the conceptual content, linguistic form and communicative function of a source-language”. And she put such translation as “integral communicative performance”(Nord, 2001, p. 9). Her student-Hans J. Vermeer made a further study in this field. It is Vermeer who brought “skopos” into translation theory and promoted the development of skopos theory which is considered as the core of the functional translation theory. It seems to him that translation is not just a single pass between different languages but a more complicated movement. It is a kind of unique action with aims carried out by human and a conversion in which communicative verbal and non-verbal symbols are switched from one language to another. Besides, Christiane Nord is a professional translator and great scholar who also make a great contribution in skopos theory. In her book Translating as a Purposeful Activity-Functionalist Approaches Explained, Nord introduced the “loyalty principle” into functionalist pattern (Nord, 2001).
1.2 Rules of skopos theory
Translation is only a kind of translational activity. Therefore, translation is depicted as a purposeful, communicative, partially verbal and inter-cultural interaction on account of the source text (Nord, 2001). According to this concept, Vermeer comes up with his translation rules, involving the skopos rule, the fidelity rule and the coherence rule. The skopos rule is considered as the guiding principle, while the fidelity rule and the coherence rule are subordinate principles.
1.2.1 The skopos rule
Skopos theory holds that all translation activities should follow “skopos theory”, that is to say, translation should take effect in the way which is expected by the target receptor. The purpose determines the translation action, namely the result determines the method. Due to this rule, many translational activities have a variety of skopos and maybe they associate to each other in a scalar sequence. The translators have the right to justify a specific purpose according to a particular situation. For translators, to know why a source article to be translated and what the goal of the target article is will be fatal in this rule. 1.2.2 The coherence rule and fidelity rule
Coherence rule means that the translation must be consistent with the intra-textual coherence standard, namely readability and acceptability, which can make the recipient understanding and have significance in the target culture and the use of communicative context. An interpersonal communication can be effective only if the recipients explain it as being suitably consistent with their situation. While fidelity rule means that inter-textual coherence should exist between the source text and the target text. This is equivalent to the translation theory what is so-called faithful to the original text, but the degree and form of the fidelity depend on the purpose of the translation and the translator's understanding. In some situation, one probable kind of inter-textual coherence needs a supremely faithful simulation of the source text.
1.3 Significance of the skopos theory
The skopos theory means the innovation in modern translational theories. This transfer of emphasis is very popular in other translational theories and performs frequently in recent decades. In addition, uniformity that lies in skopos theory and other translational theories can offer a reason for skopos theory.
1.3.1 Translating as a purposeful human action
On account of the skopos theory, translation activity is an interpersonal and intercultural interaction lying in a source text. Besides, according to the rules of action theory, Nord put forward the thought of “translational action”, which is “a complex action designed to achieve a particular purpose” (Nord, 2001). Translation is not just a one to one transmit between two languages, and is not as same as looking for balance between different standard of two languages like words, phrases, sentences, etc. The skopos theory suggests that the focus on translation discipline has transferred from linguistic technique of language shifted to the intentional aspects of the translation process.
1.3.2 Translation as interpersonal interaction
Focus transfer from the author and the source text to the characters of all participators and their interaction. During a relatively long period in the translation history, translation has been regarded as a code-switching behavior. So much attention has been paid to the author and the original text, and the characteristics of the source text have to be reserved in the target text.
1.3.3 Translation as intercultural action
Translation is also a course of cultural exchange and restatement. In Vermeer’s opinion, a translation theory couldn’t use one language theory alone (Vermeer, 2000). Because any human activity has its own background, translation action as a type of intentional human interaction also appears in concrete, unchangeable conditions that including members with different culture. It is regarded as a significant approach of cultural exchange.
Chapter Two A Brief Introduction of Subtitle Translation
“Subtitling can be defined as the translation of the skopos (or written) source text of an audiovisual product into a written target text which is added into the images of the original product, usually at the bottom of the screen” (Gottlieb, 1998).
2.1 Effects of film subtitle translation
In recent years, subtitles are an irreplaceable part of films and television programs. They can not only exactly transmit the message that is beyond images, but also make images as some decorations. In view of the relationship between receptors and films, functions of subtitle will be analyzed from the following factors:
They contribute to expand receptors’understanding about some key parts of the films. Some classic subtitles deliver profound meaning of life or show some sympathetic emotions among people in the films from which they are excerpted. Subtitles help those people who have the hearing problem to make them appreciate movies as same as ordinary people. Exactly, subtitle translation can be divided into two types: intra-lingual translation and inter-lingual translation. Subtitle translation can preserve the initial taste of English language and assist people appreciating the absolutely different styles of foreign films. The public usually make choices of watching a movie according to their interest, so the significance of subtitles has already formed.
2.2 Features of film subtitle translaiton
The distinction between translation for an article and translation for the screen is obvious but need to analyze carefully. The translation is exposed to a type of multi-media operation in which the verbal words followed by the visual pictures, sound and background music.
2.2.1 Characteristics of film subtitle translation
Film subtitle has totally different characteristics from writing work, such as colloquial expression, fashion-ability and serviceability.
Colloquial expression is the main characteristic of film subtitle translation. It means the language predominantly through the sound to convey an addressor’s feeling. Upon most occasions, it is not so formal, terse and well organized as written words. Colloquial expression has the following traits:
1. Abundance: it can apply the materials of the popular discourses from some
sources of language.
2. Vividness: addressors usually use a number of vivid words and sentences with a
little variation of speech voice and tone in the film.
3. Flexibility: colloquial expression has a flexibility choice for words and sentences.
As one of the most influential entertainment media, film inevitably follows the trend of the times which can also be called as fashion-ability, where many words used contain numerous new meanings. For example, with the rapid development of the Internet, many network words swarm into our daily life. In many movies and TV series, teenagers like to use lots of hot network words, such as webpage, short message, MSN, e-mail etc. In addition, many film and television refer to the most popular topic at that time. Unlike written works, film subtitle cannot exist independently. It has to work with pictures, sound together which can be meaningful eventually. That is to say, it has serviceability. If a caption has been extracted, it would be unable to understand its true meaning only seeing from the content.
2.2.2 Constrains of film subtitle
The characteristic of the film itself is to operate the subtitles under various constraint conditions. Cintas (2004) divides the film dubbing and subtitling constraints into six categories: time, space, music, image, phonetics, spoken language. Subtitle translation is limited by time and space. On the one hand, subtitle isn’t like the words fixed in one place for a long time on the books. Each line of subtitles own images and sound, which would vanish with disappearance of the caption, then the next caption appear. On the other hand, the room for subtitle is also restricted. The premise for subtitle to exist is that it should not damage the visual effect of the whole movie. Therefore, the length of each line is limited. Because the change of images is too fast, subtitles can only stay two or three seconds or
less. The length of the caption should not be too long so as to make the audience appreciate it smoothly.
2.3 Factors that influence the quality of film subtitle translation
According to functionalism, subtitle translation can be expressed in an external way. In this part, the following three factors will be discussed.
2.3.1 The intention in the process of film production
There is something peculiar about the intention in the process of film production. For instance, film is considered as a factory, the goal of producing films would be as easy as any other factories in today’s commercialized society. That is to say, film production is to attract customers as many as possible to maximize its economic interests. Besides being a money machine, film is an artistic works in nature. In today’s world, producing a film followed some established intentions, but a film without artistic value and cannot draw the public’s attention will not achieve the economic interests. As an artistic production, the goal of producing film is to amusement, guide or encourage the public by describing a virtual world. Generally, goal of modern film producing is to make use of valid rhetorical and technical measures to stir up the interest of the masses.
Because movies are multi-dimensional product, the influential groups should also be close to some dimensions. The author of the film is not as simple as that of a poem or an article, so we cannot defy the author’s importance for a movie. In addition, a successful film production should also be attributed to the scriptwriter and the director. These scriptwriters and directors are not only persons, who understand the source text situation, but also know how to use rhetoric measures to attract the audience.
2.3.2 The type of film and audience
In general, movies are always made to the maximal possible group of audience in a special group as their aim. For instance, cartoons are usually produced for children with their simple screen effect and expression; love stories target at the young people who may have the similar love experience or who eager to own a same love experience; war stories target at those who love peace and want to learn from the last history to avoid the same
thing happening. In order to transfer the information for target audience, translators should be familiar with the content and the goal of the source text. It is very necessary to know who the target audience is, because this affects the translator to choose vocabulary and sentence in subtitle translation.
2.3.3 The skopos of film subtitle translation
Subtitle translation is not an easy work which has more constrains than poem or novel translation. In a functionalist’s opinion, subtitle translation is also limited by the skopos. Skopos is the top element that instructs the whole process of translation. It is constrained by the skopos. We do not want to threaten the translators or cause the idea of untranslatability by plus these constrains. All of those we do are to put emphasis on the importance of the role of skopos in subtitle translation. As an irreplaceable part of films spreading to the foreign countries, subtitle translation is never aimless. In fact, it is not hard to draw a conclusion that the overall aim of the target text is to offer message that is going on the screen within a limited time and space. But the skopos may be different from case to case and should be given in different conditions.
Chapter Three Application of Skopos Theory in Subtitle
Translation of Kung Fu Panda
3.1 A brief introduction of Kung Fu Panda
Kung Fu Panda is an American computer-animated action comedy that is produced by the film company of Dreamworks and allotted by Paramount Pictures. It has gotten huge response among Chinese audience, and has been the highest-grossing foreign movie at Chinese box office that year. In this movie, there are abundant Chinese elements embodied and humorous language used so as to draw the masses attention. All of these lead to the big achievement of this movie. Kung Fu Panda is set in a peaceful valley in ancient China and the plot develops with a fat panda called Po who wishes to be the Kung Fu master one day.
Villagers in this peaceful land are protected by the Furious Five, namely Tigress, Monkey, Mantis, Viper and Crane, a team of warriors drilled by Master Shifu and the tortoise Master Oogway. One day, Tai Lung-Master Shifu’s former disciple and adopted son break from the prison and will destroy the valley to take the Dragon Scroll. Under this dangerous situation, Master Oogway suggests Shifu to select the Dragon Warrior who is capable of gain the power of the Dragon Scroll so that villagers can be protected by him. Then, a big panda-Po happens to nominated as the Dragon Warrior by Master Oogway. After training by Shifu, Po achieves a large progress, eventually turn into the true Dragon Warrior and defeat Tai Lung. In the end, Po finishes his mission that brings peace to the valley again and become a real Kung Fu master.
3.2 An analysis of the translation of Kung Fu Panda
Kung Fu Panda has been brought into China and got a tremendous response in the public. The big achievement of this movie is owe to the perfect translation of its title and subtitles. When reproduced in many cinemas of China, the movie receives famous topping translation, which causes the emotion from the Chinese audience.
3.2.1 The title translation of Kung Fu Panda
Case 1: Kung Fu Panda
In some way, translating a film title is a kind of subtitle translation and it is very significant for receiving the whole movie, because the audience will gain a first impression from the title and the proper translation of the film title will impact on people’choice to watch it or not. A great title translation has similar importance as a good name for a movie, thus it should be translated into a suitable and charming version to persuade the masses of its worthiness.
This film takes advantage of its hero to become the title which is a phrase to suggest the peculiar feature of the hero. Because the film mainly describes the Chinese kung fu, numerous of explanations in this movie come from Chinese pinyin to draw more Chinese audience’s attention. Kung fu is an English word which is deriving from a Chinese term “功夫” that means martial art and it is close to Chinese audience. So it is important to
remain its primary pronunciation and translate it as “功夫”. Besides, the translator doesn’t need much effort to transfer the meaning in this word “kung fu”, as almost every Chinese people will understand the sense at the first sight of it. Not only kung fu is the quintessence of China but also panda is national treasure of China. As it is known to all, panda is a unique Chinese species living. When mention it, Chinese people will connect it with the impression of a chubby, cute and brushy animal as soon as possible, which is similar to the figure of Po, the protagonist in the movie. It turns out that the literally translated title “功夫熊猫” follow the fidelity rule, and it adapts to the target audience’s situation. It ensures the loyalty of translation and simply transfers the implicit information of the primary film title. To a maximal extent, this translated movie title of Kung Fu Panda has gotten the original skopos to appeal the Chinese audience.
3.2.2 The translation of some characters’ name in Kung Fu Panda
Case 2: Po 阿宝/阿波
As the protagonist of the movie, Po is a cute giant panda that has eventually rescue the whole valley and turn into a true kung fu master. The director would like to reveal more Chinese elements in this movie by selecting a panda as the main character. It is known to all that panda is China’s national treasure, and panda called “国宝” in Chinese. Considering this point and Po’ pronunciation, it is properly translated into “阿宝” which abides by the meaning of “国宝”, and it can satisfy the expectation of the Chinese audience. Another translation version makes Po translate into “阿波”which is also meaningful. However, under the context of China, it is better to select a version which is relevant to some Chinese elements.
Case 3: The Furious Five 盖世五侠/盛怒五侠
In this film, the Furious Five are respectively Tigress, Monkey, Mantis, Crane and Viper who are protecting the villagers. They are warrior trained by Master Shifu and Oogway. “The Furious Five” is literally translated into “盛怒五侠” in some version. This translation version indicates the meaning of “furious”, but it may make the audience to think that the Furious Five have a bad mood and is easy to get irritated. Therefore, the version “盖世五侠” is better than “盛怒五侠”, for it indicates the courage of the Furious
Five, and meantime, they apparently reflect the director’s purpose to the audience. So the communicative interaction is completed by a combination of literal translation and indirect translation.
Case 4: Master Shifu 师傅and Master Oogway 乌龟大师
In this film, these two people are the most powerful masters of kung fu. They are not just prentice and teacher, but also old friends. These two names are close to traditional Chinese culture, because Oogway comes from “乌龟”and Shifu derives from “师傅”. Thus the suitable translational strategy to translate these two names is literal translation. But “Master Shifu” is not translated to “师傅大师”, because in Chinese “大师” and “师傅” have the similar meaning. Thus it may lead to repetitive problem if these two terms are put together. The translation of the two appellations is proper and distinct enough to show the Chinese audience the names of two characters.
3.2.3 Subtitle translation strategies adopted in Kung Fu Panda
Movies are produced mainly for enjoyment and the good subtitle translation can help people to enjoy foreign movies with more ease. Great subtitle translation even can appeal more audience to make more interests. Because a film brings and reflects a specific culture in a certain society, appreciating a film is also a way to learn foreign culture and subtitle translation is a type of cultural communication. In order to help the audience understand the dialogue easily, the translators need to consider limitation of time and space, and a strategy of reduction is often applied.
1)Text reduction
Direct reduction, or deletion, usually copes with written content. Repetitions, filler words and tag questions can be deleted without shortage of information to the target audience, although it may influence the style of the content. For some superfluous information in the original text, a direct reduction is always applied.
For instance:
1. The secret ingredient of my secret ingredient soup is…nothing.
秘密食材就是…什么都没有。
2. You are not the Dragon Warrior. You will never be the Dragon Warrior.
你永远都不可能成为神龙武士。
The underlined parts of the original text are omitted only with a little shortage of the stylistic content but not the least of the semantic meaning. In example 2, if the sentence is translated into “你不是神龙武士，你永远都不可能成为神龙武士”. Here, “神龙武士”occurs twice, thus it is unnecessary for the audience to watch the same sentence twice with the running subtitle in the constrained space.
2) Domesticational reduction
If the expression in the screen carries with heavily cultural background, a simple or literal translation may make the audience confused and uncomfortable. They will cost lots of time to comprehend the subtitle, so miss the audio and visual information due to the limited time.
For instance:
1. They were no match for his bodacity.
他从未棋逢对手。
2. We all have our place in this world.
每个人都有宿命。
3. To take his strength and use it against himself.
借力打力/以其力打其人。
In example 1 the phrase “棋逢对手”is a classic idiomatic expression in Chinese language. It takes advantage of coherence rule. In example 2, if the sentence is translated directly, it will be “在这个世界上我们都有自己的位置”. It is verbose and will cost more time of the audience on the subtitle. In example 3, both translation versions are domesticational reduction. But the former one “借力打力” will make the viewers have a more concise understanding compared with the later on “以其力打其人”.
3) Addition and explanatory translation
Subtitle translation should be intra-textually coherent because the intention of subtitle is to keep the narrative coherent to the audience and ensure them understand the addressors’ expression as fast and clearly as possible. Sometimes in Kung Fu Panda, the characters speak in a certain context. Thus, some things that occurred before or were
going to happen are deleted or replaced by the scriptwriter. In this case, other translational strategies like addition and explanation can be used to remedy it.
For instance:
1. Po, forget everything else, your destiny still waits.
阿宝，忘了其他的事情，你的使命一直都在向你召唤。
2. The whole valley will be there and you’ll sell noodles to all of them.
所有和平谷的人都去了，是卖面条的大好时机。
3. How do you know you’re not looking at her?
你怎么知道不是我呢？
In example 1, if the source text is translated directly, it will be “你的使命一直都在等候着”, this will make the Chinese audience confused. Therefore, the translator makes a further explanation for the connotation and translates it into “你的使命一直都在向你召唤”. The explanation is also appropriate to the example 2, so the translator give a more clear understanding for the audience, using “卖面条的大好时机” rather than “把面条买给他们”. In example 3, if translating directly, it should be “你怎么知道你不是正在看着她”, it will cause confusion for the audience. In fact, this sentence is the answer from the Tigress to Tai Lung’s question “Who is the Dragon Warrior”. Tigress hopes to deceive Tai Lung that she is the one chosen to be the Dragon Warrior. Thus the translation above “你怎么知道不是我呢” properly indicates the original meaning.
3.2.4 Combination of short utterances
Verbal speeches are often described by loose structure. Considering audience’s capacity to possess information in the screen in a really short time, the rules in film subtitle, subtitle translation sometimes should combine two or three sentences into one single sentence (Ivarsson & Carroll, 1998, p. 88). The following examples give some proper illustrations.
For example:
1. I have had a version. Tai Lung will return.
我预见到太狼将重出江湖。
2. The true warrior, but do not surrender.
真正的武士绝不放弃。
3. Crossbows! At the ready!
武器准备。
4. To make something special, you just have to believe it’s special.
认为它特别，它就特别了。
In the above examples, all the source texts are disrupt sentences, however, their translation are single sentence. This type of translation not only follows the idiomatic expression of Chinese language but also give the audience a more clear understanding within the limited space and time.
3.3 Summary
In short, the subtitles of the movie “Kung Fu Panda” give a good translation of its title, characters’names and the subtitles. Some translational strategies are applied in subtitle translation, such as text reduction, domesticational reduction, addition and explanatory translation and combination of short utterances, taking the consideration of the features, functions and limitation of film subtitle, and the expectation from the movie director and target audience. By using these proper translational strategies, translators give a well-translated subtitle within the limitation of time and space, obtaining the film subtitle translation with skopos theory, and following the fidelity and coherence rules. Thus the good subtitle translation provides a proper understanding and enjoyment to the target audience and contributes the movie to gain success in China.
Conclusion
As the thesis has explained the main elements of skopos theory and analyzed the restrictions in film subtitle translation, the author tries to build some relationships between the skopos theory and the film subtitle translation. Aimed at deeply exploring these relationships, the author has taken Kung Fu Panda as a case study to find out the practical application of skopos theory in subtitle translation. As everyone has known, subtitle translation is a purpose-oriented activity. The skopos theory in film subtitle
英语影视翻译
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从翻译目的论看红色旅游景介的英译策略
从翻译目的论看红色旅游景介的英译策略 作者：肖群 作者单位：华东交通大学,外语学院,江西南昌330013 刊名： 重庆科技学院学报(社会科学版) 英文刊名：JOURNAL OF CHONGQING UNIVERSITY OF SCIENCE AND TECHNOLOGY (SOCIAL SCIENCES EDITION) 年，卷(期)：2009，(5) 引用次数：0次 参考文献(5条) 1.Neubert A,Shreve GM.Translation as Text[M].Kent& London:the Kent State University Press,199 2. 2.Newmark P.Approaches to Translation[M].Shanghai:Shanghai Foreign language Education Press,2001. 3.Nord Christiane.Translation as a Purposeful Activity:Functionalist Approaches Explained[M].Shanghai:Shanghai Foreign Language Education Press,2001. 4.范勇.目的论观照下的翻译失误:一些大学网站英文版例析[J].解放军外国语学院学报,2005(1). 5.陆国飞旅游景点汉语介绍英译的功能观[J].外语教学,2006(9). 相似文献(0条) 本文链接：https://www.wendangku.net/doc/9716716410.html,/Periodical_cqgygdzkxxxb200905077.aspx 下载时间：2010年1月22日
[英语,字幕,电影]浅谈英语电影字幕翻译
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英语电影字幕翻译策略研究
英语电影字幕翻译策略 研究 集团标准化工作小组 #Q8QGGQT-GX8G08Q8-GNQGJ8-MHHGN#
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基础，启发大家在越来越重视美感的时代用一种行之有效的方式追求译文美感。严复的“信、达、雅”翻译标准之所以多年来没有被翻译界抛弃，是因为这简明扼要的三个字把翻译的精髓总结得淋漓尽致，尽管时代赋予了翻译新的意义，但是对严复翻译标准的运用仍然是必不可少的。尤其是在电影字幕翻译中的运用，由于受到电影故事背景、情节、文化内涵以及观影环境等因素的影响，翻译标准必须被赋予全新的内容和要求。 三、“意境说”在字幕翻译中的运用 翻译在中国有着悠久的历史，着名的翻译大家严复、鲁迅、瞿秋白等前辈将翻译提升到了文学艺术的高度。而中国文学艺术着意追求超越客观形象的神韵意味，将自然形象当做表现内在神情气韵的媒介，因而形象刻画并不是中国文学艺术所追求的终极目标（第29页，《中西比较诗学》）。在这样的背景下，“意境说”在英语电影字幕翻译中就会有很大的运用空间，就可以从形式文采美的角度对字幕译文进行深度润饰，使观众通过颇具美感的字幕译文领略电影本身的魅力，进入精彩纷呈的电影世界。 1.偏重于主观的主客观统一。任何文学艺术都是主观与客观的统一，而我们所谓意境，就是意与境浑，主观与客观的统一，（第31页，《中西比较诗学》）而非仅仅局限于主观论断。在英语电影字幕翻译中，要注意主观的意
从文化视角看电影字幕翻译
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国的对外文化传播服务。 一、翻译目的论概述 翻译目的论认为“翻译是人类的一种行为活动，而且是有目的的行为活动，而‘制约翻译过程的首要法则便是翻译行为的目的’”[1]。翻译行为的发起者确定翻译目的，规定翻译要求（translation brief）。“翻译要求涉及到多方面，包括规定译本文本的功能（信息功能、表达功能或呼唤功能）、报告译文的预定目的、接受者、接受文本的时间、地点和场合[2]；文本分类并不是说每个文本属于某一类型，事实上，大多数文本会同时兼有以上三种功能，差别在于侧重的功能不同。翻译目的论宣称翻译的标准应当是充分（adequacy），而不是等值（equivalence），充分是指译文要符合翻译要求。译者根据翻译要求采取相应的翻译策略”。这就为译者“增加了可供选择的翻译策略”[3]。与传统“等值观”相比，目的论注重的不是译文与源文是否对等，而是强调译文应从其预期功能出发，根据各语境因素，选择最佳处理方法，因而具有较高的科学性和可操作性[4]。 在目的论框架下，本文将博物馆解说词汉英翻译的具体要求整合成以下三个方面：译文的预期功能、目的和受众情况。博物馆解说词一般包括该馆的概况介绍、最新资讯信息、展品与史料介绍等。从译文文本功能来看，博物馆解说词英译文兼具信息和操作功能，旨在为国外参观者提供准确而详尽的博物馆信息，以促进文化交流与合作。译文接受者是以“对中国事物知之甚少的一般外国受众”[5]为主。由此，笔者认为以下两点可视为博物馆解说词汉英翻译的原则：1.以服务外国游客为导向，译文能准确地传达博物馆相关信息，并且做到通俗易懂；2.以顺利实施跨文化交流为主旨，即译文能有效帮助外国游客观赏博物馆所
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电影字幕文化词语的翻译 一、文化词语与电影字幕翻译 文化词语就是指蕴含特定社会文化意义、含有特定文化信息的词语。文化词语与民族心理、风俗习惯和社会变革等密切相关，是词汇中最活跃的部分。因此，文化词语在语言中随处可见。 电影字幕翻译包括三个基本特点：瞬时性、通俗性和综合性。瞬时性是指电影字幕翻译中没有加注说明，因此要求字幕翻译简洁明了，在第一时间就可以得到观众的理解和接受。通俗性是指电影字幕翻译需要通俗易懂，尽量使用口语语言而非书面语言。综合性是指电影字幕翻译需要能够和影片中人物表情、肢体语言、动态画面等因素相协调。众所周知，影视翻译不仅是一种文字转换，更是一定区域历史和社会文化生活的反映。因此，任何一部电影中都包含了一些特殊文化信息的文化词语。这些文化词语会受到接受文化需求的制约，使观众难于理解和接受。如果电影字幕翻译力图在母语中尽可能地传递源语影片中的文化信息，保留原片的风格，就必然需要采用涉及文化翻译的两种翻译策略即归化和异化策略。 二、归化与异化 归化是指在翻译中最大限度地淡化原文的陌生感的翻译 策略。归化翻译要求译文既要克服语言障碍，又要克服文化障碍，尽量避免文化冲突，尽可能使源语文化所反映的世界接近目的语
文化读者的世界，从而达到源语文化与目的语文化之间的“文化对等”。 异化是指在翻译中一定程度上保留原文的异域性的翻译 策略。异化翻译提倡翻译的主要目的是文化交流，源语文化将会丰富目的语文化和目的语的语言表达方式。异化翻译的目的是帮助读者理解异国文化的特异之处。 三、电影《国王的演讲》中文化词语的翻译 电影《国王的演讲》讲述了英国国王乔治六世（伯蒂）由于身患口吃，致使他无法在公众面前演讲。伯蒂因为无法治愈口吃感到既痛苦又失望。在妻子伊丽莎白的介绍下，伯蒂结识了语言治疗师莱昂纳尔。莱昂纳尔凭借自己的经验和信心消除了伯蒂的疑虑，伯蒂开始配合治疗，取得了不错的效果，两个人也渐渐成为朋友。然而，对于自己是否顶替哥哥爱德华王子继承王位的问题，两个人意见发生了分歧，不欢而散。伯蒂的父亲去世之后，爱德华王子主动放弃了王位，伯蒂成为国王乔治六世。伯蒂这时明白了莱昂纳尔的良苦用心，两人在伊丽莎白的撮合下又重归于好。在莱昂纳尔的协助下，伯蒂终于战胜了自己，发表了历史上著名的圣诞节演讲。该片是一部反映二战前后英国皇室生活的影片，无论从画面和语言上都赋予了浓厚的英伦风格，影片中包含了一些能够反映英伦国家生活的文化词语，下面我们就来探讨两种翻译策略在处理文化词语方面的应用。 （一）电影《国王的演讲》中文化词语的归化翻译
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从翻译目的论看博物馆解说词汉英翻译
摘要：本研究运用翻译目的论，分析博物馆解说词译文的预期功能、目的和受众情况。选取宁波博物馆解说词英译文为研究对象，批判性地分析了其在文化和语言层面出现的翻译问题并提出改进策略，总结了一系列适用于博物馆解说词汉英翻译的方法，如：增添、重组等，剖析了博物馆解说词英译翻译问题产生的根源及应对策略，旨在提高博物馆解说词英译文的质量，更好地为中国的对外文化传播服务。 关键词：博物馆解说词目的论翻译问题对策 由于全球化进程步伐的加快，各国间跨文化交流日趋频繁，旅游作为跨文化交际的一种重要形式，在国际经济文化交流过程中发挥着积极的作用。随着中国对外开放的不断深入以及对外交流的不断增加，越来越多的外国人能够游历中国，并通过多种途径了解中国丰富多彩、博大精深的历史文化。其中，参观博物馆是一种行之有效的途径。博物馆解说词的翻译是向外国游客介绍和传播中国历史文化的重要手段。目前，对旅游资料汉英翻译的研究大多集中于旅游景点介绍和景点公示语的汉英翻译问题的探讨，很少触及博物馆解说词的英译问题，缺乏相应的理论指导。 本文尝试运用翻译目的论，以实地拍摄的图片资料为佐证，选取宁波博物馆解说词的英译文为研究对象，分析其存在的问题并归类，同时提出解决方案和总结相关的翻译策略与方法，从而提高博物馆解说词英译文的质量，更好地为中国的对外文化传播服务。 一、翻译目的论概述 翻译目的论认为“翻译是人类的一种行为活动，而且是有目的的行为活动，而‘制约翻译过程的首要法则便是翻译行为的目的’”[1]。翻译行为的发起者确定翻译目的，规定翻译要求（translation brief）。“翻译要求涉及到多方面，包括规定译本文本的功能（信息功能、表达功能或呼唤功能）、报告译文的预定目的、接受者、接受文本的时间、地点和场合[2];文本分类并不是说每个文本属于某一类型，事实上，大多数文本会同时兼有以上三种功能，差别在于侧重的功能不同。翻译目的论宣称翻译的标准应当是充分（adequacy），而不是等值（equivalence），充分是指译文要符合翻译要求。译者根据翻译要求采取相应的翻译策略”。这就为译者“增加了可供选择的翻译策略”[3]。与传统“等值观”相比，目的论注重的不是译文与源文是否对等，而是强调译文应从其预期功能出发，根据各语境因素，选择最佳处理方法，因而具有较高的科学性和可操作性[4]。 在目的论框架下，本文将博物馆解说词汉英翻译的具体要求整合成以下三个方面：译文的预期功能、目的和受众情况。博物馆解说词一般包括该馆的概况介绍、最新资讯信息、展品与史料介绍等。从译文文本功能来看，博物馆解说词英译文兼具信息和操作功能，旨在为国外参观者提供准确而详尽的博物馆信息，以促进文化交流与合作。译文接受者是以“对中国事物知之甚少的一般外国受众”[5]为主。由此，笔者认为以下两点可视为博物馆解说词汉英翻译的原则：1.以服务外国游客为导向，译文能准确地传达博物馆相关信息，并且做到通俗易懂;2.以顺利实施跨文化交流为主旨，即译文能有效帮助外国游客观赏博物馆所陈列的展品以及发布的各种信息，同时激发其了解中国文化的兴趣。 下文将根据诺德（nord）自上而下翻译问题的分类模式，以实地拍摄的图片资料为佐证，选取宁波博物馆解说词的英译文为研究对象，着重剖析其文化和语言两大层面的翻译问题，依照笔者所提出的博物馆解说词汉英翻译原则，提出改进建议，同时剖析宁波博物馆解说词汉英翻译问题产生的根源及应对策略。 二、宁波博物馆解说词汉英翻译中存在的问题 （一）文化层面翻译问题 博物馆解说词里常常会出现人名、地名等专有名词，承载着深厚的历史底蕴。若只是简单机械地采用音译的方式，则势必无法让外国游客了解这些专有名词所包含的文化内涵。试
rr从翻译目的论看企业外宣资料汉英翻译原则
第19卷第4期合肥工业大学学报(社会科学版)Vol.19No.4 2005年8月J OURNAL OF HEFEI UNIVERSIT Y OF TECHNOLOGY(S ocial Sciences)Aug.2005 从翻译目的论看企业外宣资料汉英翻译原则 陶全胜 (安徽理工大学外语系,安徽淮南 232001) 摘 要:文章运用翻译目的论的有关原理,并通过译例分析,提出企业外宣资料汉英翻译应遵循“传译主要信息、语用等效、概念术语的译名统一”的原则。贯彻这三条原则有助于达到译界所公认的“以传达信息为目的,同时考虑信息的传递效果”的应用文体翻译标准。 关键词:企业外宣资料;主要信息;语用等效;概念术语的译名统一 中图分类号:H315.9 文献标识码:A 文章编号:1008-3634(2005)04-0124-06 Exploring principles o f translating econom ic literature of enterprises from Chinese to English based on Skopo stheory T AO Quan-sheng (Departm ent of Foreign Languages,Anhui University of Science an d T echnology,Huainan232001,China) Abstract:Based o n Skopo stheo ry and w ith ex amples analy sis,the author puts forw ard the v iew that major pr inciples o f tr anslating economies literature should be convey ing the main information, achiev ing pr agmatic equivalence,and reaching co nsistency o f translating concepts and ter ms.By adhering to the thr ee principles,the version of translation can m eet the well-accepted practical translatio n standard w hich stresses conveying information and considering the effect of translating. Key words:eco no mic literature of enterprises;m ain info rmation;pragm atic equivalence;consistency of translating concepts and terms 一、引 言 随着世界经济全球化的进程不断加快,中国与世界各国的经济交往越来越密切。企业作为经济活动中最主要的主体,要走向世界市场,融合于世界经济,不仅需要优质的产品和服务,而且还应有过硬的宣传推销措施,以便树立良好的企业形象,在激烈的国际竞争中求得自身的生存空间。企业外宣资料的翻译是企业向国外拓展市场的前提,良好的对外宣传资料有助于企业产品顺利地进入国际市场。但目前一些企业外宣资料的汉英翻译,过分拘泥于“忠实”与“等值”,在译文中出现了中式英语的倾向,不利于企业对外交流。还有一些企业对外宣传工作没有体现“内外有别”,把对国内使用的资料直接翻译出来对外使用,影响了企业的对外宣传效果。许建忠教授提出的“得作者之志,为读者所接受”的实用文体的翻译收稿日期:2004-05-12;修回日期:2004-09-27 作者简介:陶全胜(1964-),男,安徽枞阳人,安徽理工大学外语系讲师,硕士.
电影字幕翻译的经验和技巧
英语知识 我们大多数中国人学英语的方法和途径就是翻译，使用英语的方法也是翻译。因此，我们要更多地从翻译学英语，学英语的过程中也要更多地做英语翻译，不论学员自身水平是处于初级，还是处于中级或高级。都要勤加练习才是。翻译贵在理解。只有理解了原文，才能使译文忠实于原文，才能使译文通顺易懂。而理解原文的钥匙便是原文的语境、功能、关联这三大要素：这恰好也是三条根本的语用原则。天译时代翻译公司准备了下面几个译例以及总结的短评。 1. You're a pal！（选自电影Presumed Innocent）你真够朋友/你真够哥们！短评：我看到电影字幕翻译是“你是一个朋友”，这句译文是判断或阐述，而原文是抒情（属于“表达类”言语行为）。可见，好译文要翻译出原文的交际功能。 2. I am ready to pop.（选自电影Liar Liar）我要爆炸了/我的肚子要裂开了。短评：这是对“还要吃点吗？”的应答，因此是礼貌拒绝的功能。那么，翻译成“吃不下了”、“再吃就要爆炸了”也算合格。根本不能像字幕那样翻译：“我准备引爆。” 3. I am in the book business.（选自电影You've Got Mail）我是做图书生意的/我是书商。短评：电影字幕翻译是“我在书生意里”，一是汉语不地道，观众不知所云；二是没有翻译出原文的功能：原文是介绍自己的职业，相当于“我是医生/教师”。 4. I owe you my life.（选自电影The Count of Monte Critsto）我欠你一条命/我这条命是你捡回来的。短评：电影字幕翻译是“我这条命是你给的”，岂有此理！命乃父母所赐。原文的功能是致谢。因此，若译为“我欠你一大笔人情”或“以后用得着我尽管说”也比“给”字句好些。 5. She never called me at home.（选自电影Presumed Innocent）她从不在家给我打电话/她不在家里跟我打电话。短评：电影字幕说是“她不跟我家打电话”。虽然英语语法有一定的模糊性，但是根据剧情应该是“她在家……”。语言交际的推理要
从目的论看电影字幕翻译
摘要：电影字幕翻译是电影的一部分，利用文字去展现和诠释影片对白不为人理解的内容，因此，电影字幕翻译跟一套电影的影片种类、故事情节、地域背景、语言运用息息相关。电影字幕对于译入语观众理解影片内容起着至关重要的作用，本文从目的论角度来分析《肖生克的救赎》及《疯狂动物城》这两部电影的字幕翻译方法。 关键词：电影字幕；翻译方法；目的论 一、引言 外语片字幕译文主要功能是传达影片人物对白的内容。外语片对白是影片的灵魂，是剧本作者潜心构思、独具匠心之作，是符合表演特点的艺术结晶：它对故事情节的发展、人物形象的塑造起着重要的作用。同时，字幕翻译的最终目的是要目的语的观众能够接受并能感受到此电影的魅力。因此，字幕翻译不仅是两种语言的文化传输与移植的过程，更是一种以目的语观众为接受者的有目的翻译。 本文选取了《肖生克的救赎》和《疯狂动物城》这两部电影的字幕来作分析。在这里我想简单谈一下我选择这两部电影的原因：《肖生克的救赎》是我最喜欢的影片，也是看过次数最多的电影，没有之一：该影片内容发人深省，演员演技精湛，整部电影的场景也很精致，堪称佳作。自发行以来，《肖生克的救赎》在互联网电影数据库的史上最佳250部电影影迷评选中，一直以来都位居前三位，也是至今最多影迷参与评分的电影。在1994年的奥斯卡奖，该片获得七项提名，被称为电影史上最完美影片、好莱坞最有气势的十大巨片之一。而《疯狂动物城》则是当下最炙手可热的电影了，该影片刻画了一个美轮美奂的全新世界，在表面的美丽之下却能找到人内心所充满的偏见和自己的心思。用绝伦的艺术形式刻画以及反讽了当今的世界形态，结尾则是充满着正能量，绝对是用心制作的良心之作。 但是，不可否认的是，这两部电影之所以有如此大的国际影响，其外文字幕的一份功劳不可忽略。本文是从对照剧中人物的英文对白，仔细体味汉语字幕中发现，从整体上来说这两部影片的英译字幕是十分贴切的，可以归纳为简洁明了、流畅通达、符合目的语的表达习惯。 二、目的论翻译理论简介 以赖斯、弗米尔、曼塔莉和诺德为主要代表的功能主义目的论（functionalistskopostheory）是当今世界颇有影响力的翻译理论学派之一。“skopos”是希腊语，其意思为目的、意图、目标和功能。在功能主义目的论出现以前，主流的翻译学派都把重点放在原文本上。然而，目的论却颠覆了这一传统，它将译者应该关注的重心移到了译文上。目的论学者认为，在翻译进行之前，就应该决定翻译的目的或要达到的目标。翻译原则及策略的选择必须与翻译的目的、功能或是在译文中要表达的功能相融合。将功能目的论应用于字幕翻译，我们可以看出，电影字幕翻译的目的就在于帮助目的语观众更好地了解荧幕上发生的一切，以使观众与电影之间有更流畅的沟通，充分体验到电影的美和魅力。为了达到这个目的，译者的任务就是采用适当的翻译原则和策略，在时间和空间受到一定限制的前提下，为观众提供清楚、准确的字幕。如果译文达不到原文的效果，或者不能让译入语或说目的语观众像原语观众一样体验一部优秀电影的杰出之处，这种翻译行为毫无疑问就是一种失败。 接下来，我将《肖生克的救赎》与《疯狂动物城》中的英文台词与中文字幕翻译进行了对比，以翻译目的论的目的性原则为主要标准，分析其字幕翻译是否以及如何在译入语文化中实现其目的。 三、字幕汉译 根据翻译目的论，翻译过程中由于不同的目的，会产生不同的译文。比如，有译者可能为了赚钱过生活为目的而进行的翻译；也有为了目的语读者或观众以沟通交流为目的进行的
英文电影字幕翻译赏析1
英语电影字幕翻译鉴赏（一） ——————电影片名翻译鉴赏 课程目的： 电影片名的确定、选择并非无目的、 无原则，它是片商和观众之间相互沟通的 第一个直接的窗口。瘪脚的译名通常是见 词猜义或死译硬译的结果，常与影片内容 风马牛不相及。让学生欣赏鉴别各类电影 片名的译本。通过全面了解片名的来源及 其命名特点，引导学生翻译相关影片的片 名。 课程内容： 1.引导学生概括电影片名的特征 片名言简意赅，但信息量大，总摄全片内容。它们多以名词、短语、简单句出现，其中以短语居多。 2.列举一些令人印象深刻或夺人眼球的成功片名 Ghost（人鬼情未了）；American Beauty（美国丽人）；Windspeaks (风语者) 3.电影片名不同译本的鉴赏比对 Sound of Music“仙乐飘飘何处闻” VS “音乐之声” Ghost “第六感生死恋” VS “幽灵” VS “人鬼情未了 The Lives of Others “别人的生活” VS “窃听风暴” Pretty Woman “漂亮女人” VS “风月俏佳人” VS “麻雀变凤凰” Catch Me if You Can “逍遥法外” VS “猫鼠游戏” 4.电影片名翻译的要求（原则） 1）经济效益原则 就片商制片的目的看，他们不仅是借助电影这一艺术形式达到丰富人们文化生活，促进人际间的交流，还要赚取利润，也就是它必须产生社会经济效益。影片的经济效益常在于片名对观众的吸引程度，片名的好坏直接关系到票房收入的高低。 ●如Sound of Music 在台湾曾被译为“仙乐飘飘何处闻”就令观众颇为不解。后该片被 译为“音乐之声”，已被广泛接受。一些奥斯卡经典影片如Waterloo Bridge译为“魂断蓝桥”也已成为经典之作。 2）信息原则 作为片名，虽然客观上要求简练、整洁，但一个字、一个词都包含有丰富的信息内容，使人一看便可猜出它属于哪类电影。 ●the Third Man 曾被译为“第三者”，给人的第一印象是爱情旋涡里的三角恋，而本片 的第三者其实是指目睹一场凶杀的第三个目击者。原译名与实际内容相差极大。 3）体现文化特色的原则 影片是生活中或实或虚的反映，体现电影内容的片名自然而然也包含了很多文化因素，给翻译造成困难。体现文化内涵的方式多种多样。 ●如First Blood，是个习语，意为“首战告捷”，但一直被译为“第一滴血”。 4）艺术审美价值
从翻译目的论看口译标准的突破
2013年1月第32卷第1期黑龙江教育学院学报 Journal of Heilongjiang College of Education Jan．2013Vol．32No．1 doi ：10．3969/j．issn．1001－7836．2013．01．051 收稿日期：2012－06－16 作者简介：申奥（1984－），女，河南漯河人，教师，从事翻译理论与实践研究。 从翻译目的论看口译标准的突破 申 奥 （许昌市职业技术学院，河南许昌461000） 摘要：简要介绍翻译目的论的渊源、形成、基本原则及目的论指导下评价译文的标准是符合翻译目的的合适 性标准， 重点阐述此标准是针对翻译动态过程的标准，在此基础上阐明口译的动态交际本质，并梳理了著名的口译标准。同时，尝试从翻译目的论的角度，列举口译标准突破的四个方面，即得体的服装语言、恰当的语调、平稳的语速、准确的语句。 关键词：目的论；原则；口译标准；合适性中图分类号：H059 文献标志码：A 文章编号：1001－7836（2013）01－0135－03 引言 从西方的翻译研究历史来看，古罗马的西塞罗提出了“直译”、“意译”之说；巴特主张“作者是主人”；泰特勒的“翻译三原则”，奈达著名的“功能对等”理论，在促进翻译理论的发展方面，都起到了举足轻重的作用。这些理论的共同点是将翻译的核心关注在语言本身，认为翻译的目的是建立原文与译语文本的对等。在这种翻译观的指导下，译者在翻译时就像带着镣铐跳舞，原文是翻译的镣铐，译者必须在原文束缚的枷锁中，追求翻译最大化的精准。翻译之难，堪比上青天。但仅从语言层面入手，将翻译看成是一种语言间的等值“换码”，无法揭示翻译的本质问题。 当代西方翻译理论界针对以上现状，从不同的方向重新定位翻译的实质。多元系统论强调翻译中的文化因素；解构主义学派极力否定传统的原文译文二分法；而目的论提出翻译必须要达到目的，而对于忠实度可有所取舍，这种观念为我们提供了一个崭新的角度去认识翻译的真正面貌 ［1］ 。 1目的论的形成 20世纪70年代末80年代初，德国翻译理论家赖斯提出了翻译目的论，她以“对等”为基础进行翻译研究，同时认识到有些等值是不可能实现的，译者在翻译时“有时甚至不希望建立对等，因为有些译本要实现不同于源语文本的某一目的或某种功能”［2］ 。因此， 她认为译者应该优先考虑译文的功能特征而非对等，形成了目的论的起源；其后，弗美尔以行动理论为基础，以文本目的为翻译的首要准则，创立了功能派的翻译目的论；随后，曼塔利和诺德进一步发展了目的论。 曼塔利把翻译定义为 “为取得某一特定目的而进行的复杂活动，是一种目的性行为”［3］ ，诺德提出了“忠诚原则” 。这几位学者的研究成果最终奠定了以目的论为核心的功能派翻译理论在德国乃至全世界翻译界的地位。 2翻译目的论的基本原则 翻译目的论的基本原则包括目的原则、连贯原则和忠实原则。其首要规则是目的规则，目的一词确指交际目的，翻译活动的目的由翻译发起者，决定着整个翻译过程。翻译目的分为译者的基本目的、译文文本的交际目的以及特定翻译策略或手段要达到的目的。其次是连贯规则和忠实规则。连贯规则指译文能与译语接受者的交际情境达成语际连贯，具有可读性和可接受性；忠实规则指译文和原文能够实现语际间连贯，译文忠实于原文，而翻译的目的决定着与原文忠实的程度和形式。在三者的关系上，忠实规则服从于连贯原则，而这二者服从于目的原则 ［4］ 。 3目的论的翻译标准 目的论认为，翻译不是单纯的语码转换活动，而是一种有目的的跨语言、 跨文化行为。曼塔利将翻译行为定义为“为实现信息的跨文化、跨语言转换而设计的复杂的行为”。目的论重视对翻译行为过程本身的研究，提出了翻译过程的标准，即合适性标准。合适性是指译文是否符合翻译要求所规定的各项要求， 也就是说译文文本要完成其在译语情境和文化中的交际功能。合适性是一种与翻译行为相关的动态的、共识论的概念，是在翻译过程中，以目标为基础，选择适合实现翻译目的的符号，表现为对翻译要求的实现效果，即 — 531—
英文电影字幕翻译策略
英文电影字幕翻译策略 【摘要】本文简要地探讨了字幕的功能和特点，以及影字幕翻译的策略，从而更巧妙的把英文翻译成中文，帮助我国电影电影爱好者更好的欣赏英文电影。 【关键词】字幕翻译;归化;异化 由于跨文化交流的日益广泛和深入，越来越多的国产影视作品冲出国门，外国的译制片也蜂拥而入，令人目不暇接。动画片、文化片、惊险片、恐怖片等题材广泛，作品的产量逐年增加，涉及的人群更是男女老幼，皆可欣赏。影视翻译是一个新兴的翻译领域，尤其是字幕的翻译，更是不同于其他形式。电影字幕作为一种特殊的文本，其翻译的重要性随着国际交流日趋频繁而渐显突出。 1.字幕的功能及文字特点 字幕的功能显而易见：提供信息。但是字幕的信息功能有两个独特之处：一、字幕所提供的语言信息是和视觉信息、听觉信息密切配合的；二、字幕的语言信息呈递进式推进。第一个特点使我们认识到，字幕译者手上的工具不仅仅是语言符号，画面和声音照样可以成为他手上的工具，问题是怎样使他翻译出的文字和固有的视听信息所结合，共同实现信息功能。第二个特点就是相对于配音和同声传译等翻译方式而言的。 字幕是闪现在屏幕上的文字，不想书本上的字可供读者前后参照。这种实现信息功能的特定方式，对字幕翻译形成了另一个制约。译者必须保证这种递进式的信息的衔接和连贯，保证观众能以最少的努力获取最清晰的信息。 2.英文电影字幕翻译策略 2.1缩减法 由于字幕翻译是一种受限制的翻译，即其源语和目的语都受到空间和时间的制约，因此与文学翻译相比，在翻译策略的选择上自有其显著的特点。它在语言的逻辑性，艺术性，感染力等方面都有更高的要求：较之单纯的文学翻译，又有更高的通俗性和广泛性。因此影视翻译中的真正难点并不在于词汇或是文章的严谨缜密，而往往在于最普通最地道的语言。针对这一特点我们可以采用缩减法。 影视媒体本身的特点是将字幕译者的操作置于种种制约之下。Mayoral，Kelly和Gallardo将字幕翻译的制约因素分为六类：时间，空间，音乐，图像，语音和口语。具体到字幕翻译主要涉及两个制约因素：时间和空间。时间指语言和图像的同步配合，字幕在这方面虽然不像配音那么严格，但是也必须在和源语话语大致相同的时间内完成信息传递。另外，每行字幕必须在屏幕上停留足够观众扫视的时间，一般以2至3秒为宜。空间指屏幕上可容纳的语言符号数目，字幕有时用两行，有时用一行，在字数方面不同国家也有所差别。《中国天津》中