从目的论角度浅析美剧《越狱》字幕的翻译

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《越狱》双关语翻译

越狱》双关语翻译
美国FOX电视台的热播剧集《越狱》，由布莱特·莱特纳导演，温特沃什·米勒主演，其第一季剧情扣人心弦：男主角迈克尔·斯科菲尔德的哥哥林肯·巴罗斯几个月就将被以谋杀罪处以死刑，但迈克尔坚信他是被冤枉的。为了拯救自己的手足，他故意抢劫了一家银行，因此而被与林肯关进同一所监狱——福克斯河州立监狱。作为一名建筑工程师，他对监狱的建设蓝图了如指掌，带着林肯逃出监狱也成为迈克尔的唯一目的，但一连串意想不到的人和事接连出现在通向自由的道路上，故事由此而展开。
Wholesale: You keep handing out my jacket, I swear I'm gonna bust your grape.
Fernando Sucre: Man, you couldn' t bust a grape mNapa with a set of cleats on. What are you talking about?Man, you want to bump you gums.
John Abruzzi: It would take Fibonacci.
Michael Scofleld: I' ll give you Fibonacci, I promiseyou that……when the time is right.
John Abruzzi: Time is right now.
4、加注译法。
有的双关语即便牺牲了双关的含义之后译文仍然不能使人完全明白，这时就需要用加注的办法来处理。这种方法在前人的影视翻译理论中曾有提及，但相反的是，他们以影视翻译的“瞬间性”和“无注性”而否定了这种策略(钱绍昌2000)。时过境迁，随着互联网的普及，年青一代的英语学习者以看外语原声电影为一种了解和学习英美文化以及练习口语的有效途径和方法。他们很少去电影院看那种由电影译制片厂配音的英语电影，而是从网上把新近上映的电影下载下来之后，在个人电脑上或是转存到移动数字播放器如MP4等设备里观看，碰到稍难或不懂的地方，他们可以暂停或倒回反复地看、听以及跟读模仿。加注式翻译策略在互联网的字幕组翻译中顺应实际的需要而出现。

从功能翻译理论看_越狱_字幕翻译的得与失_56_60

些密件？为什么你会去新墨西哥见他？别把我当作三岁小孩耍。

真他妈的叫我上火！In conclusion, in some cases both linguistic and culture-bound problems are unavoidable due to possible reasons discussed above. In such cases, subtitle translators still need to try every means to minimize these related problems so as to best convey the information and introduce the cultural elements to the audience, which in turn will serve the communicative purpose of subtitle translation. The following part is just devoted to explaining how to achieve the above-said goals.3.3 Gains: Principles and Strategies for Subtitle TranslationBefore discussing the gains of translating the subtitles of Prison Break (the first season), the author believes that it is necessary to define the terms “gains” in this thesis. As a matter of fact, well translated subtitles mean gains to a particular group of audience. But the “gains” discussed in this thesis are related to some useful and effective translation principles and strategies which the author of this thesis has explored and summarized through a careful study and a thorough analysis of the related aspects as discussed in Chapter One and Chapter Two. These principles and strategies are provided for the subtitle translators to follow so as to best serve the functions of subtitles and the purposes of subtitle translation.According to the Functionalist Approaches, the end justifies the means. Therefore, effective solutions must be explored to solve the problems in subtitle translation. By carefully studying and comparing different subtitle versions of the first season of Prison Break and pointing out some bright ideas of other people, the author summarizes some workable principles and strategies which may wellserve the Skopos of subtitle translation in the following section.3.3.1 Principles for Subtitle TranslationThe author of this thesis assumes that a subtitle translator should at least follow the following two principles in his work to meet the goals of subtitle translation. These two principles are conciseness and instant legibility.3.3.1.1 ConcisenessFirstly, as discussed in 2.2.1.2, screen subtitle is the fourth text type – audiomedia texts according to Text Typology raised by Reiss. In accordance with the features and functions of screen subtitle as well as the purposes of subtitle translation, subtitle version in Chinese should be plain and explicit. Secondly, as we all know, there are totally four channels used to convey messages in subtitled films and TV series. One channel is the verbal channel, including the dialogues and other voices like the background music. The second one is the non-verbal channel which is composed of all kinds of natural sounds like the sounds from the waves or trees and of the special sound effect and music. The third channel is verbal and visual channel including the subtitles and other forms of texts appearing in the films or TV series. The fourth one is the nonverbal visual channel including the characters, backgrounds, moving images, lighting and other various means applied to create different situations in the movies and TV plays. Therefore, the messages of subtitled films and TV series are not only created by subtitles. Subtitles may make no sense to viewers without the participation of other three channels. To a great extent, the message delivery depends on the other three channels, especially on the non-verbal visual channel. Thus, to establish a coherentnarrative, viewers will deal with the image information simultaneously along with reading subtitles. If each subtitle is a long and word-for-word translation, the audience will have to process the linguistic information with much effort. They will probably focus on the subtitles at the cost of appreciating the images, music and special sound effects. Furthermore, reading too lengthy subtitles will cause eye tiredness.Therefore, as a tool to help the audience to overcome language barriers and to enjoy foreign films and TV plays, subtitles should not become a burden for them. On the contrary, they should be aimed and designed to provide the audience with the core information of the dialogues; they should guarantee fast readings and leave enough time for the audience to concentrate on and appreciate the images. Only in this way will the purposes of subtitle translation are met. Thus the most fundamental principle for subtitle translation is that the translated subtitles must be concise. Besides, the space constraint also does not allow too long sentences in the subtitle versions. Let’s take a look at the following example which will tell us why it is important to make subtitles concise.Original:Sarah: What happened?Michael: Uh, nothing.Sarah: There isn’t nothing, Michael. I need you to tell me what happened.Michael: Don’t make me lie to you, please.Subtitle Version 1:Sarah: 发生什么了？Michael: 哦，没什么。

从功能翻译理论看_越狱_字幕翻译的得与失_16_20

Bühler’s model describes the communication between a sender and a receiver by including a third party, the objects or states of affairs. A communicative function is then attributed to each act of communication, depending on which of the three parties involved was focused on most heavily. When the focus is on the sender, we speak of the expressive function of communication. When the focus is on the objects, the function is representative. The third function refers to communication where the focus is on the receiver. This function is called appeal.Bühler’s theories about language functions are very influential to many other linguists. Jakobson is just one of the beneficiaries. He developed the theories of language functions and categorized language functions into five aspects: informative function, expressive function, conative function, phatic function and poetic function. Other two scholars K. Reiss and Peter Newmark also proposed their opinions on language functions.Based on the language functions as devised by the above-mentioned scholars, we can come to such a conclusion that language has various functions. As for screen subtitle, the author of this thesis holds that the language used in screen subtitle has two basic functions, namely, informative function and appellative function. This is because both the sender and receiver of the screen subtitle are the focuses in the communication between them.1.1.2.1 Informative FunctionAs being discussed above, the relation between the context and the language itself represents the informative function. As for screen subtitles discussed in this thesis, the context refers to the situations and occasions which have been designed in films or TV plays, and the language refers to the conversations or dialoguesbetween different speakers. The relation between the two represents the informative function of screen subtitles. On the other hand, screen subtitles serve as a tool for the audience to understand and appreciate what is going on in a film or TV play. That is to say that the audience get the information basically through these subtitles. In one word, subtitles are informative and they can provide necessary information to help the audience appreciate films and TV plays.1.1.2.2 Appellative FunctionSimilarly, subtitles have the appellative function which is represented by the relation between the sign or message and the addressee. By saying so, it means the subtitles can influence the addressee or audience with the changing emotions of the movie actors and actresses. Under the influence of these, the audience can really enjoy foreign films and TV plays.Besides the two major above-mentioned functions of screen subtitles, the language of a film or TV play also has both psychological and sociological functions, such as expression and modelling of reality, and cognition in the interpersonal, informative, imperative and emotive areas. Moreover, the language of films and TV plays also serves as a tool to entertain and educate people. When the audience are enjoying a film or a TV play, they will also be influenced to some extent by the plot and the characters, which are reinforced by the language used in it.1.1.3 Features of Screen SubtitleBefore coming to the features of screen subtitles, we need to have a look at the characteristics of film or TV play language. Firstly, the language of films orTV plays is visual and audible as the film or TV play is an integration of both moving pictures and sounds. Secondly, the language of films or TV plays is compact and lucid. Thirdly, the language of films or TV plays is rich and varied in style because the actors and actresses may represent different people from all walks of life.As for the features of screen subtitle, different people hold different opinions because they argue from different perspectives. The author holds that the subtitle of films and TV plays is featured by casual spoken language, frequent use of idioms and slangs and culture-specific expressions which also involve many swearwords.1.1.3.1 Casual Spoken LanguageAs a specific language form, screen subtitle has its own features. Casual spoken language is just one of the most distinctive ones. As a translated and written form of dialogues in movies, screen subtitles are full of very casual spoken words and expressions instead of formal and literary ones. It is just these casual spoken words and expressions that make screen subtitles easier for the audience to follow and understand. The following two examples from Prison Break can help to prove the above point.Original:Bellick: I thought you were gonna have a conversation with him.John: Yeah, I did. Things, uh, escalated.Sarah: Bring him on into Three. Cathy, I’m gonna need ten CC’s ofXylocaine. Thanks, guys. I’ll take it from here. I said thank you. I’ll take itfrom here.Subtitle Version:B：我原以为你只是要和他谈谈。

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。

目的论视角下的美剧字幕翻译

１字幕翻译的介绍
３．１目的论应用于字幕翻译可遵循以下步骤：
（１）了解背景主题，捕捉大量出现在剧中的专业词汇。如侦
探戏剧，喜剧，要根据不同背景主题选择正确的词翻译。这样译者才不会错译或遗漏。（２）重复观看，我们可以对目标语观众的语言和文化特征进行理解，实现信息和文化交流。（３）译者选择翻译策略和方法并开始做字幕翻译。在翻译过程中，我们应该根据翻译的问题调整翻译策略。根据字幕实际情况，可寻求经验人士帮助。在翻译过程中，翻译应基于目的论，选择适当的翻译策略，使目标语言受众更好地理解和欣赏。３．２美剧字幕翻译目的的体现翻译属于一种人类行为，在一定情况下发生的故意和有目的的行为。所以字幕翻译便是有目的的活动。根据目的论，美剧字幕翻译的目的是能够让观众理解和欣赏。译者需要采用适当的翻译策略，提供简洁，易于理解的翻译字幕。翻译时译者须始终牢
中图分类号：ｌ１０６文献标识码：Ａ文章编号：１６７２— ５８３２（２０１７）０８— ００８４— ０１３应用目的论到字幕翻译
随着信息技术发展，外国影视剧进入中国市场，且越来越受欢迎。由于不同国家的语言和文化差异，字幕翻译帮助观众更好地欣赏外国影视剧，了解外国文化。目前中国字幕翻译的研究还不成熟，缺乏系统性理论指导。本文从目的论的角度分析了英汉字幕翻译，并列举了美剧《妙警贼探》中的例子。

《越狱》中文化词语的翻译策略

·秽Ｊ苫于中Ｋ越狱冲文化词语的翻译策略【摘要】影视剧是丈学的表现形式，更是文化交流的载体．作为新生代导演布莱特·莱特纳（ＢｒｅｔｔＲａｔｎｅｒ）的得意之作，《越狱》具有鲜明的美国文化特色，它带给观众很多深刻的思考和启迪，其文化词语的中文字幕翻译策略就是一个值得探讨的重要方面。

【关键词】《越狱》影视字幕文化词语翻译策略一、引言《越狱））（ＰｒｉｓｏｎＢｒｅａｋ），由布莱特·莱特纳（ＢｒｅｔｔＲａｔｈｅｒ）导演，温特沃什·米勒（ＷｅｎｔｗｏｒｔｈＭｉｌｌｅｒ）主演，是美国ＦＯＸ电视台２００５年至２００６年的热播剧集。

《越狱》第一季的剧情惊心动魄：天赋极高的建筑师迈克尔·斯科菲尔德（ＭｉｃｈａｅｌＳｃｏｆｉｅｌｄ）的哥哥林肯·巴罗斯（ＬｉｎｃｏｌｎＢｕｒｒｏｗｓ）被控杀人入狱。

被判死刑。

迈克尔坚信哥哥清白无辜，自己设计“抢窃银行”入狱，与哥哥关进同一座监狱，以实施越狱计划，力图营救哥哥。

他事先把监狱地图纹在自己身上，查阅监狱关键犯人的资料。

周密部署越狱成功后的计划。

可谓未雨绸缪。

与此同时。

陷害林肯入狱的副总统派出特工加紧行动．对他们进行再次迫害。

最后，在同样想越狱的犯人配合下。

几经周折。

兄弟俩成功逃出监牢。

二、汉语字幕翻译中的文化词语事实上，在中国，大部分人都不具备直接欣赏外语影片的能力。

也不知从什么时候开始，互联网上出现了这样一个名叫“字幕组”的群体。

以翻译国外影视剧为乐，语种遍及英文、日文、韩文等。

其中又以英文势力最大。

他们以论坛为核心，靠ＭＳＮ／ＱＱ联系。

彼此之间自发形成一个相对严密的组织，从片源、时间轴、翻译、校对、压片。

到最后的Ｐ２Ｐ发布，每个环节都有专人负责。

他们勤劳工作，效率奇高，却分文不取．行事低调。

深得网民的敬重。

有一种说法，国内美剧论坛中有三大字幕组，分别是。

伊甸园”、。

謦灵风软”和。

ＹｙｅＴｓ”。

其中又以伊旬园版本的字幕评价最高、人气最望。

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。

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。

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。

《瓦尔登湖》两个译本片段的比较赏析

湖南师范大学（专业学位）硕士研究生课程论文论文题目从目的论视角看《越狱》的字幕翻译课程名称翻译评论专业学位类别翻译硕士专业领域英语笔译姓名龚珍学号201570080421学院外国语学院学历生☑非学历生□日期2016 年 2 月13 日（以下内容由教师填写）从目的论看电视剧《越狱》的字幕翻译《越狱》一部风靡全球的电视剧，它的出世，创造了电影史上的奇迹。

由于非常受欢迎连续拍了四季，第一季22集，第二季22集，第三季13集，第四季22集。

监狱本来就是一个非常神秘的地方，从监狱里逃出来就显得更神秘了，《越狱》就利用了人们这个心理取得了巨大的成功，《越狱》是2003年著名的电视剧，从电视剧发行以来至今《越狱》在互联网电影数据库的史上最佳250部电影影迷评选中。

一直以来都位居前三位，也是至今最多影迷参与评分的电视剧，在2005年的奥斯卡奖中，该片获得8项提名，被称为电影史上最完美的影片。

好莱坞最受欢迎的电视剧，重温这部轰动全球的经典之作，尽管岁月留下斑驳的痕迹，但影片本身依然摄人心魄，但不可否认的是这部电影之所以有如此巨大的国际影响，其外文字幕翻译的功劳是不可否认的。

在该影片的字幕翻译中，翻译目的论得到了充分的体现，译者成功的揣摩了中国人思维习惯及东西文化差异。

保留了原电影的文化色彩，只有当译文能明确翻译目的多角度真实反映生活，译文才能帮助受者理解并欣赏电影，这在字幕翻译中显得极为可贵，值得我们深思和研究。

以下我将从翻译目的论角度分析《越狱》的字幕翻译。

一．目的翻译理论简介以赖斯、弗米尔、曼塔莉和诺德为主要代表的功能主义目的论Functionalist Skopos Theory是当今世界颇有影响力的翻译理论学派之一。

“skopos”是希腊语，其意思为目的、意图、目标和功能。

在功能主义目的论出现以前，主流的翻译学派都把重点放在原文本上。

然而，目的论却颠覆了这一传统，它将译者应该关注的重心移到了译文上。

目的论学者认为，在翻译进行之前，就应该决定翻译的目的或要达到的目标。

从功能翻译理论看_越狱_字幕翻译的得与失_21_25

Michael: Scofield, Michael. 94941.Bellick: You are a religious man, Scofield?Michael: Never really thought about it.Bellick: Good, ‘cause the Ten Commandments don’t mean a box of piss inhere. We got two commandments and two only. The firstcommandment is you got nothing coming.Michael: What is the second commandment?Bellick: See commandment Number 1.Subtitle Version:B：姓名和背号。

M：Scofield, Michale，94941。

B：你信教吗, Scofield？M：压根儿就没想过要信。

B：很好。

《十诫》在这里狗屁都不是。

这里只有两戒。

第一戒就是什么都别指望。

M：第二戒呢？B：看第一戒。

This is a dialogue between Michael and Bellick for the first time after Michael was sentenced to prison. In this dialogue, there is a phrase “Ten Commandments” which is a culture-specific expression. As we all know, the western culture to a large extent is related to Christianity and many English terms come from the Bible. “Ten Commandments”, also called Decalogue, is just from the Exodus and Deuteronomy of the Old Testament.1.2 An Overview of Subtitle TranslationSubtitle translation as one part of the whole process of subtitling refers to the work of translating subtitles. Subtitle translation can be classified according to different criteria. Generally speaking, there are two types of subtitle translation from the perspective of linguistics. They are intralingual subtitle translation and interlingual subtitle translation. Intralingual subtitle translation is vertical in the sense that it involves taking speech down in a written form, changing mode but not language. Interlingual subtitle translation is diagonal in the sense that it involves taking down speech in another language, thus changing both mode and language.1.2.1 Skopos of Subtitle TranslationSkopos is a Greek word and it means purpose or goal in English. As we all know, there must be a certain purpose involved in whatever activity we are involved in. Subtitle translation is not an exception. Therefore, “the prime principle determining any translation process is the purpose of the overall translation action. This fits in with internationality being part of the very definition of any action” (Nord 27). The same is true with translation.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 source language’). Nevertheless, the term Skopos usually refers to the purpose of the target text” (qtd. in Nord 27-28).As to subtitle translation, it is clear that it must serve many different goals. As it has been mentioned in the “Introduction”, the subtitle translation work on the Internet is mainly done by many amateur translators who do the work possibly for fun or something else because they are actually not paid for their efforts, which actually serves to entertain the audience and introduce the foreign culture.According to Fotios Karamitroglou,“the general practice of the production and layout of TV subtitles should be guided by the aim to provide maximum appreciation and comprehension of the target film as a whole by maximizing the legibility and readability of the inserted subtitled text”.2In the author’s opinion, the first goal of subtitle translation is its communicative purpose. In other words, subtitle translation intends to give the necessary information so as to help the audience understand and appreciate foreign films and TV plays. Meanwhile, subtitle translation is also responsible for introducing the foreign cultures to audience.1.2.2 Status Quo of Subtitle Translation in ChinaAs has been clarified above that subtitle translation refers to the practice or action of translating subtitles, it is natural for the author of this thesis to focus on discussing the technical constraints on subtitle translation as well as the major reasons for the poor translation quality when expounding the status quo of subtitle translation even though it involves more than the following two aspects. By so doing, the author aims to lay a foundation for the search for proper solutions which will be discussed in Chapter Three concerning both the linguistic and cultural problems.2Refer to /journal/04stndrd.htm available on April 1, 2009.1.2.2.1 Translation ConstraintsIt is clear that the subtitles are different from the written texts or even the scripts. In the process of subtitling, there are two major technical constraints against the subtitle translation or two major translation bottlenecks confronting the subtitle translators. These two bottlenecks can be called as technical constraints: space constraint and time constraint which are closely related.1) Space ConstraintAccording to Fotios Karamitroglou,“in order to minimize the impact of the written text on the moving actions of a movie or TV images, it is always a common practice to present a maximum of two lines of subtitles at a time. This would ensure that no more than 2/12 of the screen image would be covered by subtitles at a time. In the case of a single-line subtitle, this should occupy the lower one of the two lines, rather than the top line in order to minimize the interference with the background image action. Given the width of the screen, and taking the most important need for comprehensibility into consideration, each line usually carries a maximum of thirteen Chinese characters including the blanks and punctuations. The reality is that the audience can read a two-line subtitle of seventy characters in six seconds. This is why the subtitle translation must be concise and clear with the subtitled text centered on its allocated lines for the convenience of viewing and reading”.3Undoubtedly, we could only focus on “reading” the subtitles instead of enjoying the other effects created in films or TV plays such as the music, the audio effect and the visual pictures if the subtitles were too long. Therefore, short English sentences must not be translated into long Chinese sentences although the3Refer to /journal/04stndrd.htm available on April 1, 2009.long sentences might sound very natural.Let’s take a look at the following examples.OriginalJudge: Rarely in the case of armed robbery do we hear a plea of no contest.Subtitle Version:法官：我们几乎没有见过武装抢劫案件中，辩方完全不予抗辩的。

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。

目的论视角下英文影视字幕的翻译策略研究

目的论视角下英文影视字幕的翻译策略研究随着当今世界对外开放程度的提高，各国文化交流日益增多。

影视剧作为承载大众文化的重要方式，是现实生活的缩影，起着沟通文化的作用。

字幕翻译作为翻译领域的新兴技术，为使观众达到听觉和视觉的巧妙结合，在逻辑性、艺术性、感染力等方面有着极高要求。

本文以德国功能主义目的论为理论关照，结合电影翻译语言的特点，以多部经典影片翻译材料为例，在字幕翻译所遵循的两个基本原则分析上，提出并针对相应的翻译策略进行阐述说明。

标签：影视字幕；目的论；基本原则；翻译策略全球化的发展带动各国文化的交流，观看带有优秀字幕翻译的外国影视剧便成为人们了解一个国家和民族丰富的社会文化、风土人情、习俗惯例、人文地理等方面的有利渠道，集娱乐与教育于一身。

之前也有学者对字幕翻译做过相关研究：吴远征以情景喜剧《老友记》为例，探讨了翻译目的论对影视字幕翻译的影响。

其认为影响主要体现在两个方面：一是理论指导，因为影视字幕翻译具有明确的目的性，必然要以“目的论”为理论指导；二是方法运用，因为任何翻译方法的运用，都必然取决于译者的翻译目的。

余帅采取个案研究方法，以美剧《越狱》（第一季）中字翻译为例，探讨目的论在字幕翻译过程中的适用性。

康艳艳在功能目的论的指导下，从目的语中国观众的角度出发，综合运用了增译法、减译法、直译法、意译法多种翻译方法策略，对电影《阿凡达》的中文字幕进行研究，探讨功能目的论对字幕翻译的积极指导作用。

一、目的论及影视字幕翻译基本原则（一）目的论目的论是20世纪70年代末由汉斯·威密尔提出的一种功能主义翻译观。

是将Skopos概念运用于翻译的理论，其核心概念是：翻译过程的最主要因素是整体翻译行为的目的。

其发展经历了四个阶段。

目的论学者认为，翻译过程应遵循三大法则：1.目的法则，指译文要服务于交际目的；2.连贯法则，指译文必须符合“语内连贯”的标准，也就是说译文必须能让译语读者接受，并在目的语文化及其译文的交际环境中有意义；3.忠实法则，即应保持对原作的忠实。

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。

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.。

从目的论角度浅析美剧《越狱》字幕的翻译

最新英语专业全英原创毕业论文，都是近期写作1 《尤利西斯》的象征艺术2 Application of Cooperative Principles in the Study of Intercultural Business Negotiation3 论《小妇人》中的美国清教思想4 论口译中的跨文化意识5 成长于丧失童真与无处不在的死亡威胁——《爱丽丝漫游仙境》之后现代主义解析6 中英文法律谚语比较及互译技巧7 英语专业学生语音能力的影响因素及其对策8 英汉谚语的文化对比及翻译9 产品说明书的文体特征及其翻译10 中英礼仪文化禁忌比较与跨文化交际11 浅析英语新闻标题的语言特征12 浅析《老人与海》中桑提亚哥丰富的精神世界13 文档所公布均英语专业全英原创毕业论文。

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Elements in The Adventures of Huckleberry Finn92 《飘》中斯佳丽的性格特征解读93 中外酒文化差异分析94 Foreign Publicity Translation95 American Country Music96 《喜福会》中的中美文化差异97 浅谈英语教学中的情感教学98 功能翻译理论关照下的英汉商标翻译99 爱情至上——浅析海明威笔下的女性形象100 浅析国际商务谈判成功之道101 The Analysis of Promotion Strategy of L’Oréal in China102 《永别了，武器》中海明威和他的爱情观103 死亡，马丁•伊登的解脱－－-对伊登自杀必然性的探究104 以《哈利波特与消失的密室》为例探讨哥特式风格在哈利波特小说系列中的应用105 The Admiration of Great Gatsby106 论企业简介中文到英文的翻译107 情态人际意义的跨文化研究108 An Appeal for Oedipus Rex109 公示语英译错误分析110 An Analysis on Cultural Differences in Translation111 小学英语教学中的情感因素初探112 The Application of Cooperative Learning in High School English Teaching113 浅析霍桑罪恶观在《拉帕西尼的女儿》中的体现114 汉语中的英语外来语115 浅析《白牙》中爱的力量116 《茶馆》英译本的翻译对比研究117 英语词汇中的性别歧视现象及回避方式118 唐•德里罗《白噪音》中精神生态的建构119 宋词英译中的模因传播分析120 《儿子与情人》中扭曲的爱121 Advertising and Its Application122 The Racial Stereotypes in American TV Media123 消极浪漫主义和积极浪漫主义——华兹华斯和雪莱的比较研究124 解析《拉帕西尼之女》中贝雅特丽丝125 论接受理论对儿童文学作品的影响——以《快乐王子》中译本为例126 A Study of Pragmatic Functions of Fuzzy Language in English Advertisements127 基于中西文化差异的翻译策略研究128 文化交际视野下的语用失误分析129 双语对认知发展的影响130 《哈利•波特》中斯内普的人物分析131 解析《永别了，武器》中亨利的人物形象132 关于高中英语课堂内自主学习的思考133 论跨文化交际中的中西文化冲突134 论《威尼斯商人》中的人物夏洛克135 跨文化视角下动物寓意的对比及其习语的翻译策略136 《纯真年代》中的双性同体和自我实现137 小说《鲁滨逊漂流记》中的精神力量分析138 海明威的“冰山原则”与其短篇小说的人物对话139 《飘》两中译本的比较研究140 英语委婉语的语用分析141 交际教学法在高中英语语法教学中的研究142 《麦田中的守望者》中霍尔顿的异化143 论麦琪的悲剧144 理想与现实的距离——《麦田里的守望者》中主人公霍尔顿的求索之路145 “It be Adj of sb to do sth”中形容词语义的构式语法研究146 动物成语的英译147 《魔戒》中的女性人物148 《傲慢与偏见》基本婚姻观背后的世纪英国社会历史因素149 An Analysis of Fagin in Oliver Twist150 英语新闻标题中名转动词的认知阐释151 命运与性格－－浅论《哈姆雷特》的悲剧因素152 外交语言策略中的合作原则153 项目教学法在英语写作课中的应用154 《诗经》与《圣经•雅歌》中爱情诗的比较研究155 法律英语词汇特点及其翻译156 不可撤销信用证在国际贸易中的作用157 英语教学中的文化意识158 《红字》中女权主义意识探析159 电影字幕汉译的归化与异化160 On Emily Bronte's Self-realization Through the Characters in Wuthering Heights161 体育新闻标题翻译的关联理论视角162 分析双城记中的讽刺用法163 跨文化因素对字幕翻译的影响164 简析《雾都孤儿》中善与恶在人物塑造上的体现165 The Social Significance of The Merchant of Venice from the Perspective of Modern Society 166 对比评析《了不起的盖茨比》中尼克和盖茨比的梦想167 A Comparative Study on the Symbolic Meanings of Color Red Between The Scarlet Letter and Tess of the D’Urbervilles168 女性主义视角下《大地》的解读169 英语阅读现状分析及对策170 浅析《飘》中斯嘉丽的婚姻观171 从功能对等理论角度看校训的汉英翻译原则172 解析威廉布莱克《老虎》中的修辞运用及其对英语写作的启示173 Jane Austen’s Opinion towards Marriage in Pride and Prejudice174 显现的被动•隐现的自我——《看不见的人》中被动语态的身份建构功能研究175 简奥斯汀对英国小说的贡献——以《傲慢与偏见》为例176 An Analysis of The Woman Warrior from the Perspective of Construction of Discrete Identity in Chinese American Community177 The Symbolic Meanings of Letter “A” in The Scarlet Letter178 A Comparison of the English Color Terms179 寻找真正的自我180 Cultural Factors in the Translation of English Idioms181 On C-E Translation of Neologisms from the Perspective of Nida’s Functional Equivalence Theory182 合作原则下幽默的语用分析183 浅谈礼仪在商务谈判中的重要性及其相关策略184 作为失败者的淑：双性同体视角185 现实主义在伊迪丝•华顿的小说《伊坦•弗洛美》中的体现186 小说《嘉莉妹妹》中女性成长的分析187 浅析《七个尖角阁的房子》中象征手法的运用188 Puritanism in The Scarlet Letter189 从社会符号学角度浅谈汉语“一”字成语翻译190 On Misreading in Reading Comprehension from the Perspective of Discourse Analysis191 《了不起的盖茨比》中色彩的象征意义（开题报告+论）192 从语境理论角度分析奥巴马就职演说词语篇193 从生态女性主义视角解读《野草在歌唱》中的女性角色194 从美学角度浅谈英文电影片名的翻译195 论王尔德在《道林格雷的画像》中的美学思想196197 从文化价值的角度解读歌王迈克尔•杰克逊的艺术影响198 关于战争对英语习语的影响的研究199 On Nabokov’s “Lolita” and Its Adaptation into the Movie by Stanley Kubrick200 Translating News Concerning China in Global Times: Approaches and Strategies。

从功能翻译理论看_越狱_字幕翻译的得与失_26_30

By comparing subtitle version 1 and subtitle version 2, we may safely say that the latter is much better than the former since the latter is more concise and legible without missing any necessary information of the original words.2) Time ConstraintBesides space constraint, the time constraint should not be neglected. As we know, the audience has to process the information both from ears and eyes at the same time when they are appreciating a film or a TV play. In such a case, good handling of the processing time of subtitles is very essential to the quality of the films and TV plays. It makes sense that the presence of subtitles should be long enough for the average viewers to catch the meaning. But on the other hand, they should not stare at the words on the screen for too long. Otherwise, the audience will get bored and even confused because they would have no time to see the actions and happenings.To discuss it in detail, the time of presentation of subtitles is subject to the following four factors: the duration of the utterance in the original version, the reading speed of the audience, the visual information provided on the screen which also needs to be understood clearly by the audience and the editing style used in the films and TV plays. However, different people might handle the timing differently. But the usual and widely-accepted practice is that a single-line subtitle may appear on the screen for about two seconds and a two-line subtitle may stay up to seven seconds while a three-line subtitle may stay on the screen for eight to nine seconds.As to the lead-in time, Karamitroglou proposes that “subtitles should not be inserted simultaneously with the initiations of the utterance but one fourth second later, since tests have indicated that the brain needs one fourth of a second toprocess the advent of spoken linguistic material and guide the eyes towards the bottom of the screen anticipating the subtitle”4. However, the lead-in time can not be longer than one second of a second. Otherwise, the audience will be waiting for the subtitles and doubt whether the subtitle they see matches what they are listening to.Besides the above mentioned two constraints, the subtitles should also meet the following requirements5:a) The subtitle projection has to be synchronized with the original dialogues. In other words, the subtitles have to appear at the bottom of the screen at almost the same time as the actors or actresses speak and have to disappear when they stop speaking.b) In order to ensure that the audience can finish reading the subtitles, no subtitle should appear less than one second.c) There has to be some time between subtitle projections so that the audience realizes that there is a change of subtitles. Otherwise, they would not realize that there has been a change and will not be able to follow the new message.d) A subtitle should not run over a cut or change of scene.In short, the subtitle translators have to handle the two above technical constraints well in the process of translating subtitles with the aim of making the subtitles more concise and more comprehensible to facilitate the audience to enjoy foreign movies or TV plays.1.2.2.2 Multi-level TranslatorsBy saying multi-level translators, the author of this thesis means that the 4Refer to /journal/04stndrd.htm available on April 1, 2009.5Refer to /workshops/almodovar/ which is available on April 4, 2009.subtitle translators on the Internet are at different levels in terms of language proficiency, education background and level of translation craft.As a matter of fact, there exists a group of people called “subtitling group” behind the fast spread and vast popularity of these popular American TV plays on the Internet. On the one hand, those people of the “subtitling group” deserve our warm applause and sincere thanks. On the other hand, for the reason that the people who are in charge of translating the original subtitles are at different English levels and have different education backgrounds, the quality of the target subtitles varies in many aspects. Therefore, the fact that most of those subtitle translation work is done by the multi-level translator also represents the status quo of subtitle translation on the Internet. This is also one of the reasons why both linguistic problems and cultural-specific problems might occur in the translation of subtitles.The so-called “subtitling group” actually refers to a group of volunteers who are crazy about the popular American TV series. They take the responsibility of downloading, translating, subtitling, uploading and transmitting the popular American TV series with the help of the advanced information technology. These volunteers work for no pay. They are also the netizens throughout the world. They consider it funny and interesting for them to present the popular American TV series to the domestic audience at the earliest possible time. Thanks to their kind work and enthusiasm, the domestic audience can appreciate the popular American TV series almost simultaneously with the American audience. However, this was impossible several years ago.The subtitling in Chinese would undergo the following strict and step-by-step process. Firstly the people in the “subtitling group” are assigned a specific jobaccording to their specializations. When a new episode of the popular American TV series is broadcast on TV in America, the people in charge of recording will begin recording that episode and copying it in FTP (File Transfer Protocol). The people in charge of conveying the TV play also begin with their work quickly. After getting the episode source, the translator will soon translate the original subtitles into the target language for instance Chinese. After that, some other people will work on making the time lines so as to concert the subtitles with the visual pictures in the TV plays. And then a subtitled episode is uploaded onto the Internet for the common netizens to download and enjoy.Based on the above detailed discussion about screen subtitle, subtitling and subtitle translation as well as the main difficulties confronting the subtitle translators, the author of this thesis holds that it is essential to apply a mature translation theory to subtitle translation so as to guide this specific translation practice. After comparing different prevailing translation theories, the author finds the theory of Functionalist Approaches is more appropriate to be applied mainly because each aspect of the Functionalist Approaches is closely connected with subtitle and subtitle translation. Moreover, few people ever attempted to apply this theory to subtitle translation in the earlier studies. This is also an incentive encouraging the author to apply the Functionalist Approaches in his thesis.Chapter TwoFunctionalist Approaches and Subtitle Translation2.1. “German School” and Functionalist Approaches“German School” is actually composed of a group of famous German scholars. These representative scholars include Katharina Reiss, Hans J. Vermeer, Justa Holz-Mänttäri and Christiane Nord. Each of them has put forward their own translation theories under the core idea of Functional Approaches which began to flourish in Germany since the 1970s.In 1971, Katharina Reiss published a book named Possibilities and Limits of Translation Criticism, which indicates the emergence of “German School”. Before the emergence of “German School”, many scholars including those German scholars in the western countries based their studies of translation on linguistics, under which translation is considered as a process of transferring codes. These translation theories highlight the importance of maintaining the original text type in the target text because they seek for a kind of equivalence. However, the functionalist scholars hold that the so-called equivalence in translation cannot be fully realized and sometimes even unnecessary.In 1997, Christiane Nord published her famous book Translating As A Purposeful Activity – Functionalist Approaches Explained. In this book, she collects all the representative translation theories of “German School” and gives a very detailed introduction to them while explaining their inter-relations. Their inter-connected relations can be explained by no better than the logic linking them all together. This logic goes like this: language has functions and translation mediates the communication between different people speaking different。

以《越狱》为例探讨外国影视语言翻译

作者：冯德平
作者机构：四川传媒学院,四川成都611745
出版物刊名：电影文学
页码： 157-158页
年卷期： 2014年第4期
主题词：外国影视;语言翻译;《越狱》
摘要：随着我国经济的发展、国际地位的提高,国家的开放程度日益提高,中外文化的交流也日益频繁.影视翻译是外国电影走入中国市场的必要环节,而由于中外文化的差异以及思维方式的不同,影视作品要想获得较好的市场关注就必须做好翻译工作.影视翻译也是翻译大家庭的重要一员,作为文化传播以及国际交流的手段,影视翻译的语言也具有其自身独特的特点.本文主要以美国影视剧《越狱》为例,介绍了影视翻译的特点以及翻译技巧,以期为外国影视传入中国提供些许建议.。

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