目的论视角下的电影字幕翻译——电影《海上钢琴师》的个案研究（可编辑） .doc

华中科技大学硕士学位论文目的论视角下的电影字幕翻译-电影海上钢琴师的个案研究姓名：雷婉艺申请学位级别：硕士专业：外国语言学及应用语言学指导教师：阙紫江2010-05-30华 中 科 技 大 学 硕 士 学 位 论 文 III 摘 要 电影自问世以来已经起就成为了人类文化的重要载体和主要的文化交流方式。近几十年来，随着中国经济发展的加速和开放程度的加深，中国与其它国家间的文化交流越来越频繁，而电影的交流则占了其中很大一部分。每年都有大量的国外影片进入中国市场，同时中国本土电影也越来越受到国际电影界的关注以及国外观众的喜爱。因此电影字幕翻译在这种文化交流中担负起十分重要的角色。本文拟从目的论的角度对电影字幕翻译进行研究。 “目的论”认为，翻译是一种有目的的活动。决定翻译过程的最主要因素是整体翻译行为的目的。译文的预期目的与译文的接受者决定了翻译策略的选择。本文将朱塞佩?托纳托雷第一部英语电影海上钢琴师作为个案研究对象，以目的论为理论基础探讨电影字幕翻译的相关因素及策略，详细阐述了译者以译本功能及目的作为根本原则来指导其翻译策略选择的过程。 本文首先概述了目的论和字幕翻译的主要内容，列出并分析了在此理论指导下翻译该电影要注意的系列因素，然后将该电影字幕的英文与中文一一进行对比，找出较好的翻译实例，并分析了译者为达到相关翻译目的所采取的翻译技巧，同时对部分不尽如人意的翻译实例也进行了分析以供改进。最后，本文认为译者对翻译策略的选择较为合理，译文的预期目的得到一定实现。本文从电影字幕翻译角度为目的论的适用提供了实证依据，同时对电影字幕翻译实践有一定的指导意义。 关键词：字幕翻译 目的论 翻译策略 华 中 科 技 大 学 硕 士 学 位 论 文 I Abstract Since the time when films were invented, they have won the advantages over other media as the most important carrier of culture and played a leading role in the cross-culture communication. With the rapid development of Chinese economy and the deepening of Chinas opening-up, Chinas communication with other countries is becoming more frequently, among which film exchanges occupy a large proportion. More and more Chinese movies are launched in foreign countries; meanwhile, an abundant of foreign movies flood into China, and attract more attentions. Therefore, film translation plays a very important role in the process of films export and import and thus in cultural communications. This thesis conducts a study on film subtitle translation from the perspective of Skopostheorie. According to Skopostheorie, translation is a purposeful activity. The chief factor that decides the whole translation is the translation purpose. The intended purpose of target text and the target-text addressees determine which strategy to choose. From the perspective of Skopostheorie, the thesis intends to analyze, with Giuseppe Tornatores first English movie?The Legend of 1900 as a case study, how to deal with the English to Chinese subtitle translation guided by the purpose of target text and what are the factors affecting the choice of strategies in film subtitle translation, especially how to fulfill the directors intention and meet the audiences expectations. The thesis firstly summarizes the major concepts of skopostheorie, subtitle translation and its related previous studies, and then lists out and analyzes the factors to be considered in the process of the subtitle translation within the framework of skopostheorie. Thirdly, a detailed comparison between the English and Chinese Subtitle of this film is made, the preferable translation examples are picked out, and also the adopted translation strategies and the relevant purposes they have fulfilled are analyzed. Meanwhile, some undesirable translation examples are also listed out to show room for improvement. Lastly, a 华 中 科 技 大 学 硕 士 学 位 论 文 II conclusion is arrived that translators have done quite a good job in the subtitle translation of this film, and the intended purpose of target text is achieved. The thesis has not only provided an empirical study for the application of Skopostheorie in the field of film subtitle translation, but also given a conductive guidance for the practical film subtitle translation. Keywords: subtitle translation skopostheorie translation techniques 独创性声明 本人声明所呈交的学位论文是我个人在导师指导下进行的研究工作及取得的研究成果。尽我所知，除文中已经标明引用的内容外，本论文不包含任何其他个人或集体已经发表或撰写过的研究成果。对本文的研究做出贡献的个人和集体，均已在文中以明确方式标明。本人完全意识到，本声明的法律结果由本人承担。 学位论文作者签名： 日期： 年 月 日 学位论文版权使用授权书 本学位论文作者完全了解学校有关保留、使用学位论文的规定，即：学校有权保留并向国家有关部门或机构送交论文的复印件和电子版，允许论文被查阅和借阅。本人授权华中科技大学可以将本学位论文的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或扫描等复制手段保存和汇编本学位论文。 保密，在_ _年解密后适用本授权书。 不保密。 （请在以上方框内打“”） 学位论文作者签名： 指导教师签名： 日期： 年 月 日 日期： 年 月 日 本论文属于 华 中 科 技 大 学 硕 士 学 位 论 文 1Introduction Ever since the ancient time, translation has always played an important role in social activities. It appears in every corner of our daily life, such as translation of books, songs, TV programs, films and so on. Without translation, people will feel quite helpless in cross-culture communications. Due to its importance, different schools of translation theories have gradually come into being. Throughout the translation history, equivalence has been regarded as the dominant standard for a long time. However, with the deepening and diversity of the translation fields, this rule gradually shows its limitation. Therefore, new theories are needed. In 1970s, a quite revolutionary and practical theory emerged and caught wide attentions. This is the functionalist translation theory. Among functionalism, Vermeers Skopostheorie holds the major position Nord, 2001. Skopostheorie regards translation as a purposeful activity, and the major factor that decides the translation activity is the purpose of this translation, while the aim of the translation action is determined by the target text addressees. According to this theory, source text loses its dominance in the translation. They claim target-audience oriented translation. Functionalism makes a shift from equivalence approach to multi-perspective understanding of translation practice. Functional approach to translation, especially Vermeer's Skopostheorie, provides a theoretical base for some successful translations, which cannot be explained by traditional translation standards. Film, with its unique charms and characteristics, has become one of the most important forms of mass media entertainments and the popular arts. Different from other works of art, film is an art with dynamic pictures. It is more vivid and concrete than literature works. Film is closely related to peoples life: birth and death, friendship and marriage, health and wealth, rearing children and other social problems which are not only reflecting the reality of the society, but also satisfying the audiences demands by experiencing life of other people. Just as Ou Jingyu Ou, 2007 points out: “A film 华 中 科 技 大 学 硕 士 学 位 论 文 2can look to the remote past, or probe the distant future; it can make a few seconds seem like an hour, or compress a century into minutes. An excellent film is not only thought-provoking but also can refresh the audience with new angles to view the world. It can give the feelings of the beauty, the violence, the brutality and the repulsion to the audience.” When people are unhappy, a comedy can provide them with laughter. When people feel depressed, an action film can help them disperse oppression, and refresh their head. Film has been exerting its peculiar fascination and magic power over the audiences from the teenagers to adults for generations ever since it came into being. Film possesses a magic artistic charm and attracts people of different ages from all walks of life. With the improvement of Chinas economical system, Chinese people are living a more comfortable life. They want to search for more spiritual entertainments. More and more people take watching films as one of the important activities. At the same time, their needs to entertain themselves are no longer staying on watching domestic films. They also want to know the outside world. Many foreign films are becoming popular in China. Since the reform and opening-up, China has been undergoing a more frequent exchange in cultural, economic and political fields with foreign countries. Films and TV plays, those in English language in particular, have flooded into Chinese markets through various channels. Never before have we seen so many foreign films flooding the domestic market and never before have we seen so many Chinese films going aboard. Through films, “Language and culture are epitomized and transmitted” Dong shan, 2009. As a result, film translation has become increasingly important, for linguistic and cultural barriers will become an obstacle to appreciate a film. Without subtitle translations, Chinese people would not able to understand what is going on in foreign films. They will be totally at a loss. Generally speaking, there are two types of film translation. One is dubbing, that is, to totally change the language of the film, and use 华 中 科 技 大 学 硕 士 学 位 论 文 3the local people to reproduce them. It was once the principal form of film translation in China. The other form is subtitling, to translate the film by adding the target audiences languages up or below the screen with the original language of the film simultaneously. This form is unprecedented popular at present. Subtitle makes the film more authentic and original. And also is helpful for the foreign language learners to practice their listening skill and spoken skill. It is necessary to find out some effective principles to guide this activity so as to ensure the quality of the translation, for translation is the crucial element for deciding whether foreign film could completely convey its meaning and purpose to the target audience or not, whether the target audience could truly appreciate the movie or not, all of which directly affects the cultural communication. In a view of that, this thesis applies Skopostheorie as the theoretical foundation in the subtitle translation, and tries to analyze how to deal with the English-to-Chinese subtitle translation guided by the purpose of target text and what are the factors affecting the choice of strategies in film subtitle translation, especially how to fulfill the directors intention and meet the audiences expectations. It takes the film-The Legend of 1900 as an example to make a case study. The thesis consists of four parts. Part one is literature review, in which the author first describes the development of skopostheorie. Meanwhile, a detailed introduction of the concepts and rules of skopostheorie is given for readers to have a general impression of this theory. The term ? subtitle translation is also introduced, including its definition, characteristics, and classification. And then the author summarizes the previous studies of subtitle translations to locate the gap for the present research to fill. In part two, the subtitle translation of The Legend of 1900 is studied under Skopostheorie. Before a specific analysis is conducted, the adaptability of applying skopostheorie to the subtitle translation of The Legend of 1900 is explained; the plot, reception of this film and the directors intentions are also introduced. Then based on 华 中 科 技 大 学 硕 士 学 位 论 文 4these introductions, the translation brief of this movie is described, and also the requirements for the target text are inferred. After that, a detailed comparison between the English and Chinese subtitle version of this film is made, the preferable translation examples are picked out, and also the adopted translation strategies and the relevant purposes they have to fulfill are analyzed. Meanwhile, some undesirable translation examples are also listed out to show room for improvement. Lastly, a conclusion is arrived at that translators have done quite a good job in this film subtitle translation, and the intended purpose of target text is achieved. The author hopes that the thesis cannot only provide an empirical study for the application of Skopostheorie in the field of film subtitle translation, but also give a conductive guidance for the practical film subtitle translation. 华 中 科 技 大 学 硕 士 学 位 论 文 51. Literature Review After a general introduction of the research background, this section gives a detailed explanation of the Skopostheorie and subtitle translation, through which the development of the skopostheorie, its concepts and rules are elaborated; meanwhile, the definition, characteristics and classifications of the subtitle translation are also included. In the end, the previous studies on subtitle translation are summarized. 1.1 Skopostheorie 1.1.1 Historical overview on the development of Skopos theory Skopostheorie, which is the mainstream of functionalism, did not come into being in one day. It is the aggregation of many other translation theories. If Skopostheorie seems to be more scientific and systematic than other theories, this is just because before this theory came out, many other theories have made a stable foundation and excellent circumstance for its existence. Therefore, before making a specific description of skopostheorie, it is necessary to give a rough description of the development of translation theory. 1.1.1.1 Equivalence-oriented translation approach It is verified that “the first traces of translation date from 3000 BC, during the Egyptian Old Kingdom, in the area of the First Cataract, Elephantine, where inscriptions in two languages have been found. It became a significant factor in the West in 300 BC, when the Romans took over wholesale many elements of Greek culture, including the whole religious apparatus” Newmark, 1982/2001. During that time, most of the translators are famous poets and litterateurs, such as Italian poet Dante, Britains G. Chaucer, J. Wycliffe and so on. The translation activities mainly focus on Bible and literature works. Cicero is often considered as the founder of Western translation theory, the first person to make a comment on translation activity and give advice on how to do best in this activity. Cicero claims that “sense-for-sense” than 华 中 科 技 大 学 硕 士 学 位 论 文 6“word-for-word”, for “if I render word for word, the result will sound uncouth, and if compelled by necessity I alter anything in the order or wording, I shall seem to have departed from the function of a translator” Bassnett-McGuire, 1980. His words give a deep influence on the following translation practice and translation theory. Translation has undergone a long and pluralistic development. And since 1950th, western translation theory and linguistics are developing side by side. Translators are inclined to study translation from the perspective of linguistics. Nida, regarded as a pioneer of contemporary translation theory, began to study translation in a “sociolinguistic” approach. He made a distinction between formal equivalence and dynamic equivalence. By “formal equivalence”, Nida referred to a faithful reproduction of form elements in a source text, and by “dynamic equivalence”, equivalence of extra-linguistic effects of translation. Nida, 1969 His equivalence theory becomes very popular during these ages. Equivalence limits translation within the linguistic field, and neglects the fact that the essence of translation is not only linguistic transfer, but also a language-based cross-