从会话含义理论看电影对白的字幕翻译_以_大腕_为个案研究

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从关联理论看幽默语言电影字幕汉英翻译——以冯小刚电影为例

从关联理论看幽默语言电影字幕汉英翻译——以冯小刚电影为例引言幽默是一种文化对话与交流的重要形式，而电影作为一种流行媒介，也是幽默表达的重要场所。

在电影中，字幕翻译是将电影对话转化为另一种语言的重要环节。

本文通过关联理论探讨幽默语言电影字幕汉英翻译的问题，并以中国导演冯小刚的电影为例进行分析。

一、关联理论与幽默语言翻译关联理论是20世纪70年代提出的语言学理论，强调词语或句子的意义与其上下文之间的关联关系。

在幽默语言翻译中，关联理论起到了重要的作用。

幽默的产生和理解需要读者与作品之间达成共识，而关联理论可以帮助翻译者找到合适的语言表达来传达幽默的效果。

二、冯小刚电影中的幽默表达冯小刚是中国著名导演，其电影以幽默而又具有社会意义的故事情节著称。

他的电影在国内外都取得了巨大的成功，而其中的幽默表达也成为了观众津津乐道的话题。

以电影《非诚勿扰》中的台词为例：“我不小气，小气也要有个限度。

”这句话运用了反讽和夸张的手法，展现了片中角色的个性和态度。

在翻译中，如果直译为“ I am not stingy, but stingy also has its limit。

”虽然能传达出原汁原味的幽默效果，但却未能迎合英语语境，不易为英语观众接受。

因此，根据关联理论，我们可以借用类似“Don't be meanie, and even meanie has a limit.”的表达方式来传达相似的幽默效果。

三、字幕翻译中的策略根据冯小刚电影的幽默风格，我们可以总结出一些字幕翻译的策略。

首先，采用直译与意译相结合的方式。

有些幽默语言的表达方式在不同语言中无法直接对应，因此需要使用意译的方法。

比如在电影《一九四二》中，有一句经典台词“我只是舔了一下。

”直译为“I just had a lick.”会使观众感到迷惑不解，而将其意译为“I just gave it a try.”则更贴合英语语境，能够传达出原句的幽默效果。

从功能翻译理论看电影台词的翻译-2019年文档

从功能翻译理论看电影台词的翻译电影是国家文化软实力的重要组成部分，一个国家和一个城市的电影，已经超越了娱乐的意义，成为一种文化的载体，进而成为软实力的先锋，影响国际权力的版图。

然而，因为语种不同、文化历史背景不同，电影台词翻译就不可或缺。

电影台词翻译是一种跨文化、跨语言的交流活动，但它是种特殊的文学翻译，即要考虑文本意思的传达，又要体现角色的内心世界。

这就要求不能把电影台词翻译成文学作品。

台词翻译要传达影片的主题，阐述作品的时代背景，表现角色的个性。

1 功能翻译理论功能翻译理论兴起于20世纪70年代，1971年，赖斯在《翻译批评的可能性与限度》中建议根据译文的功能和读者的类别对翻译进行分类，在翻译时应考虑译文的特殊功能和读者，采用与功能类别相关的标准。

费米尔1978年在《普通翻译理论框架》提出翻译目的论( Skopos theory)。

认为翻译所要达到的目的决定了翻译的方法和策略，翻译行为要置于一定的文化背景之中，而非一对一的语言转换活动。

诺德在skopos rule的基础上提出了忠诚原则（royalty rule），强调目标语文本的意图必须与原作者的意图一致。

目的原则与忠诚原则是翻译目的论的两大基本原则。

目的论学者提出翻译过程必须遵照三大法则：目的原则：即译文由译文的交际目的决定；连贯性原则：即译文必须对目标语言交际环境和知识背景下的接受者是可理解的；忠诚原则：即译文要忠实于原文。

功能翻译理论不再进行直译与意译的争辩,而是从翻译的功能和目的出发,强调某一具体翻译目的要求相应的翻译策略、翻译方法，为达到某一翻译目的可以采取多种翻译方法。

2 电影台词翻译电影台词翻译不同于一般的文学翻译，在翻译过程中注意语用、文化、语言和文体，力争做到“信于内容，达如其分，切合风格”( 刘重德，1995)。

成功的电影台词翻译标准是既要符合目标观众文化特征，又不失源语言的独特风格，让目标译文观众能够获得同样的艺术感受。

从交际翻译理论看华语电影字幕翻译—以《英雄》为例

重庆大学硕士学位论文从交际翻译理论看华语电影字幕翻译—以《英雄》为例姓名：张黎黎申请学位级别：硕士专业：外国语言学及应用语言学指导教师：范定洪2010-05摘要随着电影事业的发展和扩张，影视作品，作为一种大众文化，在跨文化交流中扮演着重要的角色，而影视翻译是进行此交流过程的关键因素。

影视翻译作为一门新兴学科，亦成为翻译园地中愈来愈重要的领地，开始受到翻译界的关注。

首先，影视翻译是文学翻译的一个重要分支，作为一门新兴学科的标志，必须构建自身理论体系。

影视翻译研究理论系统的建立要依赖文学翻译理论，并结合其自身特点创建一套可供研究的理论体系。

其次，在影视翻译实践中，由于电影有其自身特点，电影翻译必须兼顾这些特点。

电影翻译基本分为三种类型：字幕翻译，配音和覆盖画外音。

本文仅讨论国内影片翻译的主要形式—字幕翻译。

在参研前人研究成果的基础上，本文运用纽马克的交际翻译理论作为指导讨论华语电影的字幕翻译策略。

纽马克认为成功的翻译取决于交际效果的传达，以目的语和目的语读者为中心，使目的语读者能够最大程度获得源语读者的感受。

电影字幕的翻译不仅要考虑到观众对源语语言结构差异和文化差异的接受问题，同时结合电影字幕自身特点（瞬时性，画音同步等）以达到源语电影与译语观众的有效交际；基于纽马克有效交际的论述，作者总结了指导电影字幕翻译的四原则，即易读原则，节减原则，等效原则，和概括原则；最后以国产电影《英雄》为例，分析以上四个原则如何体现在译者所采用的各种翻译策略中，以论证交际翻译运用于电影字幕翻译的可行性。

本文的最终目的在于通过把纽马克的交际翻译与电影字幕特点相结合，为影视翻译理论体系的构建有一定的意义；另一方面，通过总结电影字幕翻译的原则和《英雄》字幕各种翻译策略，指导国产电影的字幕翻译实践，促进中国电影事业在海外市场的蓬勃发展。

关键词：影视翻译，电影字幕翻译，交际翻译理论，电影字幕翻译原则，翻译策略ABSTRACTAs film industry increasingly booms and expands in overseas markets, film, as a form of mass cultural products, plays an important role in cross-culture exchanges and communications to which translation is the key element. As a newly flourished subject, the study of film translation becomes more and more significance and begins to attract more and more attention in translation studies.Scholars and experts have been struggling to build its own theoretical framework for film translation study to symbolize its independence as an important branch of translation studies; the establishment of theoretical framework for researching is based on literary translation theories combining its own characteristics; on the other hand, the film products posses unique characteristics that should be fully considered in the process of film translation practice.Generally, there are three types of film translation: subtitling, dubbing and voice-over. This thesis only discusses the issue of film subtitling-the dominant type of Chinese-English film translation. Based on previous researches, it applies Newmark’s communicative translation theory in Chinese-English film subtitling. Newmark claims that the successful translation is to covey communicative effect of source language; and it should be target language-oriented and target reader-oriented, making them receive the effect as close as that received on the readers of the original. There is one more aspect except for dealing linguistic and cultural differences should be considered, i.e. features of instantaneity and combination of oral speeches and images in film subtitles, to achieve such communicative effect. This thesis proposes four subtitling principles based on Newmark’s views, i.e. comprehensibility, economy, equivalent effect and generic principle. Hero is used as a case study for analyzing various subtitling strategies and discussing how these strategies reflect the proposed four subtitling principles, furthermore, in order to enforce the applicability of communicative translation theory.This thesis applies Newmark’s communicative translation theory in accordance with the characteristics of film subtitling, which is significant to establish theoretical framework in this area. And it summarizes four subtitling principles and various subtitling strategies in Hero in order to provide guidance to Chinese-English film subtitling practice and promote the development of Chinese film industry in overseas markets.Key Words: film translation; film subtitling; communicative translation theory; film subtitling principles; translation strategies.Chapter One IntroductionNowadays, communications among different countries are becoming much more frequent than ever, not only in scope of politics and economy communications but in culture communication. With the development of such frequent and all-around communications, their channels are increasingly varied. Film, as the most popular form of mass entertainment and culture-loader with a large numbers of audiences across the world plays a significant role in transmitting cultures and promoting international culture exchanges (Peng Jixiang, 2004). Therefore, when the film is shared globally, film translation bears multifold communicative functions, i.e. linguistic communication, non-linguistic communication, culture communication. It is no less complicated than the translation of literary works and should not be neglected in translation studies.1.1 Research backgroundHatim and Mason (2001) claim, “once all texts are seen as evidence of a communicative transaction taking place within a social framework, the way is open to a view of translating which is not restricted to a particular field-religious, literary, scientific—but which can include such diverse activities as film subtitling and dubbing, simultaneous interpreting, cartoon translation, abstracting and summarizing, etc” (p.2). It shows that film translation begins to be caught attention after long-term inferior to literary translation. With the development of modern science and technology, films are not only available in cinema but also in forms of DVDs, on-line videos, and they can be watched or downloaded in personal computers. Audio-visual products have become a necessary part of people’s life and can be seen everywhere in our daily lives. Most people take film-watching as mental recreation in their spare time, which pushes film industry to its prime time.As the film industry increasingly booms, it develops quickly not only in domestic market but also in broad overseas markets. When film products are ready to be exported, translation must come first before the products meet their target audiences, because most target audiences can only speak their mother language. Usually, values, thoughts, religious faith, lifestyle, even morality of a certain community can be revealed through dialogues and pictures of the film. Translation of film products is not merely linguistic transfer but the processing of such culture conventions. At present, film products are imported and exported with a great number in most countries, and theatres and on-linetheatres witness unprecedented introduction of foreign films in China. The more films are imported and exported, the more translation is conducted. Therefore, the exploration for film translation study is commenced in scholars’ researches. .Theoretically, film translation is divided into voicing-over, dubbing and subtitling in form, among which subtitling and dubbing are two main approaches. “Two approaches of film translation have been dominant: subtitling and dubbing” (Baker, 1998, p.24). “Theoretically, subtitling is a process of reproduction of film from the ‘multimodal text’ to a written text, namely, a well-finished film itself is a source text, and the target text is ‘the same’ film with subtitles” (Remael, 2001, p.16). Dubbing refers to the replacement of the original speech by a voice track which attempts to follow as closely as possible the timing phrasing and lip movements of original dialogue. (Luydken, 1991)Compared with literary translation study, film translation study is much younger because of the late birth of cinema and film. Film translation study begins earlier in western countries than in China. In early research, it is rather called “A VT translation” which is a collection of screen translation including film, domestic video, cooperate video, TV programs, online translation and offline products and services. Clearly, Film translation subordinates to A VT translation. Nowadays, with the prosperity of global film industry, the study on film translation thrives as an independent branch of A VT. Western scholar Jorge Díaz Cintas works on establishing of theoretical framework on film translation study as an integral part to translation studies; Diaz-Cintas (2004) holds that literary translation theories are not marked within their application scopes, so these theories, properly adapted, have great significance to establish film translation theories. Besides, much empirical studies have been done. The research on film translation started quite late. Before 1949, China virtually had no screen translation. After 1978, audiovisual translation began to be active and so did the studies of film translation, but there were disproportional few pioneer research works compared with the large numbers of film products imported and exported. In recent decays, large numbers of imported films swarm in China film market, most of which are dubbed or subtitled; in contrast, less domestic films are exported overseas.According to the survey once made by an authoritative , it showed that about a large number of people, accounting for more than 70%, prefer subtitled films and about 23% of people like dubbed film. In China, subtitling is the favorite film translation approach because it remains original sound track combingtranslated subtitles which is warmly welcomed by language learners, and according to Gambier, “dubbing can be up to ten times expensive than subtitling” (as cited in Zhu Jia, 2005, p.9). Therefore, subtitling is worth being explored, especially when studying Chinese-English films translation because of dominant role of subtitling. So this thesis attempts to focus on the study of Chinese-English film subtitling.1.2 The significance of the researchStudy on film translation is on its way to establish theoretical framework. In recent years, researches on film subtitling are increasing, most of which explore this issue from the perspective of functionalist translation theory, the rest of which from relevance theory or norms. They are fruitful to some extent and indeed have achieved somewhere. However, only a few of researches resort to communicative translation approach, and most of them bring the translation of English films or English film names into research issue. There is much room to do the research on Chinese-English film subtitling from the perspective of communicative translation theory. .Therefore, based on previous studies, this thesis discusses Chinese-English film subtitling from the perspective of Peter Newmark’s communicative translation theory. On the one hand, it introduces Newmark’s communicative translation theory and proves its applicability to film subtitling, which is significant to establish theoretical framework in this area.On the other hand, there are large numbers of dubbed and subtitled foreign films introduced into China, especially Hollywood films. Many of the Chinese audience have experienced the overwhelming influence of Hollywood films. One main reason for the popularity of American film is that American producers pay much attention to language transfer for foreign audience (Ji Fengju, 2007). However, only a few Chinese films are exported. And a few of these exported films are well-received, although State Radio and Television Bureau has announced new strategies for developing and expanding domestic film products and TV programs. They do have much impact on film products oversea promotion, but we can not forget that the introduction of domestic film products into foreign countries should largely depend on “translation” no matter how they are promoted or advertised (Long Qianhong, 2006). Chinese translators of audio-visual products should focus much more on Chinese-English translating and introducing domestic film into other countries (Gu Tiejun, 2005). To expand international market and to earn more applause from abroad, subtitling is very necessary and important. Thisthesis explores subtitling principles and practical subtitling strategies for Chinese films to make them receive more applause in targeting countries (native English-speaking countries), which makes certain contribution to expand domestic films exporting and eventually thrives in overseas market.1.3 Research questionsThe research is carried out in light of communicative translation theory, and it attempts to find out practical principles to guide film subtitling to ensure that TL audiences can appreciate and enjoy the film to the degree as the SL audiences do.Here are two research questions of the whole paper:1 Can communicative translation theory guide film subtitling and how to guide it?2 What specific translation strategies does the subtitler adopt in Hero? And to what extent do these strategies reflect the proposed guiding principles and how?1.4 Methodology and data collectionThe present research is based on qualitative method. A case study is also adopted to support the validity of qualitative research. Qualitative analysis is adopted to identify the applicability of communicative translation theory in film subtitling study. Four subtitling principles are derived from communicative translation and the case study with examples excerpted from Hero validates the result of qualitative analysis.The film Hero is used as a case study. Subtitles in English are transcribed from the DVD bought from Taobao on-line shop and the Chinese script is down-load from /xml/sub/3/3045.xml.1.5 Thesis structureThis thesis uses Peter Newmark’s communicative translation theory to guide the practice of film subtitling. It is totally divided into six chapters. Chapter One generally introduces the research background, the significance of the research, research questions methodology of the research as well as structure of the whole thesis; a brief review of the development of film translation study both at home and abroad is presented in Chapter Two; Chapter Three introduces the theoretical framework of the whole research-Peter Newmark’ s communicative translation theory, including its developing background and detailed and focusing points; Chapter Four proves applicability of communicative translation to film subtitling and discusses the application of it byadding introduction of film subtitling characteristics, and in this chapter, four principles are proposed based on both theoretical framework and film subtitling characteristics to guide film subtitling practice; Chapter Five gives a successful subtitling film example, Hero and analyzes its subtitling strategies under the guidance of the four proposed principles to support the previous discussion in Chapter Four; Chapter Six is the conclusions of the whole thesis.M.A. Dissertation of Chongqing University Chapter Two Literature reviewChapter Two Literature reviewThis chapter provides a brief review of the literature both in audiovisual translation (AVT) and the specific field of AVT film translation in western countries and China. Relevant definitions and inter-relations are given.2.1 Audiovisual translation and film translationIn the opening paragraph of her introduction to the Routledge Encyclopedia of Translation Studies, Baker comments, “in the early 1990s many had begun to see ‘Translation Studies’ as an exciting new discipline, perhaps the discipline of the 1990s. As a part of this revolution, few can deny that the one of the branches that has received the greatest impetus is audiovisual translation (AVT)” (Diaz-Cintas, 2001, p.200). Up to now, “AVT” is regarded as a collection of screen translation which includes film, domestic video, cooperate video, TV programs, online translation and offline products and services. Therefore, film translation, conducting the translation of domestic or foreign films, does not equal to AVT but one of the most popular forms subordinate to AVT. The study of AVT is relatively new in the field of translation studies, lagging behind literary translation study. Even the wider field AVT enclosing film translation as only a small part is in the dark not mention the study of film translation. As one of the embranchment of AVT, it is far from adequate in sphere of translation studies, and needs large and deep exploration.Up till now, western studies and domestic studies on film subtitling, one of major approaches of film translation have been flourishing. A certain number of scholars’ researches made remarkable contribution to this field.2.2 Studies in western countriesWestern scholars began to devote to film translation studies much earlier than Chinese scholars. Nowadays film translation studies are flourishing in western European countries. It is publicly recognized that Istvan Fodor was a pioneer of film translation studies. His researching results published in 1976 which studies film translation from linguistics, semeiology, aesthetics, and psychology was the first systematic one in film translation studies then (Dong Haiya, 2007). In the following decades, researches on this area became prosperous. 1990s witnessed the golden time for film translation studies. During this period, more and more academic papers and latest researching results were published in international translation journals, and theresearch extension and depth of those investigation were drawn more attention ever than before; many non-profit organizations such as ESIST (European Association for Studies in Screen Translation) had been increasingly established; international conferences were held to discuss the topics on this area every year.Many western scholars have had controversial opinions on which is advantageous form, subtitling or dubbing since in early research. This is not simple argument about film translation form; it closely relates to national politics, economy, culture, ideology, import and export policies of films, etc. Film subtitling and dubbing are just two different conventions for different countries, which come into being through co-working of above social elements (ibid). The author mainly focuses on introduction of the development of subtitling research at home and abroad.2.2.1 Several perspectives of western researches on film subtitlingWestern scholars have been struggling to establish theoretical framework for film translation studies for years. One of the theoretical perspectives for studying film subtitling in western countries is polysystem. This theory is sufficiently flexible to allow talking of film polysystem, which embodies impact of national politics, cultural features, the proportion of imported and exported products and censoring of government and distributing agency of film products. Subtitling is studied on the background of poly social conventions. One of the representative researches from this perspective is conducted by Karamitroglou. He (Karamitroglou, 2000) attempts to analyze the relationship among producers of imported products in Greece, subtitled products and supposed viewership to search a way for studying target language system. Fotios Karamitoglou (2001) also takes a close look at the practice and reasons behind subtitling children’s television programs from the perspective of polysystem.Norms are also welcomed by western scholars when they are conducting film subtitling research. The different norms, postulated by Toury and reworked by Hermans, are understood as the central element in the translation process and they account for the relationship that exists among the rules of the abstract and modeling society and the idiosyncrasies of each translator, with change and not the same throughout history. “This new approach accepts translated texts without judging their solutions as correct or incorrect. It seeks to explain why a particular equivalence has been reached and what this means in the historical context” (Diaz-Cintas, 2004, p.26).Another important perspective of western researches on film subtitling is translation strategies study. Scholars who take this perspective as the researching pointof departure study translation problems and strategies in film subtitling from such theoretical views as pragmatics, relevance theory and reception theory, etc (Dong Haiya, 2007). Although western scholars are struggling to establish theoretical framework for film translation study, present literary translation theories may shed light on their exploration. Therefore, certain literary translation theories can be appropriately applied in film subtitling study and contribute to establishment of theoretical framework of film translation. Such researches usually integrate text (film subtitles) analysis to discuss various translation strategies such as condensation, deletion and domestication of culture terms in subtitling films; how to deal with humor, satire, allusion and metaphor in tranlating subtitles, etc. Pelsmaekers and Besien’s (2002) research Subtitling Irony: Blackadder in Dutch is among such researches on how to deal with the translation of humor from the perspective of translation strategies study.2.2.2 Some distinguished figures and their researchesAnne Jackel (2003) examines assumptions about specific target audiences made by film-makers and subtitlers and their implications in political, cultural, and economic terms. Based on globalization and postglobalization communication theories, theories of register and genre and audience-based reception studies, he explores to what extent these assumptions play a role not only in multimedia translation but also in the reception of one film in various countries. His studies suggest what might have happened if the subtitlers had taken a more decisive role in adapting film to the target culture. And he believes if it did so, the film might have more easily overcome differences between original and target cultures and posted not only a solid artistic performance but an economic one as well.Jorge Díaz Cintas (2001) introduces a method of subtitling quality control, namely the use of a good dialogue list. Diaz-Cintas divides the factors that impinge on the quality of subtitles in three loose categories. Some of the problems are of physical nature, which are easily overcome. The working conditions under which the subtitler is forced to work is at least important in determining the quality and the end product. The third category derives from the actual linguistic transfer and he introduces different types of dialogue list with an example of a complete list.Henrik Gottlieb started his research on subtitling in 1990s, and he mainly dealt with the linguistic dimensions of subtitles, the translation of idioms from English to Danish. Henrik Gottlieb (2001) studies the choices translators make in the Danish subtitling of English-language television programs. A systematic case study is carriedout on the types and frequencies of Anglicism by comparing two American films, Falling Down and Ghostbusters. Gottlieb analyzes the ubiquity of Anglicism and finds out several reasons for that. He argues that the strong English presence in practically all world languages has strongly influenced target language word choices. Besides, Gottlieb co-worked with Yves Gambier and compiled the book (Multi) media Translation: Concepts, Practices and Research, which is a collection of twenty-six articles on latest researches in the field of audiovisual translation2.3 Domestic studies of film subtitlingIn contrast to domestic literary translation studies, the research on film translation started quite late. Before 1949, China virtually had no screen translation. After 1978, audiovisual translation began to be active and so did the studies of this area then. However, there are still a few pioneer research works.2.3.1 Studies on subtitling problems and strategiesAmong these researches, the most outstanding article is written by Zhang Chunbai and he published his research issues On Film Translation and TV Translation in Chinese Translators Journal in 1998. In his article, Zhang (1998) discusses two features of the language of films and TV works; immediacy and popularity, in view of which he summarizes the nature, principle and technique of film and TV translation. In addition, he mentions the methods of translating cultural factors and puns in films. His research was one of the few early ones on film translation published in Chinese Translator Journal.Later Qian Shaochang (2000) published his essay Film Translation and TV Translation-The increasingly Important Field in Translation Garden in Chinese Translators Journal in 2000. He divides the characteristics of film subtitling into five types: audibility, comprehensiveness, immediacy, popularity and no-note and summarizes seven concrete techniques, emphasizing expressiveness of Yan Fu’ s threefold criteria.Another Chinese scholar Li Xingyun (2001) gives a detailed analysis of the features of film subtitles in his article Strategies for Translating Subtitles; he points out that because the subtitle translation practice is subject to time and spatial constraints, the reductive strategy of translation is preferred in translating subtitle: condensation, reductive paraphrasing and deletion.Zhao Chunmei (2001), an experienced editor of the International Department ofCCTV, analyzes the four main conflicting demands faced by a translator in the process of translation—length vs. content, word order vs. picture order, naturalization vs. alienation and transliteration vs. semantic translation. Based on the spatial and length constraints, Zhao suggests ways of resolving these conflicts in the essay Translation into Chinese of Film Scripts and Scripts of TV Drama Series-Four Main Conflicting Demands in 2002.Besides, scholar Ma Zhengqi, with the experience of audiovisual translation practice, published his book in 2005 outline for film translation which is one of the few famous books on audiovisual translation studies. Ma (1998, 2000) discusses the strategies for film translation from various perspectives such as communication studies, semiology, and hermeneutics; and explores the art of translation from the perspective of aesthetics in this book.Chen Shengjie (2004) summarizes the factors that affect the quality of subtitling as follows: film pirating, uncontrollable outsourced projects, economic factors and linguistic factors. He focuses on linguistic factors and analyzes the linguistic dimensions of subtitling from the following aspects: brevity and clarity, double-lined subtitling, omission, punctuation, structural discrepancy, and swearwords. He claims that subtitle should be as short and comprehensible as possible and the strategies of condense, using simple expressions, stock phrase, collocations, and Arabic numerals, restricting the length of the subtitles, omitting punctuation marks, shifting register, etc. could enhance the brevity.2.3.2 Communicative translation theory and film subtitlingThere is little literature on researching film subtitling from the perspective of communicative translation theory in journal in China, and the literature in this thesis on application of communicative translation theory to film subtitling mainly derives from M.A. theses.Studies on English subtitling strategies on ‘In the Mood for Love’ and Translation and Promotion of Chinese Movies in the World Market written by Long Qianhong summarizes several subtitling strategies the subtitler adopts and Long (2006) states that such strategies are deeply theoretically rooted in communicative translation theory. However, Long only mentions that domestication of In the Mood for Love is theoretically based on Newmark’s communicative translation theory, but he does not further explore how communicative translation theory guides such subtitling strategies.Gao (2007) discusses applying communicative translation theory to deal with thelinguistic and cultural barriers in subtitling English-Chinese film.Wu (2003) discusses communicative translation method and semantic translation method in film translation (her study focuses on dubbing) can entertaining function of film, with semantic translation as auxiliary method for communicative translation method.Zhu (2005) suggests the approach of communicative translation theory towards dubbing English feature films into Chinese.The author referred to library and on-line data bases and found several film subtitling researches above from the perspective of Newmark’s communicative translation theory. Based on previous research fruits, it proves the feasibility of applying communicative to film subtitling. Unlike Wu and Zhu, the present research will apply communicative translation to subtitling and unlike Gao, the present research will deal with translation strategies guided by communicative translation theory in subtitling Chinese-English film.2.4 Summary of previous studies and proposal of research topic of this thesisThe previous studies both at home and abroad almost cover every aspect of film subtitling. The perspectives of film subtitling studies in western countries are deep and extensive. Western studies are generally conducted from the social, political, ideological and economical perspectives. And the studies on subtitling strategies are also included in their theoretical framework researches; in such researches some literary translation theories are used to discuss translation problems and strategies in subtitling film, such as relevance theory and reception theory. Empirical studies about film subtitling in western countries are abundant and fruitful. As for domestic researches, characteristics of film language and translation problems in the process of subtitling film and various strategies for English-Chinese film subtitling are studied with great efforts.It is one of the theoretical research trends to resort to literary translation theories to establish theoretical framework of film translation study in western countries; and research on exploring translation strategies from various mature theories is also advocated in western countries. However, seldom have researches explored Peter Newmark’s communicative translation theory as theoretical fundament to study subtitling strategies. Besides, most of their researches tend to make a survey of film products among European countries and nearly exclude Chinese films. In China, most scholars tend to explore the English-Chinese subtitling strategies and exploration for。

电影对白是电影的重要组成部分

从会话含义理论看电影对白的字幕翻译电影对白是电影的重要组成部分，具有刻画人物性格、反映人物心理、表现人物情感等作用：精彩的对白翻译不仅能使目的语观众正确理解片中人物，而且有助于深刻把握影片主题，从而有效地促进跨文化交际。

而对白贴近现实生活，并且大量运用夸张修辞格和隐喻修辞格，因此不乏人物违反合作原则，产生“会话含义”的实例。

“会话含义”概念是格莱斯(Grice)在其“逻辑与会话”(Logic and Conversation)一文中提出的格莱斯认为，人们在言语交际中为了达到特定的目标，说话人和听话人之间存在着一种默契：他把这种默契称为会话的合作原则，具体包括：数量准则，即说的话既要达到交际所要求的详尽程度，又不能比所要求的更详尽；质量准则。

即不要说自己认为不真实的话，也不要说自己缺乏足够证据的话；关联准则，即说话要相关贴切；方式准则，即避免晦涩歧义，说话简要，条理清楚。

这四条准则客观上是必须遵守的。

但在实际会话中．人们时常违反这些准则：如果说话人公然不执行某一条准则，即说话人知道自己违反了准则，同时想让听话人知道其违反准则，格莱斯称此为对准则的“蔑视”：这种情况下将产生“会话含义”，说话人实际上是想表达一些含蓄的意思，即通常所说的“弦外之音”。

电影对白源于生活，必定存在“蔑视”合作原则。

产生“会话含义”的情况：“会话含义”往往可以反映人物的心理状态、情感态度、思想活动等，表现人物个性，推动情节发展：由此可见，会话含义理论对电影对白的翻译具有一定的指导作用：运用这一理论分析人物对白，能够使译者较为敏锐地挖掘其中的“会话含义”，更加透彻地理解“会话含义”，最大限度地再现“会话含义”。

从而实现译文和原文在“会话含义”上的近似对等。

四个准则格莱斯将合作原则具体化为四个准则：⑴量的准则（The maxim of quantity):1）所说的话应包含当前交谈目的所需要地信息；2）所说地话不应包含多于需要地信息.⑵质的准则（The maxim of quality):1）不要说自知是虚假的话；2）不要说缺乏足够证据的话.⑶关联准则（The maxim of relevance):所说地话与话题要相关联.⑷方式准则（The maxim of manner）：清楚明白地表达出要说的话，尤其是：1）避免晦涩；2）避免歧义；3）简练；4）有条理.下面我们就合作原则各项准则的违反所产生的会话含义的情况，通过实例来进行一些介绍：例如：甲：新来的经理看上去不是很友善啊？乙：今天晚上有场好看的电影，我们一起去吧。

从关联理论看字幕翻译策略——《乱世佳人》字幕翻译的个案分析

从关联理论看字幕翻译策略——《乱世佳人》字幕翻译的个案分析从关联理论看字幕翻译策略——《乱世佳人》字幕翻译的个案分析导语：《乱世佳人》是一部美国经典电影，它在全球范围内有着广泛的影响力。

字幕翻译是将电影中的对话和文字转化为另一种语言，以便观众理解。

本文将从关联理论的角度出发，对《乱世佳人》字幕翻译的个案进行分析，探讨其中采用的翻译策略。

一、关联理论简介关联理论是语言学中的一个重要理论，它关注词汇之间的联系和关系。

根据该理论，人们通过将词汇和概念联系起来，理解和记忆语言。

关联可以通过词汇的相似性、属于同一语类、语境关系等方面进行构建。

二、字幕翻译策略1. 直译策略直译是指将源语言文字直接翻译成目标语言文字，不进行任何修改或适应。

在《乱世佳人》的字幕翻译中，直译策略被广泛运用。

例如，在剧中经典台词“Frankly, my dear, I don't give a damn.”被翻译为“坦白说，亲爱的，我根本不在乎。

”尽管这种翻译可能会使最初的语义有所偏离，但它保留了原始句子的情感色彩和口头语感。

2. 动态对等策略动态对等是指在翻译过程中，根据目标语言的文化背景和言语习惯，适当调整原文的句子结构和词汇表达，以实现语义的最佳传递。

在《乱世佳人》的字幕翻译中，动态对等策略被用来使观众能更好地理解并产生共鸣。

「愿上帝作证，在南方的地盘上，只有一个贵族聚会，活得像贵族似的，那就是我的苏伯。

他现在就坐在你那个椅子上。

」(May the Lord bear witness that the only gentle breeding that I've seen on this place have been shown by your old nigger. Sitting in your chair.)中的“贵族似的”翻译为“gentle breeding”，使得中国观众在不同文化背景下能够理解并接受这种说法。

从语言文化层面分析电影片名的翻译原则与策略

摘要：本文通过分析以往经典电影和近年来极受欢迎的英文片名的翻译案例，对比归化理论和异化理论在电影片名翻译中的具体应用，提出了在电影片名翻译中应该遵循的四个原则，并试图找到一种符合中国人心理、文化接受能力和语言习得的翻译策略，从而探讨翻译理论和技巧在大众传播领域的重要作用。

关键词：电影片名翻译归化异化翻译原则翻译标准多元互补在《漫谈英文电影片名的翻译》中，作者认为，“片名翻译时，也应深入理解片名内容蕴涵和风格，揣摩措辞用语，力求准确把握原语与译语的表层意义和联想意义，既要考虑对等，更要考虑译名的传意性和可接受性”。

［１］《目的论在电影名翻译中的运用》一文指出，“电影蕴涵的娱乐功能和商业价值，就决定了在翻译过程中应适当摒弃传统的‘等效’、‘接受美学’等理论原则，对电影名的翻译首先应该遵循目的论原则，为实现电影的商业价值服务”。

［2］刘庆云在《等效原则下的片名翻译》中指出，“为了得到观众对电影的最佳反应，文学翻译中的‘忠实’原则就不再适应……有时还必须从整体着眼，作较大的变动，甚至是改写。

这种灵活性在港台的影片翻译中尤为突出”。

［3］以上论述表明了这样一种理论：电影片名不同于一般的书名翻译，它是一种因实际需要而故意加进原本没有的意义的一种传达方法，有别于文学翻译那种严格依照作者本意、力求神似的方法。

这是从英文电影片名信息接受者的角度考虑翻译策略的优劣，和归化理论的要求比较一致。

由于语言是文化的载体，是文化的传播途径，因此在语言翻译中必须考虑如何处理源文化与目的语文化的差异。

一般来说，可分为两种对立的意见，即所谓“异化”（alienation）与“归化”（adaptation）。

温努提（venuti）说“译者可以选择归化或异化的方法，前者是以民族主义为中心，把国外的价值观归化到目的语文化之中，把原文的作者请回家来；后者则离经叛道地把外国文本中的语言和文化差异表现出来，把读者送到外国去。

”［4］因此在翻译英文电影片名时，翻译工作者选择指导理论时应考虑诸多因素。

语言认知视角下电影字幕隐喻翻译研究

未来研究方向与展望
跨文化交际：研究不同文化背景下的隐喻翻译
技术发展：利用人工智能、大数据等技术提高翻译质量
理论研究：建立完善的隐喻翻译理论体系
实践应用：探索隐喻翻译在电影、文学等领域的应用
感谢您的观看
汇报人：XX
电影字幕隐喻翻译研究
汇报人：XX
目录
添加目录标题
01
电影字幕隐喻翻译概述
02
电影字幕隐喻的识别与理解
03
电例分析
05
电影字幕隐喻翻译的挑战与展望
06
添加章节标题
电影字幕隐喻翻译概述
隐喻的定义与分类
隐喻的定义：通过比喻、象征等方式，将一种事物与另一种事物联系起来，表达某种意义或情感。
翻译过程：理解源语言、选择目标语言、表达目标语言
翻译策略：直译、意译、音译等
翻译效果：忠实于源语言、符合目标语言文化背景、易于观众理解
电影字幕隐喻的识别与理解
隐喻的识别方法
理解文化背景：了解不同文化背景下的隐喻表达方式
观察语境：分析上下文，寻找隐喻的线索
识别关键词：找出具有隐喻意义的关键词
隐喻的分类：根据隐喻的性质和功能，可以分为明喻、暗喻、象征、寓言等。
明喻：通过明显的比喻词，如“像”、“如”等，将两种事物联系起来。
暗喻：通过隐含的比喻词，如“是”、“成为” 等，将两种事物联系起来。
象征：通过某种具体的事物，如颜色、形状等，来表达某种抽象的概念或情感。
寓言：通过一个简短的故事，如动物、植物等，来表达某种道德或哲理。
电影字幕翻译的重要性
传达电影信息：帮助观众理解电影内容，提高观影体验
跨文化交流：促进不同文化之间的交流和理解

从关联理论看字幕翻译策略_乱世佳人_字幕翻译的个案分析

从关联理论看字幕翻译策略———《乱世佳人》字幕翻译的个案分析王荣(北京航空航天大学北京100083)摘要:由于受诸多因素制约,电影字幕翻译评价标准和翻译策略与传统翻译不同。

本文从关联理论的角度,归纳了几类常用的字幕翻译策略,并将经典影片《乱世佳人》作为个案进行分析。

本文认为关联理论对字幕翻译有着很强的解释力,为了实现电影预期的交际效果,字幕翻译应该以最佳关联原则为指导,让观众用最小的努力,获得最大的语境效果。

关键词:关联理论;字幕翻译;《乱世佳人》;翻译策略[中图分类号] F590 [文献标识码] A [文章编号] 1003-6539 (2007) 02-0005-05On Film Subtitle Translation Strategies from the Perspective of Relevance Theory ———A Case Study on the Film“Gone with the Wind”Wang Rong(Beihang University, Beijing, 100083)Abstract:Constrained by many elements, the criteria and strategies of subtitle translation differ from those of written translation.This paper attempts to categorize several translation strategies used in subtitle translation from the perspective of Relevance Theory, andanalyzes howOptimal Relevance contribute to successful realization of communicative effect through a case study on the film“gone withthe wind”. The paper draws a conclusion that subtitle translator should always be guided by the Optimal Relevance principle to producethe most relevant information, and to make the audience use the least effort to get the greatest contextual effect.Key words:Relevance Theory; subtitle translation;Gone with the Wind; translation strategies一、引言关联理论(Seperber&Wilson, 1986/1995)是20世纪80年代在语言哲学领域兴起的关于语言交际的解释理论。

从读者反应理论解析电影字幕翻译策略

风格更是难以指。
ｙｏｕｃａｉ１ｔｅ１１ａ１１
个人讲
电影字幕翻译的常见问题从总体束井，影视剧翻译 ‘ 方＿匝『保证语言符合影视作占矗ｔｆｆ人物话语的特征，慢准确、流畅、生动。另 ’ 方嘶还演绎ｍ原作晶的荚感和风格，让观众既得到消遗，叉得到荚的享受。然而，如今影视翻译ｒｌ１问题层出不穷，难以使的受众得到应订的艺术体验。总结起来，问题有以
广，观影的口的多为娱乐消遣，因而电影语言应接近生活、贴近西姓，口语化成为文奉的 ‘ 人特点复杂、生涩的语言只会使观众丧失观影兴趣。所以，在翻译过程中，译员切忌赢接套用原文句法、词法，应根据受众需求，做适当调整。
原文
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官方翻译
我想说
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建议翻译
我认为听
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良莠齐，，，幕纰成员人多为翻译爱好者，英语水平、翻译能力有待商榷，奉没订翻译理论的指导，翻译准确尚不可保证，维护原作美感、
你就会想知道找寻什
１．对自剁洋化。影视刷的语言多以对自为主，耐对白以【二１语体为主，反映社会人生，不会干篇 ‘ 律，贴近同常口语，贴近百姓生活。果生涩难髓，就会影响通观众的理解。但在翻泽过程ｒ｛，很多译员照搬英语语式和法，结使译文不够【］语化缺乏生活气息，这就是没有把ｆ１语体与、体区别分清楚的结果怕幢盯体过莆的对白会使观众昕着不舒服，缺乏生活美感２．人物性格予人 ‘ 俩。翻译过程Ｉｆｌ常见的问题足，不管足什么人物，都用涮种语气，同 ‘ 种表达方法，＿尤法做到再现人物性格。不符是大学教授、主治生、辩护律师律师、家庭妇女还是地痞流氓，他们的语言风格并无二致，无法刎出故事片里有皿柯肉的鲜活人物个性，影视剧里的荚感也就所剩无儿。３．文化训汇释不清。作为跨史化交流的蘑要载体，外嗣影视剧存传播文化的过ｌｆＩ发挥着耍作｝１ｊ。义化词汇存影视剧【ｆｌ出不穷，而大部分日的语观众对之解）１：不深入，翻译不容易导致诵不达意、混淆视听的效果，冈而翻译文化词汇成为影视译制的熏点和难点＝，策略——读者反应论从整体上来说，以．１：＿这翻译问题的出现，无不是出于译者忽视受众需求和期待所造成的。此，解决常见的译制翻译问题的个重要切入点则是奈达功能埘等理论一｝Ｊ的 “ 读者反应论 ”，丽在影视剧译制ｌ１ ’读者则反映为 “ 受众 ”或 “ 观众 ”。读者反应论的核心思想是，读者给予文本生命力，读者的理解是文本意义的所在，每・次阅读都是对文本的又 ’ 次全新的闭释。奈达的翻译观，克服＝ｒ主观主义，以语言分析代替了商觉感受。首先，他重视读者（受众）的感受，把读者分成四类，儿童读者、初等文化水平读者、普通成人读者和专家，同时重视译文和原文两方读者的反应比较，通过阅读译文后对原文坐着所传达信息的反应，对译文进行评价。其次，他强调原文信息的传达，为了保瞬意义，传达原作的精神和风格，使疑问读者或者ｊ原文读者人致相问的感受，形式应该做是当的改变影视剧作为一种人众传播媒介，成功与取决于受众的反应。因而条达的读者（受众）反应理论在指导影视刷翻译过程中应发挥应有的作

基于关联理论视角看电影字幕翻译——以《泰坦尼克号》为例

基于关联理论视角看电影字幕翻译——以《泰坦尼克号》为例引言电影是一种融合了语言、视觉和音乐等多种艺术形式的文化产品。

对于跨语言沟通的影视作品来说，字幕翻译扮演了重要的角色。

《泰坦尼克号》作为一部具有国际影响力的电影，其字幕翻译可提供我们一个有趣的案例来探讨关联理论在字幕翻译中的运用。

一、关联理论的基本原理关联理论是翻译探究领域中的一种理论，指出语言之间存在着词汇、句法、语义等多个层面上的关联干系。

在字幕翻译中，关联理论可以援助翻译人员更准确地传达原作中的信息，并使观众得到更好的观影体验。

二、《泰坦尼克号》中的关联表达1. 人物关联《泰坦尼克号》中的主人公杰克和罗斯是观众最为关注的角色之一。

在字幕翻译中，翻译人员需要思量如何准确地传达两位主人公之间的情感干系。

比如，在杰克第一次见到罗斯时，他以“你好，小姐”一词来搭讪，而这个搭讪行为凸显了他们两人之间的初次相遇。

因此，在字幕翻译中应该尽可能地保持原作的表达，以使观众能够感受到两人之间的亲近干系。

2. 情感关联除了人物关联外，电影中的情感干系对于字幕翻译也分外重要。

例如，在影片中，杰克为罗斯画了一幅画，并称之为“你的颜色”。

这个表达不仅仅是形容画中的颜色，更深层次地表达了杰克对罗斯的崇拜之情。

在字幕翻译中，若果将这样的表达简易地转译为“你的颜色”，那么传达给观众的情感将会大打折扣。

因此，翻译人员需要充分理解原作的情感表达，并用合适的方式来转化为目标语言，以保持观众对原作情感的理解。

3. 视觉关联电影是一种视觉艺术，其中的视觉元素对于观众来说也是重要的信息。

在《泰坦尼克号》中，船体的沉没是电影的重要情节，它通过一系列场景和特效来表达。

在字幕翻译中，如何准确地传达视觉元素对于观众理解剧情的重要性。

翻译人员可以通过选择合适的词汇和句子结构来传达视觉元素的相关信息，以使目标观众对原作的视觉体验有所了解。

结论通过对《泰坦尼克号》字幕翻译的分析，可以得出结论：在字幕翻译中，关联理论的运用能够援助翻译人员更准确地传达原作的信息，并使观众得到更好的观影体验。

从功能翻译理论看电影字幕的翻译阿甘正传》个案研究

1、充分理解原语电影的文化背景和情感色彩：在翻译过程中，译者需要对原语电影有深入的理解，才能准确地传达其中的文化内涵和情感色彩。
2、适应目标语文化和目标语观众的反应：在翻译过程中，译者应考虑到目标语观众的文化背景和观影习惯，尽可能地让观众能理解和接受译制片。
3、适当调整和改写：在翻译过程中，如果原文的表达方式与目标语观众的接受度不符，译者应根据实际情况进行适当的调整和改写。
从功能翻译理论看电影字幕的翻译阿甘正传》个案研究
01 一、引言
目录
02 二、功能对等理论及其在翻译中的应用
03 三、《阿甘正传》字幕翻译的个案分析
04 四、结论
05 参考内容
标题：从功能翻译理论看电影字幕的翻译《阿甘正传》个案研究
一、引言
在跨文化交流中，翻译扮演着至关重要的角色。电影作为一种大众文化形式，其字幕翻译直接影响着观众对影片的理解和欣赏。美国著名翻译理论家尤金·奈达在1964年的《翻译科学探索》一书中提出了“功能对等”原则，这一原则为电影字幕翻译提供了重要的理论指导。本次演示将以《阿甘正传》为个案，探讨功能对等理论在电影字幕翻译中的应用。
三、英汉电影字幕翻译的特点
电影字幕翻译具有瞬时性、空间限制和受制于画面等特点。译者需要在有限的时间和空间内，将原语的文化、情感、语气等元素准确地传达给目标语观众。同时，字幕翻译还受到画面的限制，需要在特定的场景和人物动作中寻找对应的表达。
四、功能翻译理论在英汉电影字幕翻译中的应用
根据功能翻译理论，电影字幕翻译应以实现预期功能为目标。具体来说，应做到以下几点：
一、顺应论概述
顺应论是由国际语用学会秘书长耶夫·维索尔伦提出的一种语用学理论。该理论认为，语言的使用是一个不断选择和顺应的过程，这种选择和顺应受到语境和语言结构的影响。在翻译过程中，译者需要根据原文的语境和语言结构，选择适当的翻译策略和技巧，以实现对原文的准确传达。

多模态话语分析综合理论视角下的电影字幕翻译——以电影《穿普拉达的女王》为例

多模态话语分析综合理论视角下的电影字幕翻译——以电影《穿普拉达的女王》为例多模态话语分析综合理论视角下的电影字幕翻译——以电影《穿普拉达的女王》为例引言：电影是一种复杂的多模态话语形式，其中的语言文字、图像、音频等元素相互交织，相互作用，共同构成了电影中的意义。

对于观众来说，字幕翻译是电影语言文字与其母语之间的桥梁，承载着表达和沟通的重要任务。

本文以电影《穿普拉达的女王》为例，从多模态话语分析综合理论的视角出发，探讨电影字幕翻译在意义传递上的一些问题，并提出相应的解决方案。

一、多模态话语分析综合理论概述多模态话语分析综合理论是在结构语言学、社会语言学、功能语言学的基础上，将图像、声音、文字等多个语义方式融合起来进行分析的综合性理论。

在多模态话语中，不同形式的符号相互作用与搭配，共同产生意义。

二、多模态话语分析综合理论在电影字幕翻译中的应用1. 语言文字与图像的关系分析多模态话语分析综合理论认为，电影中的语言文字与图像是同时出现的，相互之间存在内部联系和相互作用。

翻译时，需要准确地表达电影原文中的文字信息，同时也要与图像信息相契合，保证字幕与画面的协调一致。

以《穿普拉达的女王》中一幕为例，主人公在时尚杂志编辑部市区办公楼入口前等待电梯，此时图像展示了一个热闹的现代都市场景。

字幕中直译原文“Busy, busy, busy”无法准确传达画面中繁忙的场景，翻译时可以选择“熙熙攘攘”等意境对应的表达，以增强画面与字幕之间的关联。

2. 语言文字与声音的关系分析在多模态话语中，语言文字和声音是重要的交互元素。

电影中的声音可以传递重要的信息，同样需要与字幕保持一致，并准确表达其所传递的意义。

例如，在《穿普拉达的女王》中，主人公们在办公室的对话时，背景有不断的电话铃声。

字幕翻译应当准确地表达对话的内容，同时对电话铃声进行相应的处理，可以选择适当的表达方式，例如在字幕中增加描述或者使用特殊符号，提醒观众关注背景音效。

从功能翻译理论看电影台词的翻译-2019年文档

然而，因为语种不同、文化历史背景不同，电影台词翻译就不可或缺。

电影台词翻译是一种跨文化、跨语言的交流活动，但它是种特殊的文学翻译，即要考虑文本意思的传达，又要体现角色的内心世界。

这就要求不能把电影台词翻译成文学作品。

台词翻译要传达影片的主题，阐述作品的时代背景，表现角色的个性。

费米尔1978年在《普通翻译理论框架》提出翻译目的论( Skopos theory)。

认为翻译所要达到的目的决定了翻译的方法和策略，翻译行为要置于一定的文化背景之中，而非一对一的语言转换活动。

诺德在skopos rule的基础上提出了忠诚原则（royalty rule），强调目标语文本的意图必须与原作者的意图一致。

目的原则与忠诚原则是翻译目的论的两大基本原则。

成功的电影台词翻译标准是既要符合目标观众文化特征，又不失源语言的独特风格，让目标译文观众能够获得同样的艺术感受。

交际翻译理论指导下的电影字幕英译——以电影《花样年华》的字幕英译为例

目录摘要........................................................................................................................ I I ABSTRACT................................................................................................................. I I 第一章任务描述 (1)第一节任务背景 (1)第二节理论依据 (3)第二章任务实施 (6)第一节实施过程 (6)第二节翻译过程中遇到的难点 (7)第三节具体解决方法 (9)第三章案例分析 (12)第一节电影字幕的文本特点与翻译要求 (12)第二节交际翻译理论指导下电影字幕文本的翻译分析 (13)第四章结论 (24)第一节主要发现及研究启示 (24)第二节研究局限及对未来研究的展望 (25)参考文献 (25)附件（源语和译语文本） (28)致谢 (84)第一章任务描述第一节任务背景当今世界，文化交流越来越频繁，文化融合越来越明显，文化已然成为综合国力中的重要软实力，文化在跨文化交际中的作用越来越突出，但是中国在优秀文化的输出方面明显不如西方发达国家。

作为中国的青年一代，我们承担着输出优秀中国文化的重任。

电影，是由活动照相术和幻灯放映术结合发展起来的一种连续的视频画面，是一门视觉和听觉的现代艺术，也是一门可以容纳悲喜剧与文学戏剧、摄影、绘画、音乐、舞蹈、文字、雕塑、建筑等多种艺术的现代科技与艺术的综合体。

但它又具有独自的特征，电影在艺术表现力上不但具有其它各种艺术的特征，又因可以运用蒙太奇这种艺术性突跃的电影组接技巧，具有超越其它一切艺术的表现手段,随着现代社会的发展，电影已深入到社会生活的方方面面，是人们生活不可或缺的一部分。

交际翻译理论视角下的电影片名翻译

交际翻译理论视角下的电影片名翻译交际翻译理论视角下的电影片名翻译导言电影是一种集艺术与文化的高级传媒形式，它在不同的国家和地区产生了广泛的影响。

为了在全球范围内推广和传播电影，电影片名翻译成为一个重要的环节。

由于不同语言和文化的差异，片名翻译需要考虑到译名在不同语境中的传达效果和观众接受程度。

本文将从交际翻译理论的角度出发，探讨电影片名翻译的原则和策略。

一、交际翻译理论交际翻译理论是翻译学的一个重要分支，它强调翻译是一个交流过程，目的是从源语语境传达信息到目标语语境，保持信息的准确性和有效性。

在电影片名翻译中，交际翻译理论强调通过适当的翻译策略，满足观众对电影的期望和诉求。

二、电影片名翻译原则1.忠实原则忠实原则是指翻译过程中要尽量保持原文的信息和意义，不失真或歪曲。

在电影片名翻译中，忠实原则意味着要确保译名与电影的内容和主题相关，并准确地传达影片的核心概念。

2.可接受原则可接受原则强调译名在目标语文化中的接受度和可理解性。

电影片名翻译需要考虑到目标语观众的文化背景和语言习惯，以产生最佳的传达效果。

3.创意原则创意原则是指在译名中保持一定的创造性和想象力。

电影片名翻译不仅要传达电影的主题和内涵，还要能够吸引观众的兴趣并引起观影欲望。

三、电影片名翻译策略1.音译策略音译策略是指将源语片名中的音节和音调翻译成类似的目标语发音。

例如，将英文片名《Avatar》音译为汉语片名《阿凡达》。

音译策略可以保留原文的语音节奏和感觉，但可能会导致目标语文化中的误解或困惑。

2.意译策略意译策略是指根据电影的内容和主题，将源语片名的意义和象征翻译成与目标文化相关的新的片名。

例如，将法语片名《Le Fabuleux Destin d'Amélie Poulain》意译为英文片名《Amélie》。

意译策略可以突出电影的核心概念，但需要确保译名在目标语文化中的接受度。

3.谐音策略谐音策略是指通过词语的谐音或类似音来翻译片名。

多模态话语分析综合理论视角下的电影字幕翻译——以电影《穿普拉达的女王》为例

多模态话语分析综合理论视角下的电影字幕翻译——以电影《穿普拉达的女王》为例多模态话语分析综合理论视角下的电影字幕翻译——以电影《穿普拉达的女王》为例引言：随着全球化和文化交流的日益频繁，电影字幕翻译在不同语言间的沟通中变得越来越重要。

多模态话语分析综合理论是一种跨学科的研究方法，通过结合语言、图像和声音来分析电影字幕翻译，可以更好地理解和研究字幕翻译的特点和效果。

本文以电影《穿普拉达的女王》为例，从多模态话语分析综合理论视角探讨电影字幕翻译的问题。

一、多模态话语分析综合理论视角介绍多模态话语分析综合理论主要研究跨学科交际环境中的语言、图像和声音的相互作用，并探索它们在整个通信过程中的协同效应。

在电影字幕翻译中，电影本身是一个多模态的信息载体，包含了言语、动作、背景音乐等多种元素，字幕则是将源语言文本转化为目标语言文本的翻译形式。

通过多模态话语分析综合理论的视角，可以深入剖析这种多模态交际环境中的翻译问题。

二、《穿普拉达的女王》电影字幕翻译分析1. 语言层面：电影字幕翻译要准确传达电影对话的意思和情感，同时又要尽可能与目标语文化接近。

在《穿普拉达的女王》中，主人公米兰达·普里斯特利的精神与权威形象通过她的台词得到展现。

在字幕翻译中，译者要考虑到米兰达的人物特点和职业身份，选择相应的翻译方式，如运用专业术语、强调她的威严等，以凸显她的形象。

2. 图像层面：电影中的图像元素对于观众的情感和信息理解起着至关重要的作用。

然而，字幕翻译可能会遮挡电影中的图像信息，这对于观众来说是一种不便。

因此，在字幕翻译中，译者需要注意字幕的位置和形式，以最大程度地减少对图像信息的遮挡，同时确保字幕的可读性和易懂性。

3. 声音层面：电影的声音元素包括背景音乐、音效和角色的音频表现等。

这些声音对于电影情节的推进和观众的情感体验都起到了重要的作用。

在字幕翻译中，译者需要通过适当的语言选择和表达来传达声音元素所传递的信息和情感。

从交际翻译理论和跨文化交际看电影片名翻译.doc

从交际翻译理论和跨文化交际看电影片名翻译一、引言随着近年来电影产业不断商业化，观众的欣赏品味也在变化，每年引进中国的国际大片也越来越吸引着国人的眼球。

而片名的翻译也对电影的票房起着至关重要的作用，但不管采用何种翻译标准，影片译名一定要得到大众的认可，充分考虑影片的商业效应。

电影片名本身是一种专有名词，它是电影编剧精心构思的产物，既能高度概括影片的主题或内容，又能强烈激发消费者走进电影院。

一个好的外国电影译名应深入理解影片的内涵和风格，找准市场和艺术的交汇点，权衡好两者之间的比重，最终的译本才能为大众喜闻乐道。

电影片名是浓缩的电影语言，它译本的恰当与否直接影响着影片的票房号召力。

本文通过研究纽马克著名的交际翻译理论来指导电影片名的翻译，而好的电影片名翻译又对一部电影的宣传和票房起着至关重要的作用，有利于促进不同文化间的跨文化交流。

二、纽马克的交际翻译理论作为英国著名的翻译理论家和翻译教育家，彼得〃纽马克最大贡献在于对语义翻译与交际翻译的概念阐释。

这对概念的提出引起了中西方译界的高度重视，不仅改善了西方译学界长期就直译和意译争论不休的局面，还为文化翻译打开了一个全新视角。

本文着重讨论纽马克的交际翻译理论对电影片名翻译的指导意义。

语义翻译指“在目的语语言结构和语义许可的范围内，把原作者在原文中表达的意思准确地用译语再现出来”。

语义翻译重视的是原文形式和原作者思想，而不是目的语的语境及其表达方式，更没有把译文放在目的语文化情境中考量。

传统的翻译理论将片名本翻译大都归于文学文本翻译，即表达情感型文本翻译，用语义翻译的标准来衡量，语义相互对应的即为佳译，有所偏离的就要改进，大相径庭的则予以否定。

直译是我国传统译界认可的最佳译法，此译法最大限度地保留了原语片名的形式和意义，有时甚至连语序都照搬，如ColdMountai n的译名《冷山》，但这种翻译不利于观影者提前理解电影内容，可能对电影文化的交流有一定影响。

从关联理论看电影字幕的翻译——以《美丽心灵》为案例的开题报告

从关联理论看电影字幕的翻译——以《美丽心灵》为案例的开题报告一、选题背景与意义随着全球化进程的加速和国际交流的不断增强，电影作为文化的重要承载体逐渐成为人们学习、了解其他文化的渠道之一。

在国际电影交流中，字幕翻译扮演着核心角色，无论是在电影的传播、推广方面，还是在文化的交流和沟通中，都承担着重要的作用。

然而，现实中的字幕翻译存在着很多问题，比如翻译的准确度、语言表达的通顺度、翻译的文化背景和目标文化的适应度等等。

从目前的翻译研究来看，翻译不能简单地将源语言文本的单词、短句和长句翻译成目标语言的单词、短句和长句；而应该在翻译中准确表达源语文本的语义，同时适应目标语文化和语言的特点，达到“准确表达，自然流畅”的翻译效果。

在此背景下，研究字幕翻译的理论和实践问题显得尤为重要。

本文从关联理论的角度来考察电影字幕翻译的实践问题，旨在探讨与翻译相关的语言、文化、心理等方面的问题，为电影字幕翻译提供理论支持和实践指导。

二、关联理论的研究意义关联是人类思维和语言表达的基本方式之一，具有普遍性和本质上的语言心理学意义。

在语言翻译中，关联理论可以为翻译提供指导意义。

首先，关联理论有助于翻译语义的准确表达。

语言表达的目的是传达信息，而在语言信息传达中，人们经常使用关联的方式表达概念或思想，这种关联有助于表达一些难以准确用单词来描述的事物。

在翻译中，我们可以考虑使用与源语文本相关的关联手段来实现语义的准确表达。

其次，关联理论有助于消解文化差异。

文化是人类社会不同历史发展和生活环境的产物，因此文化差异必然存在。

对于翻译来说，熟悉目标文化的文化背景和语言习惯，并将其巧妙地运用在翻译中，是一种成功的文化融合和跨文化传播的表现。

在翻译过程中，我们可以尝试使用一些与目标文化相关的关联来消弭文化差异，实现翻译的文化适应性。

最后，关联理论有助于提高翻译的质量。

翻译是涉及多方面知识和技能的复杂过程，需要翻译者对语言、文化、心理、社会和文学等方面有一定的了解和认识。