从功能翻译理论看_越狱_字幕翻译的得与失_56_60

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功能译论在字幕翻译中的运用

功能译论在字幕翻译中的运用泉州师范学院外国语学院　洪　莉[摘　要]字幕翻译的目的是在时空的制约下,如何准确有效地向译语观众传达相关的信息。

而功能译论则考虑译文功能,译文在译语文化中所达到的交际目的,强调“目的决定方式”。

本文选取《老友记》部分字幕的英译,运用功能译论分析其优劣,探讨合理的翻译策略,从而说明这一理论在字幕翻译实践中的指导意义。

[关键词]功能翻译理论　字幕翻译　目的　策略观看影视剧是现代人主要的休闲方式之一,而欣赏外国影视作品更是人们了解不同文化的重要渠道。

近年来,随着网络技术的发展和普及,为人们提供了更加便捷和及时的资讯,不仅可供选择的节目越来越多,而且实现了和国外几乎同时同步收看剧集,这从网络上受到追捧的Fr iends、CSI、Pr ison Break等美剧就可见一般。

由于语言及文化上的差异,要想真正看懂外国影视作品也并非易事,必须具备一定的语言功底和文化知识储备。

因此,近来网络上出现了大量的影视字幕组,他们自发组织人员翻译字幕,并将译作及时上传,提供人们下载。

一方面,这帮助大家克服了语言障碍,及时欣赏到自己喜爱的剧集;另一方面,也造成了版本虽多,但译作质量良莠不齐的现状。

本文通过简要回顾我国字幕翻译的研究现状,并结合字幕特点及相关翻译理论,寻求影视字幕的翻译方法。

一、影视字幕翻译在我国,较早研究影视翻译的是著名翻译家钱绍昌,他指出“影视语言既含一般文学语言的要素,但也有自身的特点:聆听性、综合性、瞬间性、通俗性和无注性。

”这为今后影视翻译的进一步研究奠定了基础。

近年来,字幕翻译研究逐渐受到人们的关注,主要涉及:对影视字幕翻译的总体性评述,比如:探讨中国影视字幕翻译的现状和存在的问题及原因,并结合实例剖析(卢炳群,2002);结合字幕翻译的文体特点,提出具体问题的处理方法,指出字幕翻译应遵循“缩、直、简”的原则(李兴运,2001);针对目前影视字幕翻译质量参差不齐的状况,呼吁应当从语言文本、形式及达到字幕隐形三方面加以规范(李和庆,2005)等。

目的论指导下美剧《越狱》的字幕翻译研究

目的论指导下美剧《越狱》的字幕翻译研究摘要：字幕翻译在美剧传播中占有重要位置。

但是，由于之间语言、文化等各方面的差异，中国观众对美剧的理解的有一定的难度。

将美剧《越狱》作为案例，选取剧中的台词作为研究对象，在目的论指导下，对原字幕进行解析。

关键词：目的论字幕翻译翻译方法和技巧1.前言随着现代科学技术的发展，越来越多的外国影视作品进入了中国市场，而追剧已经成为一些英语学习者日常生活一部分。

然而，由于不同国家在语言和文化等方面的差异，有必要进一步提高字幕翻译的质量。

德国功能派翻译理论家汉斯·威密尔1978年首次提出了目的论。

字幕作为一种交际手段，在影视作品中起着关键作用。

对美剧《越狱》而言，可以从目的论的角度解析其典型字幕。

钱绍昌（2000）曾指出：“译制片受众（观众）的数量远远超过翻译文学作品受众的数量，但与之相反，翻译界对影视翻译的重视却远不如文学翻译。

”通过对《越狱》的字幕研究，可以认识到跨文化交际的重要性，总结一些翻译方法和技巧以指导翻译实践，使其符合目的论的三原则和要求。

2. 字幕翻译由于大量的外国影视作品在我国上映、播放和出售,于是出现了大规模的影视翻译活动。

因此应该从整体上将翻译研究系统化，以推动翻译学科的发展，促进字幕翻译的研究。

字幕翻译研究始于西方，引起了国内外学者的关注。

目前为止，字幕翻译的研究也比较多。

字幕翻译作为学习外国文化的手段之一，已成为我们生活中必不可少的一部分。

奈达（2004）提出“从事动态对等翻译的译者从译文接受者的角度出发，着眼于原文的意义和精神，而不拘泥于形式对应。

”影视作品中的台词能表达和反映人物的心理特征，在作品中起着重要的作用。

字幕翻译也有其独特的特点，瞬时性、通俗性、综合性、简洁性。

3.目的论20世纪80年代威密尔提出目的论，目的论的发展为翻译的发展提供了坚实的理论基础。

目的论三原则，即目的原则、连贯原则和忠实原则。

目的原则，即翻译的目的，决定了翻译过程、方法和质量。

浅析功能对等理论在字幕翻译中的应用——以美剧《越狱》中文化词句的翻译为例

文献标识码：Ａ
文章编号：１００９— ４４５８（２０１３）０３— ０１４６—０４
随着网络的发展和互联网的广泛应用，外国影视论是影响较大的当代西方翻译理论，核心思想是功能
剧以越来越快的速度进人中国市场，美剧尤其得到中对等（ｆｕｎｃｔｉｏｎａｌｅｑｕｉｖａｌｅｎｃｅ）。奈达认为，翻译就是在国观众的青睐，绝大多数年轻人和外语爱好者都通过译人语中用最自然的方式再现原文的信息，首先是意互联网欣赏外语影视作品。热播的美剧不仅在美国本义，其次是风格（尤金・奈达１９８２，１２）。翻译传达的
．
警句进行分析，探讨字幕翻译是如何实现对功能对等的。
关键词：《越狱》；功能对等；字幕翻译
ＤＯＩ：１０．３９６９／ｊ．ｉｓｓｎ．１００９— ４４５８．２０１３．０３．０４３
中圈分类号：Ｉ－１０５９
应用。
一
等。而文化词汇或文化方面内容的翻译是否恰当，直
接关系到译人语读者和源语的读者是否能有相似的感
、
功能对等理论概述
受。同时，奈达功能对等理论中，翻译需达到以下四个
达意、传神、措词自然通顺、相似的读者反应。尤金・奈达（ＥｕｇｅｎｅＡ．Ｎｉｄａ，１９１４一）的翻译理标准：

从功能对等理论角度看美剧_越狱_的字幕翻_p=CMFD_

IntroductionAs a main means of cross-cultural communication in the 21st century, films and TV series have become important carriers of human cultures. They have been made more enjoyable and attractive with the rapid development of photography, digitalization, sound recording and computer-aided designs. More and more foreign films and TV series have been introduced and gained popularity among Chinese audience, as an effective way of entertainment. Their entry also makes it possible for Chinese audience to take a close look at the cultures, customs, ideologies, and living styles of other countries. More and more people attach great importance to English learning, and the number of English learners in China is larger than that in any other country in the world. However, the English language remains the main obstacle for most Chinese audience in the appreciation of the English-speaking films and TV series.The films and TV series hold so essential a position in China’s cultural exchanges with foreign countries that a new translation area-subtitle translation sets in, with the deepening of China's reform and opening-up policies. Film translation in China has been practiced for nearly a century during which different techniques have been adopted to address different needs. It is a dynamic process rather than a static one, in that, both in quality and techniques of translation, it is closely related to the social development and esthetic change. However, film translation has gained so little attention in China’s translation research that one can hardly find a relatively mature theory in this field apart from few essays or articles mainly concerned either with translation techniques or with the translation of film and TV play subtitles.In this thesis, the author will try to analyze the subtitle translation of Prison Break from the perspective of Nida’s functional equivalence theory.In chapter one, the author will conduct a literature review on subtitle and then introduce the origin of subtitle and its definition. Meanwhile, a detailed classification of types and features of films and TV series translation will be given for readers to have a better understanding of subtitle.Chapter Two mainly focuses on Nida’s functional equivalence theory and itsapplicability in subtitle translation. First of all, the author will give a brief introduction of Eugene Nida, who is a great theorist in translation field. Then, his functional equivalence theory and principle for producing functional equivalence will be analyzed in detail. After presenting the readers with a clear idea of what functional equivalence is, the author will analyze this theory’s applicability in subtitle translation from the aspects of culture and source text audience.Chapter three is the case study. In this part, the hot American TV series Prison Break has been taken as an example to analyze how functional equivalence theory guides subtitle translation. In order to achieve functional equivalence, many translation strategies have been employed. In this chapter, strategies such as clarification, reduction and domestication, etc. have been adopted with many examples extracted from Prison Break to support.This thesis concludes that functional equivalence can offer subtitle translators a new sight, thought and method in the practice of subtitle translation.Chapter One Literature Review1.1 Origin of SubtitleAlmost since the invention of films in the “silent” era, efforts have been made to convey the actor’s dialogue to the audience. The first attempt was made in 1903 with what is conventionally called “intertitles” or “insert-titles”. (Viarsson，1995:294) At the time, those terms meant something totally different from what they do today. An intertitle or insert title was parts of texts, drawn or printed on paper, filmed and placed between sequences of a film.From the year 1909 on, the titles were called sub-titles, as they were used in the same way as subtitles in, for instance, a newspaper. “In the same year, the first attempt was made in the US to produce “subtitles” (in the current sense of the word)，as optically inserted negative frames of texts printed on blank frames (as black letters) and projected on the film negative; a positive print of the color of the letters from black to white”. (ibid: 295) “A similar attempt was made in Norway in 1930 by the thermally pressing on the negative film-frames minute strips of typeset text.” (ibid: 296)The chemical method of inserting subtitles by bleaching the emulsion of the film strips in the shape of the desired letter-sequence/text frame by frame was invented in Hungary a couple of years later, and immediately taken over by the French and the Swedes was what boosted implementation of subtitles since it was cheaper and quicker if multiple copies of subtitled films were to be made. All these methods (still applicable today) are used for the production of subtitle cinema-films.1.2 Definition and Characteristics of SubtitlingSubtitling is the process of providing synchronized captions for films. “Subtitling can be defined as the translation of the spoken (or written) source text of an audiovisual product into a written target text which is added onto the images of the original product, usually at the bottom of the screen.” (Delabastita, 1989:200) It simultaneously provides。

从功能对等翻译理论的视角研究字幕翻译——以《肖申克的救赎》为例

从功能对等翻译理论的视角探究字幕翻译——以《肖申克的救赎》为例引言：字幕翻译作为一种重要的影视翻译形式，广泛应用于影视作品中。

在字幕翻译的过程中，如何准确传达原文的意思，保持语用和功能等方面的对等，一直是翻译工作者关注的重点。

功能对等翻译理论作为翻译学的重要理论之一，强调翻译的主要任务是将源语言的功能在目标语言中得以实现。

本文将以美国电影《肖申克的救赎》为例，从功能对等翻译理论的视角探讨字幕翻译的实践方法和策略，以期提高字幕翻译的质量和效果。

一、功能对等翻译理论概述功能对等翻译理论是聚焦翻译目标和功能的理论体系，强调翻译应该实现目标语言中与源语言相同的功能。

它冲破了传统“词对词”或“句对句”的传统翻译观念，重视传达和实现信息、表达和意图等多个层面的对等。

二、《肖申克的救赎》影片简介《肖申克的救赎》是美国导演弗兰克·达拉邦特执导的一部经典影片。

该影片以主人公安迪在肖申克监狱中待遇不公、寻找自由的故事为主线，揭示了人性的善与恶、期望与懊丧、梦想与现实等主题。

三、功能对等在字幕翻译中的应用1. 语言风格的对等传达《肖申克的救赎》中，不同角色之间使用的语言风格有明显差异，如安迪老师温柔得体谦逊，鲍甘则较为粗鲁懒散。

在字幕翻译中，可以通过选择适当的目标语词汇、句式和语气，传达原文人物形象和性格特点的对等。

原文：Remember, Red, hope is a good thing, maybe the best of things, and no good thing ever dies. (安迪) 译文：记住，雷德，期望是件好事，或许是最美妙的事，而且好事是永久不会消逝的。

2. 上下文信息的对等转化字幕翻译需要将原文的上下文信息准确传达给目标语言观众，以确保他们理解故事情节和人物干系。

这就要求翻译者在选择词语和句子结构时，充分思量原文上下文的意义和功能。

原文：Get busy living, or get busy dying.译文：虎头蛇尾，不如直言不讳。

从功能翻译理论看_越狱_字幕翻译的得与失_46_50

solve the far-reaching national-scale conspiracy that landed his brother there in the first place.As a matter of fact, this TV play does not enjoy very good audience rating in America. But it becomes a blockbuster in China very soon after it is transmitted on the Internet, especially among the young netizens, which should be obliged to those voluntary subtitle translation contributors.3.2 Losses: Identified ProblemsBefore touching upon the losses in translating the subtitle of Prison Break, the author takes it as a necessity to clarify what the author means by using the word “losses” in this thesis so as to avoid any possible misunderstanding. Actually, “losses” refer to the problems that more often than not occur in subtitle translation due to the technical constraints confronting subtitle translation and multi-level translators as discussed in Chapter One. To be specific, the “losses” in this thesis refer to the linguistic problems and culture-bound problems which have been identified by the author of this thesis through a careful study of the three selected sources of the subtitles and their Chinese versions.Although Prison Break is a blockbuster in China and enjoys a high audience rating, problems of this or that kind still appear in the translated subtitles because of many reasons. As we all know, all translation processes mediate between the source-text and target-text situations. Therefore, some pragmatic problems arise from the differences between these situations and can be identified by checking on the extra-textual factors such as sender, receiver, medium, time, space, motive and text function.Just as classified by Christiane Nord, there are normally two kinds oftranslation problems in subtitle translation, namely, linguistic problems and cultural problems.Before the discussion of specific translation problems, it is necessary to distinguish translation problems and translation difficulties. Translation problems are here considered to be objective or at least inter-subjective and they are not to be equaled with translation difficulties. Translation difficulties are subjective ones that a subtitle translator might encounter in the process of translating subtitles because of his or her unqualified linguistic, cultural or translational competence or because he or she has not got appropriate documentations. Actually, many of the difficulties existing in current subtitle translation work are a result of inability of translators, which can be changed and improved through personal endeavor. However, translation problems will remain problems even when a translator has learnt how to deal with them rapidly and effectively. In this sense, the same translation problems appearing in different contexts should be treated differently so as to most effectively serve their respective communicative functions.One important reason for most of the translation problems in subtitle translation is more or less relevant to the space and time constraints. As has been discussed in 2.2.1.2, subtitle is of a special text typology and it is quite different from literary texts. Many problems arise just because of the constraints of the new medium. Translators, confronted by these constraints, have to choose from a variety of possible strategies to best deliver the messages needed in terms of functionalist equivalence and Skopos rule. Of course, there are also other problems inherent in cross-cultural and cross-lingual communication. Therefore, it is better for us to discuss them in detail in the following section..3.2.1 Linguistic ProblemsLinguistic problems refer to structural differences in terms of vocabulary, syntax and suprasegmental features of the two languages. More often than not, the linguistic problems are caused by two factors, one of which is that subtitling is constrained by two bottlenecks, namely time constraint and space constraint and the other is the incompetence of multi-level subtitle translators. Let’s look at the following examples which will show us the linguistic problems.Original:Sid: That’s it. Can I just, you know, look at it for a moment?Michael: You are an artist, Sid.Subtitle Version:Sid: 大功告成了。

从功能翻译理论看_越狱_字幕翻译的得与失_51_55

Policewoman: I don’t want anyone to do anything stupid, okay? Don’t move.Lincoln: Let’s be civil here. Stop. Relax. You can go.Subtitle Version:Policewoman: 退后，把手举起来。

Michael: 放松。

T-bag: 怕什么，她手里又没有王牌。

Policewoman: 退后，把手举起来。

T-bag: 我把手举起来，就会把她的喉管拉出来。

Policewoman: 我不想任何人做傻事，知道吗？不许动。

Lincoln: 我们文明点。

别挣扎了，放松，你可以走了。

The above dialogue happens in a tense situation where the house owner’s police daughter came back when the mother was in control of the prisoners. The daughter felt something wrong in the house, so she kicked off the door only to find her mother in control of T-bag. And then she put up her gun and asked T-bag to release her mother.A glimpse at the subtitle version and the original dialogue might give the reader an impression that the translation is good. However, if we take the tense situation and the roles of different speakers into consideration, we may find some improper expressions and even wrong rendition in the subtitle version. Firstly, when Michael said “Go easy”, the policewoman was targeting at them with her gun. In this situation, the subtitle version “放松” seems too inaccurate. A better subtitle version for “Go easy” might be “不要乱来”. Secondly, as we all know T-bag is a cruel and despicable guy in this program, the subtitle version of “她手里又没有王牌” for “She ain’t the one carrying the cards here” is obviously improper for his role. Taking his role into consideration, the author of this thesis thinks “怕什么，她不能怎么样” is probably better. Thirdly, when Lincoln attacked the policewoman from her back and controlled her, he said “…You can go”. Judging from the situation, we know the prisoners will by no means let the policewoman go. Otherwise, this group of escaped guys will be in a big trouble. Therefore, the subtitle version of “……你可以走了” is a wrong rendition for the original. It is better to translate “You can go” into “对，就这样”. Besides, it will be better if “okay” and the second “put your hands up” in the original dialogues are translated into “听见没有” and “举起手来”, which is in compliance with the situation and can help avoid repetition.The following is a complete revised subtitle version which demonstrates how to best serve the functions of subtitles and the purposes of subtitle translation.Policewoman: 退后，把手举起来。

从功能翻译理论看电影字幕翻译中文化词语的处理

一、电影与翻译电影是一门综合艺术。

它融合多种艺术手段，能传播信息，抒发感情，反映丰富多彩的生活，使观众得到艺术上的享受。

随着国际间文化交流的不断发展，电影作为一种重要的文化传媒，正日益受到各国的关注。

电影的翻译既是介绍异域文化的一种简洁直观的手段，又是传播本国本民族文化的一个重要途径。

在我国，较早研究影视翻译的是著名翻译家钱绍昌，他曾指出“影视语言既含一般文学语言的要素，但也有自身的特点：聆听性、综合性、瞬间性、通俗性和无注性。

”这为今后影视翻译的进一步研究奠定了基础。

在宏观了解字幕翻译现状的基础上，研究具体问题的解决办法是有必要的。

由于功能翻译理论就是以“目的原则”为最高准则，而任何翻译活动都是有目的的行为，字幕翻译的最终目标在于帮助人们跨越语言阻碍，欣赏到外国的影视作品，实现文化交流。

二、德国功能派翻译理论20世纪70年代在德国兴起的功能派翻译理论提出“翻译是一种行为”，引入了“翻译要求”的概念,强调交际目的。

在德国功能派翻译理论中，我们就不得不提及三位杰出的理论家：雷斯及其“功能翻译批评理论”、费米尔及其“目的论”、曼塔利及其“翻译行为理论”。

在上述三人的翻译理论中，费米尔的“目的论”最为重要，对翻译有着特别重要的指导意义。

“目的论”中有一个重要概念，即“翻译要求”。

它包括译文的功能、译入语接受者、接受译文的时间、地点、译文传播的途径以及产生或接受译文的动机。

一般来讲，“翻译要求”指导整个翻译过程。

此外，“目的论”中有三个重要的法则，即目的法则、语际连贯、语内连贯。

语际连贯指的是译文与原文之间存在的某种关系，这种关系也常被称为对原文的“忠实”。

语内连贯指的是译文在译入语文化及交际情景中应该有意义，它强调译入语文化以及交际情景。

费米尔认为，语际连贯或“忠实”应从属于语内连贯，同时二者又都从属于“目的法则”。

费米尔认为，翻译中的最高法则应该是“目的法则”。

也就是说，翻译的目的不同，翻译时所采取的策略、方法也不同。

功能目的论视角下的电影字幕翻译

功能目标论视角下的电影字幕翻译随着全球化的加剧，电影作为一种重要的文化沟通形式，不息受到全世界观众的欢迎和追捧。

然而，由于语言的差异，观众往往需要通过翻译来理解和享受电影的内容。

在电影翻译中，字幕翻译是一种常见的方式。

本文将从功能目标论的视角出发，探讨电影字幕翻译的特点、目标以及应遵循的原则。

电影字幕翻译是将原版电影中的对话或文字以一种外语形式呈现给观众的过程。

它承载着许多重要的功能，如传达影片的情节、角色性格、创作意图等。

因此，字幕翻译需要准确地表达原文的含义，并在不损失原版电影风格和氛围的前提下，尽可能地符合目标语言观众的阅读习惯和文化背景。

起首，字幕翻译的首要目标是准确传达原文的意义。

一个成功的字幕翻译应该以上下文的信息为基础，恰如其分地选择合适的词汇和语言表达方式，以确保观众能够正确地理解台词的含义。

在这个过程中，翻译人员需要充分理解电影的内容和情感，借助自身翻译技能和语言背景，创设出一个贴近原意的翻译版本。

此外，字幕翻译还需要尊重作者的创作意图，尽可能地呈现导演和编剧想要表达的内涵。

其次，字幕翻译还需要思量观众的阅读体验和文化背景。

字幕翻译不同于口译或笔译，观众需要通过视觉方式来接受翻译的内容。

因此，在选择词汇和语言表达方式时，翻译人员需要尽量简洁明了，防止过长或难懂的句子。

同时，还要思量到目标语言观众的文化背景，尽可能地防止或适当调整与观众文化相违反的表达方式。

这样可以提高观众的阅读理解度，增强电影的传播效果。

在进行字幕翻译时，还需要遵循一些原则。

起首，准确性原则是最重要的。

翻译人员务必对原文进行准确理解，以确保翻译的内容和原文意义一致。

其次，信达原则是不行轻忽的。

翻译人员需要依据目标语言观众的阅读习惯和口语表达习惯，选择合适的词汇和句子结构，以传达原文的信息。

此外，适应性原则也分外重要。

翻译人员需要依据不同电影类型、风格以及观众群体的特点，灵活运用不同的翻译策略，以达到最佳的翻译效果。

从功能翻译理论看_越狱_字幕翻译的得与失_36_40

translation scholar and translation trainer. She is also a productive theorist, but few of her books are translated into English. As a result, not many people know well about her translation theories.She first presented her theory of “translational action” in 1981 and published it in a more elaborate form in 1984. In her theory and methodology, she even avoids using the term “translation” in its strict sense. This is helpful for her to move away from the traditional concepts and expectations connected with the word. Actually, “her theory is based on the principles of action theory and is designed to cover all forms of intercultural transfer, including those which do not involve any source or target texts” (qtd. in Nord 12-13).According to her action theory of translation, translation is defined as a complex action designed to achieve a particular purpose. “The generic term for this phenomenon is ‘translation action’. The purpose of ‘translation action’ is to transfer message across culture and language barriers by means of message transmitters produced by experts” (qtd. in Nord 13). Justa Holz-Mänttäri points out “translation action is the process of producing a message transmitter of a certain kind, designed to be employed in superordinate action systems in order to coordinate actional and communicative cooperation” (ibid).“Justa Holz-Mänttäri places special emphasis on the actional aspects of the translation process, analyzing the roles of the participants including initiator, translator, user and message receiver and the situational conditions like time, space and medium in which their activities take place” (ibid).2.2.2.2 Subtitle Translation: a Translational ActionBased on the translation action theory, Christiane Nord classifies thefollowing six “translational actions”: translating as a form of translational interaction, translating as a form of intentional interaction, translating as a form of interpersonal interaction, translating as a form of communicative action, translating as a form of intercultural action and translating as a form of text-processing action.As we all know, “communication is carried out by means of signs, which are verbal or nonverbal associated with a concept or meaning by the producer, the receiver, or both. The meaning associated with the sign need not be the same for both the producer and the receiver. Any form of behavior (perhaps a smile or brief silence) may be intended to have a meaning X by the producer and interpreted as having meaning Y by the receiver. Even an accidental state of affairs can be interpreted as a meaningful sign, just as a sign intended to be meaningful may go unnoticed by the addressee” (qtd. in Nord 22-23). “The use of signs is teleological in the sense that it aims at a particular goal. In order to obtain the intended goal, the producer and the receiver must have some kind of agreement about the meaning of the sign. Signs are conventional and thus culture-specific” (Nord 23).As to the specific form of subtitle translation, the author holds that subtitle translation is first a communicative action, second an intercultural action and third a text-processing action besides its intentional and interpersonal properties. Subtitle translation is made to facilitate the audience to understand and appreciate the films and TV plays. It is not a direct communication between two people. But it is aimed to make the communication between the audience and the verbal speech in the films and TV plays.It is obvious that translation takes place in specific, concrete and definable situations that involve different people speaking different languages from differentcultures. On the other hand, language is an intrinsic part of a culture, especially when culture is defined as a “totality of knowledge, proficiency and perception”. Therefore, translation involves cultural elements, especially in translating some culture-specific texts. Films and TV plays are for entertainment on the one hand and they carry cultural elements on the other. Therefore, subtitle translation is not only a process of transferring the meaning but also an action of introducing a culture to the audience.2.2.3 Skopostheorie and Subtitle TranslationSkopostheorie is raised by Hans J. Vermeer and it lays a solid foundation for Nord’s Function plus Loyalty while the latter is the former’s further development as well as its complement.2.2.3.1 Hans J. Vermeer and SkopostheorieAs one of the representatives of “German School”, Hans J. Vermeer has ever been trained as an interpreter by Ketharina Reiss and he took general linguistics and then translation studies. Under the influence of both Reiss and Justa Holz-Mänttäri, he has spent great efforts bridging the gap between theory and practice. As to the connection between linguistics and translation, he made it very clear in his Framework for a General Translation Theory that “Linguistics alone won’t help us. Firstly, because translating is not merely and not even primarily a linguistic process. Secondly, because linguistics has not yet formulated the right questions to tackle our problems” (qtd. in Nord 10). Based on this point, translation cannot be considered as a one-to-one transfer between two different languages. Therefore, translation theory cannot draw on a linguistic theory alone.Following the action theory, Vermeer defines human action as intentional and purposeful behavior that takes place in a given situation. In his opinion, translation and interpreting are a kind of transfer where the communicative verbal and nonverbal sighs are transferred from one language into another. Thus, translation is also a kind of human action. Vermeer explains his view as follows:“Any form of translational action, including therefore translation itself, may be conceived as an action, as the name implies. Any action has an aim, a purpose. The word skopos, then is a technical term for the aim or purpose of a translation. Further, an action leads to a result, a new situation or event, and possibly to a new project” (qtd. in Nord 12). This is why Vermeer calls his theory Skopostheorie, a theory of purposeful action. In the framework of this theory, one of the most important factors determining the purpose of a translation is the addressee, who is the intended receiver or audience of the target text with their culture-specific world-knowledge, their expectations and their communicative needs. Vermeer explains his Skopos rule in the following way:“Each text is produced for a given purpose and should serve this purpose. TheSkopos rule thus reads as follows: translate/interpret/speak/write in a way thatenables your text/translation to function in the situation in which it is used andwith the people who want to use it and precisely in the way they want it tofunction” (qtd. in Nord 29).2.2.3.2 Basic Concepts of SkopostheorieIn his Skopostheorie, Vermeer has used the related words “aim”, “purpose”, “intention” and “function” to express Skopos, for he considers these technicalterms are equivalent. And the top-ranking rule for any translation is thus the “Skopos rule”, which means that a translation action is determined by its Skopos. In other words, the end justifies the means.Another important concept of Skopostheorie is translation brief. The prerequisite for this concept is that the translation is done by assignment. A client needs a text for a particular purpose and calls upon the translator for a translation, thus acting as the initiator of the translation process. In an ideal case, the client would give as many details as possible about the purpose, explaining the addressees, time, place, occasion and medium of the intended communication and the function the text is intended to have. All of this information would constitute an explicit translation brief. However, the translation brief will not tell the translator how to carry out the translation process, what translation strategies to be adopted and what text type to be classified. All of these should be determined by the translator himself based on his translation experience and judgment.2.2.3.3 Subtitle Translation: A Skopos-based ActionAccording to the Action Theory, all human actions have their specific intentions, purposes or aims. Translation is not an exception. Therefore, subtitle translation as a specific form of translation is also a Skopos-based action.According to Vermeer, we can distinguish between three possible kinds of purposes in the field of translation: “the general purpose aimed at by the translator in the translation process (perhaps ‘to earn a living’), the communicative purpose aimed at by the target text in the target situation (perhaps ‘to instruct the reader’) and the purpose aimed at by a particular translation strategy or procedure (for example, ‘to translate literally in order to show the structural particularities of the。

英语电视剧《越狱》字幕翻译技巧对比研究

成都理工大学硕士学位论文英语电视剧《越狱》字幕翻译技巧对比研究姓名：赵莉申请学位级别：硕士专业：外国语言学及应用语言学指导教师：何大顺;余大山20100401英语电视剧《越狱》字幕翻译技巧对比研究作者简介：赵莉，女，1985年5月生，师从成都理工大学何大顺教授，2010年6月毕业于成都理工大学外国语言学及应用语言学专业，获得文学硕士学位。

摘要现代科学技术使外国电视剧进入人们日常生活。

这些电视剧在娱乐人们的同时，也促进了不同文化的交流。

由于存在语言障碍，电视剧观众通常通过字幕来获得相关信息。

因此，字幕翻译能使外国文化清晰明了，承载着交流的重任。

然而，由于字幕翻译通常是由一些英语爱好者来完成，字幕翻译的质量也有待提高。

一些翻译技巧及其使用的情况需要做进一步的研究，以给这些字幕翻译者提供帮助。

字幕翻译者同时也需要一个合适的理论指导翻译工作。

关联理论就是这样一个理论，能够给译者提供最好的指引。

关联理论为字幕翻译带来了光明，为字幕翻译者提供了指南且帮助他们解决了许多问题。

电视剧翻译是一种特殊的交流。

为了使交流成功，译者必须保证信息意图和交际意图都要传递给观众。

而观众需要的是一个只用最小认知努力就能得到最佳关联的翻译。

译者需要运用他们自己的专业知识和判断力来选择最适合的翻译技巧。

关联理论不仅在译者遇到困难的时候为译者提供了指南，同时也为译者提供了一个检测翻译是否成功的标准。

本文从字幕的定义、分类、技巧、限制以及语言特点对电视剧字幕进行了全方位剖析。

基于以前的研究和对美国电视剧《越狱》的翻译技巧研究，作者列举了四大常用翻译技巧，并把这些技巧使用的情况做出阐释。

直译仍然是主要的翻译技巧。

当直译会给观众带来迷惑时，建议使用能够产生相似语境影响的替代技巧。

当目的语观众不能像原语言观众一样得到相互明示的时候，可以使用扩充法，扩充法能够帮助目的语观众得到相互明示，减少认知处理。

缩减法通常在说话者语速非常快，表达非常多的时候运用。

从功能翻译理论看_越狱_字幕翻译的得与失_81_85

omitting them directly due to the special consideration given to Chinese national conditions and its cultural features.Just as has been clarified in the “Introduction”, this thesis is focused on studying the subtitle translation which is done by the amateur or non-professional “subtitling groups” rather than the professional people. The cases are targeted at the popular foreign films or TV plays available on the Internet. Therefore, it still leaves us much space for further study in this field. Just like the Functionalist Approaches which involve an evolving process, the research on subtitle translation which is either done by professional or non-professional people is bound to march forward. The author of this thesis looks forward to more fruitful efforts in this field.BibliographyBaker, Mona. In Other Words: A Course on Translation. Beijing: Foreign Language Teaching and Research Press, 2000.- - -. Routledge Encyclopedia of Translation Studies. Shanghai: Shanghai Language Education Press, 2006.Basil, Hatim, and Ian Mason. Discourse and the Translator. Shanghai: Shanghai Foreign Language Education Press, 2001.Bassnett, Susan. Translation Studies. Shanghai: Shanghai Foreign Language Education Press, 2005.Fawcett, Peter. “Translating Film.” On Translating French Literature and Film. Ed.Geoffrey T. Harris. Amsterdam: Rodopi, 1996. 65-88.Gambier Yves, and Gottlieb Henrik, eds. Media Translation: Concepts, Practices, and Research. Amsterdam: Rodopi, 1996.Gentzler, Edwin. Contemporary Translation Studies. Shanghai: Shanghai Foreign Language Education Press, 2007.Gottlieb, Henrik. “Subtitling: People Translating People.” Teaching Translation and Interpreting 2: Insights, Aims, Visions. Ed. Dollerup, Cay, andAnnette Lindegaard. Amsterdam: John Benjamins Publishing Company,1994. 261-279.Ivarsson, Jan, and Mary Carroll. Subtitling. Simrishamn: TransEdit HB, 1998. Karamitroglou, Fotios. “A Proposed Set of Subtitling Standards in Europe.”Translation Journal 2.2 (1998). January 3, 2009(/journal/04stndrd.htm).Kozloff, Sarah. Overhearing Film Dialogue. Berkeley: University of CaliforniaPress, 2000.Munday, Jeremy. Introducing Translation Studies: Theories and Application.London: Routeledge, 2001.Newmark, Peter. A Textbook of Translation. Shanghai: Shanghai Foreign Language Education Press, 2004.Nida, Eugene A. Language, Culture and Translating. Shanghai: Shanghai Foreign Language Education Press, 2005.Nord, Christiane. Translating as a Purposeful Activity –Functionalist Approaches Explained. Shanghai: Shanghai Foreign Language Education Press,2006.Reiss, Katharina. Translation Criticism: The Potentials & Limitations. Shanghai: Shanghai Foreign Language Education Press, 2004.Shuttleworth, Mark, and Moria Cowie. Dictionary of Translation Studies.Shanghai: Shanghai Foreign Language Education Press, 2004. Vermeer, Hans J. “Skopos and Commission in Translational Action.” Trans.Andrew Chesterman. The Translation Studies Reader. Ed. LawrenceVenuti. London and New York: Routledge, 1989. 227-238.Zhang, Chunbai. “The Translating of Screenplays in the Mainland of China.” Meta49 (2004): 182-192.柴梅萍. 配音与字幕声画同步翻译的策略. 山东外语教学, 2003, (5): 92-94董海雅. 西方语境下的影视翻译研究概览. 上海翻译, 2007, (1): 12-17.郭萍. 试论英文影片的汉译. 武汉科技大学学报, 2004, (3): 88-91.贾文波. 应用翻译功能论. 北京: 中国对外翻译出版公司, 2004.李和庆, 薄振杰. 规范与影视字幕翻译. 中国科技翻译, 2005, 18 (2): 44-46.李文革. 西方翻译理论流派研究. 北京: 中国社会科学出版社, 2004.李运兴. 字幕翻译的策略. 中国翻译, 2001, (4): 38-40.刘宓庆. 文体与翻译. 北京: 中国对外翻译出版公司, 1998.钱绍昌. 影视翻译－翻译园地中愈来愈重要的领域. 中国翻译, 2000, (1): 61-65.曲景春. 中美电视剧比较研究. 上海: 上海三联书店, 2005.王兰柱. 中国电视收视年鉴. 北京: 中国传媒大学出版社, 2007.谢天振. 译介学. 上海: 上海外语教育出版社, 1999.袁智忠. 影视鉴赏. 重庆: 重庆大学出版社, 2004.章博. 看精彩越狱, 学地道美语[第一分册]. 北京: 机械工业出版社, 2007.章博, 吕鸣. 看精彩越狱, 学地道美语[第二分册]. 北京: 机械工业出版社, 2007.张春柏. 影视翻译初探. 中国翻译, 1998, (2): 23-26.张锦兰. 目的论与翻译方法. 中国科技翻译, 2004, 17(1): 35-37.张美芳. 翻译研究的功能途径. 上海: 上海外语教育出版社, 2005.赵速梅, 刘晓明. 影视作品字幕翻译中跨文化交际信息的转换. 合肥工业大学学报, 2006, 20 (4): 167-171.仲伟和, 钟钰. 德国的功能翻译理论. 中国翻译, 1999, (3): 47-49.朱浩彤. “目的论”与“功能对等论”比较. 江西师范大学学报, 2006, 39 (4): 112-116.朱维芳. 英语电影教程. 北京: 外语教学与研究出版社, 2005.AcknowledgementI am greatly indebted to my supervisor, Professor Sun Kaixiang, who has given me patient guidance, useful suggestions and great support in the process of writing this thesis. I benefit much from his valuable instruction and consistent encouragement in the three-year postgraduate study. My heartfelt gratitude also goes to the teachers who have given me inspiring instructions.Last but not least, I would like to give my special thanks to Professor Jin Dailai who offered me many opportunities to practice interpreting during my past three years’ study in Sichuan Normal University.In addition, I would also like to extend my sincere thanks to my parents, my relatives and dear friends who have always been giving me great support in my study.。

功能对等理论视角下《越狱》的字幕翻译

功能对等理论视角下《越狱》的字幕翻译CONTENTSAbstrac t (1)Introduction (3)Chapter 1 Literature Review (4)1.1Studies on Subtitle Translation (4)1.2 Studies on Strategies for Subtitle Translation (6)Chapter 2 Functional Equivalence Theory.............................. ..(10)2.1 Brief Introduction of Nida?s Functional Equivalence Theory (10)2.2 Different Levels of Functional Equivalence (14)2.3 Principles for Producing Functional Equivalence Theory (15)2.4 The Application of Functional Equivalence in Translation (17)Chapter 3 Subtitle Translation (19)3.1 Features of Subtitle Translation (19)3.2 Constraints of Subtitle Translation (21)Chapter 4 A Case Study of Prison Break (23)4.1 Synopsis of Prison Break (23)4.2Translation Strategies Adopted in Prison Break (24)Conclusion (34)Notes (36)Bibliography (38)Acknowledgements (39)On Subtitles Translation of Prison Break Under the Perspective of Functional Equivalence TheoryAbstract: During the last few years, more and more foreignfilms have been introduced into China and become more and more popular. Along with the rising demand of people for TV products, subtitles translation is gaining importance. Consequently, the research on subtitles translation is starting to attract some attention. However, people didn?t work enough in this field. According to the issues，this thesis attends to talk about the subtitles translation under Nida?s functional equivalence theory. It falls into four chapters. Chapter one introduces some literature review of subtitles translation. Chapter two is mainly about Nida?s functional equivalence theory from its general introduction, its levels, its principles and how to apply the theory in subtitle translation. Chapter three presents the features and constraints of subtitles translation. Chapter four takes the Prison Break as a case study to show application of translation strategies under the guidance of functional equivalence theory.Key Words: functional equivalence theory; subtitle translation; Prison Break摘要：在过去的几十年中，越来越多的外国影视作品进入中国并且大受欢迎。

浅析影视翻译中字幕和配音翻译的差异

113论《睡谷传奇》中的幽默元素
114英汉习语中隐喻的民族性及其翻译策略
115An Analysis of Beauty and Ugliness in The Picture of Dorian Gray of Oscar Wilde
116浅论现代汉语新增词语的英译方法
117从文化角度谈旅游翻译
118商标翻译的本土化研究
127从会话合作原则透析英语情景喜剧《生活大爆炸》幽默的产生
128论林纾翻译小说中的翻译策略
129Rhetorical Art and Chinese-English Translation Suggestions of Business Transaction Correspondence
130从《纯真年代》中的女性角色看伊迪斯•华顿的女性意识
143论网络英语的特征
144跨文化视域中的英汉动物隐喻比较研究
145分析场独立与场依赖对任务型教学的影响
146口语语篇中责任情态的人际意义研究
147从《小妇人》看男性缺失时十九世纪美国女性的成长
148关联理论视角下幽默的英汉翻译
149英文征婚广告和中文征婚广告所体现的文化差异
150从用词的角度分析商务英语信函的翻译
34从生态批评角度解析杰克伦敦的动物小说《野性的呼唤》和《白獠牙》
35班德瑞曲名汉译策略之解析
36浅析哈克贝利的叛逆精神
37The Problems in English and Chinese Trademark Translation and Relevant Countermeasures
38On the Absurdity in Waiting for Godot
155《女勇士》中美国华裔身份危机的探寻

从功能对等翻译理论的视角研究字幕翻译——以《肖申克的救赎》为例

从功能对等翻译理论的视角研究字幕翻译——以《肖申克的救赎》为例功能对等论视角下电影《肖申克的救赎》的字幕翻译【摘要】电影字幕可以帮助观众更好地理解电影情节，有助于获得最佳的观影感受。

然而令人遗憾的是，虽然电影字幕影响广泛，肩负重任，但该领域内的研究却远远未跟上其发展的速度。

本文以美国影片《肖申克的救赎》的两个中文字幕翻译版本为例，论证了在字幕翻译中应用功能对等理论作为理论基础和策略指导的必要性和可行性，以及为了实现功能对等应该运用的翻译策略。

【关键词】字幕翻译功能对等理论翻译策略引言电影字幕是指以文字形式显示电影作品中的对话等非影像内容，也泛指影视作品后期加工的文字，一般出现在屏幕下方。

好的电影字幕可以帮助观众更好地理解电影情节，有助于获得最佳的观影感受。

字幕翻译还可以起到传递文化价值，帮助树立国家形象和民族典型的作用。

随着电影在文化交流中扮演着越来越重要的作用，字幕翻译研究也因此受到越来越多的国内外学者的重视。

然而令人遗憾的是，虽然电影字幕肩负重任，甚至对一部外国电影的成功与否起着至关重要的影响，但该领域内的研究却远远未跟上其发展的速度，影视翻译作为一个独立的翻译学科存在只有短短50年左右，数量和质量上都急需进一步发展（钱邵昌， 2000； Cintas， 2004）。

纵览已有的关于字幕翻译的研究，不难发现不仅数量不多，而且已有的研究大部分针对的都是西方国家语际之间的翻译，如英语与意大利语之间的翻译，或法语与英语之间，又或丹麦语与英语之间。

中英语之间的字幕翻译研究少之又少，还有待进一步发掘研究。

本文以美国影片《肖申克的救赎》的两个中文字幕翻译版本为例，论证了在字幕翻译过程中应用功能对等理论作为理论基础和策略指导的必要性和可行性，以及为了实现功能对等应该运用的翻译策略。

一、功能对等理论功能对等理论最早是由美国语言学家尤金?奈达提出，1964年最初提出的时候称为动态对等或灵活对等（Dynamic Equivalence）。

从关联理论看英文电视剧《越狱》的字幕翻译技巧

从关联理论看英文电视剧《越狱》的字幕翻译技巧孟祥瑞【期刊名称】《湖北函授大学学报》【年(卷),期】2016(029)002【摘要】Foreign TV series and movies have become one of people's daily entertainments due to the rapid development of net-work and digital TV.For Chinese audience with language barriers,Chinese subtitle is an important channel to provide plot in-formation so as to achieve cultural exchange.This thesis makes a summary of the subtitle translation skills and strategies in Eng-lish TV series"Prison Break"from the perspective of relevance theory.Through analysis and comparison of the cases in the play,the thesis is to put a point of view that relevance theory is the best translation guideline,such analysis can help the audi-ence to follow the source language and plot development.%由于网络和数字电视的快速发展,国外电视剧、电影成了人们日常娱乐节目之一.对于存在语言障碍的中国观众来讲,汉字字幕是传递剧情信息和达成文化交流的重要渠道.本文从关联理论的角度,归纳了英文电视剧《越狱》中使用的字幕翻译技巧与策略并对剧中个案进行分析比较,提出关联理论是字幕翻译的最佳指导原则,从而有助于观众进入源语言语境更好地理解剧情发展.【总页数】2页(P159-160)【作者】孟祥瑞【作者单位】平顶山工业职业技术学院,河南平顶山 467000【正文语种】中文【中图分类】G642【相关文献】1.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 [J], 王荣2.从关联理论看字幕翻译的归化与异化策略r——以《我不是潘金莲》字幕翻译为例 [J], 王慧3.关联理论与影视字幕翻译中的文化缺省——以电影《越狱》为例 [J], 陈晓丽4.海外电视剧字幕翻译的再解读——关联理论视域下的美网剧《权利的游戏之守夜人誓言》 [J], 杨晶晶5.从功能翻译理论探索影视作品的字幕翻译技巧——《后宫·甄嬛传》美版电视剧字幕为例 [J], 王予阳因版权原因，仅展示原文概要，查看原文内容请购买。

从功能翻译理论角度看电影字幕翻译

从功能翻译理论角度看电影字幕翻译电影作为一门视听艺术，通过塑造艺术形象表达一定的思想情感，其中包含一个社会的历史、习俗、思维、宗教等方方面面的文化，可以说电影是现实生活的一个缩影。

随着全球化的影响，电影作为一种特殊的文化传播方式，日益成为了解一个国家文化的重要途径，电影的字幕翻译也成为一个越来越重要的新兴领域。

近年来，大量国外影片引入国内，而且随着观众英语水平的普遍提高，很多观众都开始通过网络观看配有汉语字幕的原声影片，但是目前字幕翻译存在参差不齐的质量问题。

影视字幕翻译中存在“词义理解错误”“不考虑目标语表达习惯”“译者缺乏责任心”等现状问题。

（胡磊，2012）目前网上的原声电影大多都是由“互联网字幕组”完成翻译，他们属于民间自发的非盈利性个人团体组织，大都是一些英语和电影的爱好者。

字幕组成员普遍年轻，喜欢使用流行语言，作品颇具时代感。

以美剧为例，很多网友认为，字幕组的翻译不像专业的翻译那么生硬，诸如“给力”“神马”“浮云”等网络热词层出不穷。

当然，在人员的配置、翻译分工操作、译文质量方面存在一些问题，造成字幕翻译中的种种问题。

电影是文学的一种特殊形式，电影应为观众而创作，并以观众的接受、欣赏和评判为生存的依据和标准。

因此，电影的特殊性决定了其翻译是目标取向策略。

（殷玲，2008）因此，本文尝试以德国功能主义理论为指导，以电影《国王的演讲》为例，探讨汉译字幕翻译策略，以期促进字幕翻译研究发展。

一、理论基础——功能翻译理论视角德国功能翻译理论主要包括赖斯的文本类型理论，弗米尔的目的论，赫尔兹- 曼塔里的翻译行为理论和诺德的翻译为导向的文本分析和功能加忠诚理论。

本文主要就诺德的翻译为导向的文本分析理论在字幕翻译中的应用进行分析探讨。

诺德吸取了布勒的研究模式作范例，将文本按其功能分为四种类型：指称功能（referential function ）、表情功能（expressive function ）、诉求功能（appellative function ）和寒暄功能（phatic function ）。

从功能对等理论视角分析美国情景喜剧字幕翻译

最新英语专业全英原创毕业论文，都是近期写作1 从《西游记》中的童话语言特色看其宗教色彩2 On the Aesthetic Connotation of the Death in For Whom the Bell Tolls by Hemingway3 浅析电影《风雨哈佛路》中女主人公的性格特征4 《红楼梦》两个译本中称呼语翻译的对比研究5 英语词汇的记忆方法6 On the Differences of Rules for Eye Contact Between the East and the West7 On the Translation of Psychological Description in Wuthering Heights from the Perspective of Functional Equivalence8 从《宠儿》的人物形象中分析莫里森的种族观9 On Contradiction Between Comprehension and Expression in Translation10 从文化差异比较研究中美家庭教育11 Scarlett O'Hara and Feminism12 论影视字幕翻译的特点及应注意的方面——以美剧绝望主妇为题材13 浅析造成盖茨比悲剧的因素14 文档所公布均英语专业全英原创毕业论文。

原创Q 805 990 74 915 Cultural Differences in Sino-US Business Negotiation16 人民币升值对我国进出口贸易的影响研究17 英语演讲语篇中的parallelism及其汉译策略—以奥巴马就职演说稿为例18 汽车广告功能分析19 非英语专业大学生英语学习动机调查20 论《老人与海》中的英雄主义21 影响二语习得的因素－－案例研究22 浅议功能翻译理论指导下的英文歌曲汉译23 Cultural Differences Between English and Chinese by Analyzing Brand Names24 论小说与电影《最后的大亨》的叙事特征25 从《远大前程》看狄更斯的家庭理想26 中英隐私禁忌语对比分析27 通过《蝇王》看人性28 《第二十二条军规》的荒诞性解读29 《永别了，武器》中的自然象征意义30 从影视作品看中西方英雄主义的变迁31 Coherence in English-Chinese Translation: A Pragmatic Study32 论爱伦坡的恐怖小说创作及其特点33 An Analysis of the Ambivalent Character of Frederick Winterbourne in Daisy Miller34 马丁伊登的自杀根由35 英汉颜色词翻译36 分析嘉丽妹妹性格变化的原因37 论《可爱的骨头》中的多重象征38 从《唐老鸭》看赵健秀的男性主义39 Risk Comparing of Documentary Collection and Letters of Credit40 论《兔子, 跑吧》中哈利的逃避主义41 浅谈我国服装行业的网络营销42 商标名的英译汉目的论研究——以洗护用品为例43 解析名词化与商务语篇的汉英翻译44 英汉歌词衔接手段的对比及翻译45 从异化和归化的角度浅析中文菜单的英译46 从《女勇士》中的女性形象看文化差异47 英汉“悲”、“喜”情感隐喻的认知比较研究48 从《一间自己的屋子》看弗吉尼亚伍尔芙的女性主义意识49 论英语俚语的汉译—以奈达的功能对等理论为指导50 中西文化差异在广告创意中的影射51 中学生英语自主学习能力的培养52 从女性主义视角解读《飘》中斯嘉丽•奥哈拉的性格特征53 英语政治新闻中委婉语的形式及语用功能研究54 经典英文电影台词的文体分析55 从心理学角度谈中国学生英语学习中典型语法错误的产生原因及其应对策略56 浅谈互动模式下的英语文化教学57 The Study of Strategies on Cosmetic Marketing based on Female Consumption Psychology58 从存在主义视角研究J.D.塞林格《泰迪》59 论中美送礼文化差异60 广告翻译策略初探61 从文化视角看中西方婚礼习俗的差异62 An Analysis of the Cultural Identity in Amy Tan’s The Joy Luck Club63 对《德伯家的苔丝》苔丝的悲剧分析64 汉语亲属称谓语的文化内涵及翻译方法65 The Rose in the “Heights”—An Analysis on Catherine’s Personality in Wuthering Heights66 论《了不起的盖茨比》中美国梦的幻灭与重生67 《小妇人》－－家庭教育对儿童个性的影响68 商务英语和普通英语对比浅析69 接受美学视角下的儿童文学翻译－－以《夏洛的网》任溶溶译本为例70 A Study of Angel Clare’s Multiple Personalities in Tess of the D’Urbervilles71 功能对等理论视角下《越狱》字幕翻译的研究72 跨文化交际中文化负迁移的原因及其对策研究73 麦当劳的制胜之道74 关联理论关照下文化缺省现象及其翻译应对策略75 英语汉源借词研究76 The Emerging Tendency of Marketing—Network Marketing77 伍尔夫的《到灯塔去》中的女性主义78 论惠特曼的战争诗歌79 《天边外》的悲剧分析80 试析《傲慢与偏见》中的书信81 《第十二夜》中女性人物特征分析82 学前英语游戏教学法83 超验主义和美国个人主义84 中美大学课堂文化比较研究85 商业意识对美国电影片名翻译的影响86 浅析父权体制下黛西的“他者”形象87 外贸合同中介词的用法与翻译88 汉语请求策略的分析89 A Brief Analysis of China English and Its Future90 性别差异在日常英语词汇和句法中的体现91 从女性意识的角度解读《荆棘鸟》中的女性形象92 英语委婉语及其翻译93 Thackeray’s Ambivalent Attitude towards the Women in Vanity Fair94 An Analysis of Virginia Woolf's Androgynous Vision in To the Lighthouse95 英语新闻标题的汉译方法——以英国《金融时报》中文网为例96 试析中英婚姻生活差异及其原因97 《嘉莉妹妹》中的象征主义98 《嘉莉妹妹》中女主人公的服饰所反映的女性意识99 伊丽莎白．贝内特与简．爱的婚姻观之比较100 《乱世佳人》中的清教主义思想解析101 Analysis of the Factors that Influence News Listening Comprehension102 《远大前程》中乔的人道主义精神103 A Study on the Role of Parents in Primary School English Learning104 分析托马斯•哈代对西奥多•德莱塞的文学影响105 全身反应教学法在儿童英语教学中的运用106 阶级矛盾导致的爱情悲剧―<<呼啸山庄>>解读107 反复在格特鲁德斯泰因的作品《三个女人》中的运用108 中世纪的典雅爱情：本质、渊源和影响109 高中英语课堂师生互动研究110 从时代背景看《唐璜》中个人主义到人道主义的升华111 英语动结式V+PP的语义整合研究112 简析译者文化背景对其处理习语翻译的影响－－《水浒传》赛珍珠译本中的习语翻译113 中西礼貌用语的语用对比研究114 《雾都孤儿》中批判现实主义写作手法分析115 论翻译的艺术116 从读者接受理论看《达•芬奇密码》的成功117 浅谈《红楼梦》诗词的文化意象翻译118 城市公共标识翻译技巧及问题分析119 从三美原则看中国古诗词中酒意象的英译120 《小妇人》中四姐妹的命运121 An Analysis of Word Formation of China English122 简析黑人英语的主要特征及其文化影响123 从礼貌原则角度分析电影《暮光之城》中的对白124 On the Conflicts Reflected in the Character of Rebecca Sharp in Vanity Fair125 从翻译角度浅析英语写作中的中式英语问题126 法律语言及其翻译研究127 中美餐桌文化差异比较研究128 目的论在广告翻译实践中的应用129 高中英语阅读课教学策略130 根据空缺理论在跨文化交际中如何翻译数字131 公示语汉英翻译中的语用失误浅析及对策132 对外新闻的导语编译研究133 American Individualism and Its Reflection in the Film Erin Brockovich134 认知语境在语言交际理解中的作用135 海丝特白兰—清教时代的新女性136 海斯特—《红字》中一位具有反叛精神的女英雄137 从童话看中西方儿童教育的差异138 人文主义思想在《皆大欢喜》中的运用139 从关联翻译理论看《圣经》汉译过程中的关联缺失140 A Comparison of the English Color Terms141 中西文化差异对品牌翻译的影响142 试谈黑人英语在美国电影中的渗透143 产品说明书的翻译技巧144 《安尼尔的鬼魂》中“鬼魂”的象征意义探究145 A Tragedy of Ambition on Macbeth146 英式英语与美式英语的拼写差异147 从《哈克贝里﹒费恩历险记》看马克﹒吐温的幽默讽刺艺术148 基于作品人物浅析菲茨杰拉德149 英语前缀和后缀在初中单词教学中的应用150 论简•奥斯丁《理智与情感》中两姐妹的成长151 英语委婉语教学模式探究152 苔丝悲剧中乌托邦情结的探析153 从意象的角度看劳伦斯短篇小说中女性的婚姻爱情观154 英汉“骨”与“血”的隐喻研究155 中英文旅游广告语言特点对比研究156 数字“三”的文化意蕴及其翻译方法157 Analysis of the Subtitle of White Collar under Skopostheorie158 环境与命运——从自然主义的角度分析《美国悲剧》中的克莱德159 论圣地亚哥性格的多重性及《老人与海》中的悲剧色彩160 在幻想中回归童年──评析《爱丽丝漫游奇境记》161 海洋运输货物保险条款的文体分析162 英汉称谓语对比研究163 企业英文简介中的概念语法隐喻分析164 从生态和消费的角度解读《瓦尔登湖》中梭罗的思想165 中英身份名词翻译中的不对等性166 小学英语课堂教学活动的有效性研究167 《药》的两个英译本中翻译技巧比较168 顺从还是叛逆——解读《汤姆叔叔的小屋》中的基督教义精神169 多媒体在高中英语教学中的应用研究170 小说《飘》中瑞德巴特勒的人物性格分析171 中学英语教学到大学英语教学衔接问题研究172 高中英语教学过程中实施情感教育的研究173 An Analysis of Communicative Language Teaching Method in Teaching Spoken English inChina174 跨文化商务谈判中的语用原则分析175 An Analysis of Life and Death in Mrs. Dalloway176 华兹华斯的浪漫主义文学在《嘉莉妹妹》中的再现177 应对写作逻辑乱象的对策178 《永别了武器》中战争对人类所造成的毁灭179 《麦田里的守望者》中霍尔顿的精神之旅180 维拉•凯瑟《我的安东尼亚》中的生态女性主义分析181 自我效能感对大学生英语学习的影响182 《名利场》利蓓加•夏泼和《简•爱》简•爱的对比研究183 《药》的两个英译本中翻译技巧比较184 《儿子与情人》恋母情结分析185 英语学习者对合作学习的看法186 从功能对等理论看汉语文化负载词的英译187 Pragmatic Empathy and Chinese-English Translation188 英汉语中恐惧隐喻的认知分析189 从功能翻译理论谈美剧字幕翻译190 《美国丽人》中折射出的父母对青少年行为和心理的影响191 体育新闻标题汉译中修辞的作用——以历届奥运会为例192 论《百舌鸟之死》中的百舌鸟象征193 《魔术与童年》翻译中英汉词汇衔接对比研究194 《汤姆·索亚历险记》中所反映的社会问题195 中英茶文化的比较和对比196 美国黑人英语的句法特征197 从功能对等理论来看委婉语翻译198 Cultural Mediation in Interpreting—An Observation from the Perspective of Intercultural Communication199 英语商务合同的文体特点及其汉译200 从东西方文化差异视角看动物词汇的翻译。