根据功能主义翻译目的论看《甄嬛传》字幕

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从功能主义目的论视角看美版《甄嬛传》中的汉英翻译不可译现象

１功能主义目的论翻译的过程中很难做到完全等值，卡特福德对翻译的定义如
出来。
例如，原版《甄煨传》中最让人印象深刻的就是各位 “ 娘娘” 们特有的位分和封号，如 “ 皇后，皇贵妃，贵妃，妃，嫔，贵人，常在，答应，官女子 ” 等，这种位分和封号的区分反映出我国古代尊卑有别，君臣之分的等级制度。
３．２背景知识中，演员蒋欣所塑造的 “ 华妃娘娘 ” 心狠手辣，独断专行，杀伐决断的形象可谓是深入人心，在原版《甄娘传》第二集中，夏常在因与甄擐、沈眉庄、安陵容等人不和而被华
对理解华妃心狠手辣的性格特点产生了不小的障碍，从而造成了这段剧情的不可译性。４结语
然而在美版《甄嫒传》中，我们不难发现虽然已经尽量避免了大量不可译现象，但是仍旧在剧中有着大量的 “ 甄嫒体 ” 的台词并不符合功能性翻译学派的目的性翻译理论的基本原则。
厚，五尺长的木板鞭打女性臀部以下部位，只打到血肉模糊为止，远远看去一片鲜血淋漓，故名日 “ 一丈红 ” 。这种古代刑罚在美版《甄娠传》中被翻译成 “ ＳｃａｒｌｅｔＲｅｄ ” ，无法将此刑罚的残忍和血腥传达给目的语观众，加上原版《甄嫒传》中并没有画面对该刑罚进行展示，所以目的语观众更是无法体会到这种酷刑的残忍所在，也

生态翻译学视域下美版《甄缳传》的字幕翻译

生态翻译学视域下美版《甄缳传》的字幕翻译作者：袁春波来源：《黑龙江工业学院学报（综合版）》 2017年第5期摘要：运用生态翻译学中的语言维、文化维和交际维的三维转换的翻译方法，可以分析电视剧《甄嬛传》字幕翻译中的成功和不足之处。

分析结果表明译者进行影视字幕翻译时需要保持原语和译语的语言生态、文化生态和交际生态的协调平衡。

关键词：生态翻译学；影视字幕翻译；美版《甄嬛传》中图分类号：H315.9文献标识码：A郑晓龙导演的电视剧《甄嬛传》讲述了甄嬛从不谙世事的单纯少女，历经沉浮磨难，最终成为善于谋权的皇太后的故事。

《甄嬛传》得以持续热播，剧中优雅复古的台词功不可没。

伴随该剧走出国门，剧中台词的翻译引起了人们的广泛关注。

2015年，由美方专业人员翻译而成的美版《甄嬛传》在美国Netflix网站热播（配有中英文字幕的美版《甄嬛传》随后在中国乐视网热播），实现了预期的播出效果，这与其成功的字幕翻译密不可分。

影视字幕翻译在影视作品对外传播中不可或缺，生态翻译学理论能够用来合理地分析和阐释美版《甄嬛传》字幕翻译中的成功和不足之处。

一、影视字幕翻译影视字幕是指影视屏幕上呈现的旨在帮助观众理解影视作品的文字，具有聆听性、无注性、瞬时性、通俗性和综合性等特点；瞬时性要求影视字幕含义明确、言简意赅，通俗性要求影视字幕通俗易懂、简洁流畅，综合性要求影视字幕与影片的声音、图像等其他要素相辅相成。

［1］61-65影视字幕翻译是将原语译成目的语并置于屏幕下方，［2］163-164是影视信息传递在视觉上的解释性补充说明。

［3］93-97影视字幕翻译受到时间和空间等因素的影响显著，［4］38-40其根本任务在于服务观众，帮助观众理解影视作品。

［5］152-153影视字幕翻译在影视作品的对外传播中不可或缺，其翻译质量的优劣影响观众对影视作品的理解和接受、影响影视作品对外传播的效果。

二、生态翻译学理论在达尔文进化论的基础上，清华大学胡庚申教授提出了生态翻译学。

交际语境顺应视角下美版《甄嬛传》的字幕翻译

图ｌ：
语啻的选择
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ｒ变辩性
ｒ谮雷使用者
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ｒ谮境燕舔的珊璁
四缝黢ｌ动态｝瞬艘
Ｌ踬睫的意识凸鼹
顺应这一概念最早由比利时语言学家、国际语用学会秘书长Ｖｅｒｓｃｈｕｅｒｅｎ在
Ａｄａｐｔａｔｉｏｎ－文中提出。之后，Ｖｅｒｓｃｈｕｅｒｅｎ在幽ｆ
去理解和诠释语用学。ｌ１
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回答 “ 是哪些顺应的相关成分促成了并（或者）受影响于所做的选择 ”¨ ５］。它包含了交际过程中所有可能的元素。 “ 语境 ”
就是语言交际的环境，用来指与话语相互顺应的一切因素或者影响话语处理的一切因素，包括交际语境和语言语境。＿６交际语境与语言选择相关联。总体来说，它包括语言使用者的心理世界、社交世界和物理世界。心理世界主要指语言使用者
的个性、信仰、欲望、动机等情感和认知方面的因素。社交世界指的是社交场合和文化等社会因素。语言使用者在使用语
言时必须符合一定的社会规范和准则。物理世界指交际过程中的时间和空间的指称关系。交际语境顺应与语用综观论关系如图１所示。语言的顺应要依赖语境，故语境关系顺应是语言顺应的重要环节。＿７

功能翻译理论视角下的《甄嬛传》海外版翻译解析

功能翻译理论视角下的《甄嬛传》海外版翻译Байду номын сангаас析
01 一、引言
目录
02 二、背景介绍
03
三、功能翻译理论概述
04
四、《甄嬛传》海外版翻译解析
05 五、案例分析
06 参考内容
一、引言
一、引言
《甄嬛传》作为中国电视剧的经典之作，其高质量的剧本、精良的制作以及出色的演员表现使其在国内赢得了广大观众的喜爱。随后，该剧走向国际市场，成为了中国电视剧的代表作之一。在《甄嬛传》的海外版翻译中，功能翻译理论的应用显得尤为重要。本次演示将从功能翻译理论的角度出发，对《甄嬛传》海外版翻译进行深入解析。
2、翻译标准：功能翻译理论强调翻译的标准是“合适和充分”，即译者在翻译过程中需要选择合适的翻译策略和方法，以便为目标语观众提供充分的信息和认知。在《甄嬛传》海外版翻译中，译者采用了直译、意译、音译等多种方法，确保了海外观众对剧情和人物的理解。
四、《甄嬛传》海外版翻译解析
3、翻译方法：根据功能翻译理论，译者在翻译过程中采用了以下几种方法： a.归化翻译：为了更好地满足海外观众的审美需求和接受度，译者对部分台词进行了归化翻译，例如将中国传统的诗词、成语等进行了符合目标语观众表达习惯的翻译。 b.直译：对于一些具有中国特色的表达方式，译者采用了直译的方法，以保留其原始含义和文化色彩。
2、语境和语义的保持
2、语境和语义的保持
在字幕翻译中，保持语境和语义的准确性是非常重要的。在美版《甄嬛传》中，翻译者通过保留原文中的关键词和短语，尽可能地保持了原文的语境和语义。例如，在剧中出现的称谓和地名等专有名词，都进行了保留和翻译，使得外国观众能够更好地理解和接受剧情。
3、翻译的等值性

目的论视域下美版《甄嬛传》字幕翻译研究

目的论视域下美版《甄嬛传》字幕翻译研究写一篇3000字的中文文章，以《目的论视域下美版《甄传》字幕翻译研究》为标题，首先要了解甄传的故事情节，以及它在国内的热门度。

《甄传》是2006年中国浙江卫视播出的热播剧，一部古装正剧，讲述了在清朝乾隆年间九个嫔妃甄的传奇故事，它更像是一段关于力量、智慧和仁慈的象征性故事。

这部剧以其丰富的历史情节、朴实精致的台词和丰富复杂的人物关系，赢得了中国大陆收视率最高的古装剧之一。

随着中国文化走出国门，《甄传》也陆续翻拍成不同语言的版本。

2017年，美国影视公司翻拍了该剧，并在美国电视频道播出，并配有英文字幕。

“美版《甄传》”引发了国际上的广泛关注。

在海外收视者看来，字幕也扮演着重要的角色。

作为“跨文化”的桥梁和中介，字幕是美版《甄传》走向海外市场的关键因素。

基于上述背景，本文通过目的论的视角对美版《甄传》的字幕进行研究，从视角变换的角度分析翻译者处理文字和语言的哲学，以挖掘字幕的翻译范式。

首先，本文介绍了目的论的概念，探讨了翻译者处理文字和语言的技术和内涵。

然后，研究甄传的地域文化特色，讨论翻译者对其的不同处理方式，如基于语言文化的表达，内容表达等。

最后，本文结合实际例子，展示了翻译者处理不同文化特色的策略，从而探讨了字幕翻译范式。

从上述研究可见，字幕不仅是跨越文化的桥梁，也扮演着重要的
介绍角色，是美版《甄传》的关键因素之一。

因此，研究字幕翻译范式，可以更好地理解美版《甄传》，以拓展中国文化在国际上的影响。

从目的论看_乱世佳人_中的字幕翻译_寻慧

寻慧 / 从目的论看乱世佳人中的字幕翻译
( 斯嘉丽 ) 梅兰妮哈密尔顿 , 那个假正经 , 谁要听她的秘密! 这是一段发生在斯嘉丽和斯图之间的对话 , 原文中出现了 goody一 goody 一词 , 该词在字典中的翻译为伪善的人 , 但央视版选择了假正经这一词 , 使中国的观众更容易接受一些。 ( 二 ) 概括法由于字幕翻译中的时空限制 , 对于在源语言中的词汇或用法方面存在的文化信息 , 译者没有办法在一个相对较短的时间里 , 用很少的语言表示出来 , 因此 , 在这种情况下 , 就可以采用概括的方法 , 即将总结出的那些术语所具有的共同性质放入翻译中来。 ( 3) SCARLETT: W hy don t you say it , you cow ard? Y ou re afra id to m arry m e . Y ou d ra ther live w ith that silly little foo l w ho can t open her m ou th ex cept to say yes houseful of m ealy- m outhed brats just like he r ! 斯嘉丽 : 你这个胆小鬼 , 不敢娶我。你宁可娶那个听话的傻瓜 , 然后生群傻孩子。这是斯嘉丽在对阿什利告白被拒绝后的一段对话 , 这时的斯嘉丽情绪愤怒 , 语速加快 , 画面转换很快 , 观众没有时间处理所有的字幕信息 , 因此将 open her m ou th except to say yes that silly little foo l who can t no , ( 那个除了是不 no , and ra ise a

功能理论视角下美版《甄嬛传》字幕英译研究

功能理论视角下美版《甄嬛传》字幕英译研究
近年来，“甄嬛传”这部古装剧始终弥留在观众心中，而美版《甄嬛传》的播
出进一步推动了剧的热播程度。

故事的情节及表演者们演绎得颇为精彩，内容给观众带来了深深的印象。

然而，如果要真正深入地观看此剧，字幕英译可谓是影响着观众理解及体验的关键要素之一。

近年来，有关“美版甄嬛传”字幕英译的研究也就不断展开。

研究人员发现，在结合功能理论视角的基础上，“美版甄嬛传”字幕英译具备多样性，既考虑到了语言技术性，又考虑到了文化及语境因素，以此使得英文字幕更好地诠释及释放出剧中的节奏，以达到节目内涵最大化。

此外，“美版甄嬛传”字幕英译还拓展了多元语言转换，也就是在英文字幕翻
译时，会加入相应的英式或美式语言，以反映原内容的信息属性。

从上述可见，“美版甄嬛传”字幕英译的特点已经渐渐展现出来，具有较高的翻译质量与完整性。

综上所述，使用功能理论视角对“美版甄嬛传”字幕英译有着深远的影响与作用，极大地丰富了观众在观赏此剧时的全方位体验。

浅析功能对等理论在美版《甄嬛传》字幕翻译中的应用

浅析功能对等理论在美版《甄嬛传》字幕翻译中的应用1.研究背景《甄嬛传》讲的是一个天真烂漫的少女——甄嬛，在入宫后遭遇姐妹背叛、皇后心机暗算、家人落难等一系列打击，心灰意冷之下一步步走向强大的过程，剧情跌宕起伏，在各大卫视播出后，广受关注，成为荧屏的宠儿，被誉为“宫斗戏的巅峰之作”，收视率一度刷出新高。

《甄嬛传》的演员阵容、演技、服饰场景对于观众来说都是一场高质量的视觉盛宴，但是《甄嬛传》的成功并不仅仅在此，它的台词也是一大亮点。

正是由于《甄嬛传》的热播和一致好评，它被搬上了美国的荧屏，但是出乎意料的是，美版《甄嬛传》在异国遇冷，网络上的美版《甄嬛传》翻译不尽如人意，语言苍白无力，失去了这部经典之作的经典之处，完全没有了原汁原味。

2.功能对等理论简介现代翻译理论之父尤金·A·奈达在20世纪60年代提出了动态对等理论和功能对等理论，20世纪70年代，用功能对等替换了动态对等，该理论从翻译的本质出发，注重原意和表达效果的一致性，要求翻译工作达到语言之间功能上的对等。

语言翻译的难度在于巨大的文化差异和本土的文化内涵，一味拼凑字面意思，不去对两国文化深入了解，死板敷衍的翻译行为完全违背功能对等理论。

奈达提出翻译是没有百分之百正确对等的，但是我们用来评定翻译还是要有一个对等准确度范围。

在翻译工作中，对等不是代表完全一致，只能是最大限度地接近。

奈达还总结了具体的翻译技巧，重意义、轻形式，提倡“恰当”“自然”“对等”，忠于源语言信息。

3.经典字幕翻译（1）关于清代后宫中嫔妃等级的翻译。

清朝后宫的女人分为三六九等，不同等级的后宫女人称呼也不一样，这是封建社会的皇家等级制度导致的，《甄嬛传》里有皇后、华妃、敬嫔、安答应、淳常在等称呼，在美版《甄嬛传》里诸多后宫称谓，皇后是后宫中的女主人，英译Empress，本意也是皇后，翻译还是比较忠于原意，西方人也能理解到位。

华妃是后宫中很厉害的角色，后台强硬，实力不容小觑，可以和皇后相匹敌，美版《甄嬛传》中对华妃的英译是Consort Hua，Consort英文意思是（统治者的）配偶，中国古代实行的是一夫多妻制，要说配偶指的应该也是皇后，华妃的华字和她本名无关，是四妃首位的代表，Consort Hua 并不能向外国友人传递这个信息，但是在英文单词里我们也无法找到一个完全对等的词来达到中文里“华妃”这个词的效果。

美国版电视剧《甄嬛传》字幕翻译文化因素处理评析

美国版电视剧《甄嬛传》字幕翻译文化因素处理评析黄林云刘继华宁波大学科学技术学院摘要：随着全球化的发展，国内的很多优秀影视作品在不断地向外传播。

国产古装电视剧《甄嬛传》在中国受到广泛的欢迎和认同，但经过字幕翻译后的版本却在美国受到冷落，其中最大的原因是中美之间的文化差异。

由此可知，影视字幕翻译中最大的挑战就是文化因素的处理。

本文对美版《甄嬛传》的字幕翻译进行研究，探索其中蕴含的文化因素处理，并通过归化与异化翻译策略对六个类别的字幕翻译提出改正建议，为古装电视剧的出口字幕翻译提供参考和借鉴。

关键词：翻译；文化因素；影视字幕；《甄嬛传》1.引言1.1出口电视剧字幕翻译概况国产电视剧的海外传播最主要的困难就是语言屏障，打破该屏障的主要手段包括翻译配音和字幕翻译。

相比较失去原音且费时费力的配音来说，字幕翻译是国产电视剧进行海外传播的热潮。

目前，国内的字幕翻译主要分为两种形式。

第一种是字幕组自发制作各种语言版本的字幕。

字幕组是一种对电视剧有共同兴趣的用户组成的网络社群。

由于是非专业人士自发自愿进行的字幕翻译，或多或少有一些错误，容易出现劣质的译文。

第二种是由国家机构和影视公司等组织内部翻译人员进行的专业译制。

虽然这种形式的专业性很高而且效果显著，但投入较大且产量较低。

[1]1.2中国出口电视剧字幕正确翻译的重要性中国出口到国外的电视剧，不仅有语言上的差异，还有文化上的差异。

因此电视剧字幕的正确翻译是非常重要的。

字幕的正确翻译不仅要考虑到语言上的转换，还要考虑到如何翻译才能有益于文化之间的传播和呼应。

在一个国家里，不懂外语的观众占了极大部分，他们只能通过字幕进行观看和理解原声的影视作品。

字幕翻译出现错误，会直接导致国外观众不能理解或者错误理解原有的意思，从而影响观众对该影视作品的观感和反响。

[2]2.美国版电视剧《甄嬛传》字幕翻译研究评述与归化、异化翻译策略2.1美国版电视剧《甄嬛传》字幕翻译文化因素研究评述随着国际经济文化的发展，影视翻译在国内翻译界受到了广泛的关注。

功能对等理论视角下中国影视剧字幕英译问题探究——以美版《甄嬛传》为例

功能对等理论视角下中国影视剧字幕英译问题探究——以美
版《甄嬛传》为例
安慧;张白桦
【期刊名称】《河南工业大学学报（社会科学版）》
【年(卷),期】2016(012)001
【摘要】从翻译理论家尤金·奈达的功能对等理论出发,对美版《甄嬛传》中的字幕英译为语料进行了个案分析.美版《甄嬛传》作为一部颇受欢迎的古装电视剧,其字幕以其诗意的语言和丰富的文化内涵而著称.达到这一效果的译介工作难度极大,还存在不少问题.对该剧字幕英译中出现的物像替换问题、文化意向缺省问题、音译问题以及字幕与画面不协调问题进行了分析,并提出了解决问题的方案.
【总页数】5页(P89-92,96)
【作者】安慧;张白桦
【作者单位】内蒙古工业大学外国语学院,内蒙古呼和浩特010080;内蒙古工业大学外国语学院,内蒙古呼和浩特010080
【正文语种】中文
【中图分类】H059
【相关文献】
1.目的论视角下美版《甄嬛传》的字幕英译探析 [J], 杨娇
2.接受美学视角下美版《甄嬛传》字幕中文化负载词的英译研究 [J], 朱陈军;曹培;王庭婷
3.影视剧字幕翻译及跨文化传播r——以美版《甄嬛传》为例 [J], 刘晓辉;张亮
4.从文化间传播理论视角看国产影视剧的对外传播
——以美版《甄嬛传》为例 [J], 卢丹阳
5.纽马克翻译理论视角下美版《甄嬛传》的字幕翻译浅析 [J], 周甜甜
因版权原因，仅展示原文概要，查看原文内容请购买。

文化翻译视角下《甄嬛传》字幕中文化负载词的英译研究

文化翻译视角下《甄嬛传》字幕中文化负载词的英译研究外国语言学及应用语言学硕士研究生：胡芳琛指导老师：祖云鹏摘要跨文化交际日益频繁，影视在促进文化传播的过程中发挥越来越重要的作用。

中国的一些优秀的电影和电视剧被翻译出去，推动了中国文化的传播。

电视剧《甄嬛传》自2011年开播以来，收视率持续升高，各大卫视轮流播放。

2015年，美版《甄嬛传》已经在美国公开上映。

翻译离不开语言和文化。

语言和文化的结合构成了独特的文化负载词，《甄嬛传》中有大量反映中国特色文化的词汇与表达，而这些词汇与表达，与目的语文化存在着巨大的差异。

翻译研究的文化转向以后，文化翻译对翻译的研究突破了以往认为翻译只是两种语言之间转换的观点，强调文化因素在翻译中的作用。

在翻译的过程中，一方面要考虑影视字幕的特点及其限制，另一方面，又要考虑两种语言的文化差异问题。

影视翻译不同于文学翻译，要受到时间空间等因素的限制，因此翻译策略也需要灵活应用。

本文的理论基础是文化翻译，以美版《甄嬛传》中英字幕为语料，通过研究美版《甄嬛传》中文化负载词在翻译策略指导下，具体的翻译方法的选择。

处理文化负载词时会使用到两种翻译策略，即异I化策略和归化策略。

归化是要把源语本土化，以目标语或译文读者为归宿，采取目标语读者所习惯的表达方式来传达原文的内容。

异化要求译者不去打扰作者和源语, 在目的语中保留源语文本中的文化特质。

研究发现，如果英汉两种语言不享有相同的文化负载词，但是它们有相似或相同的文化内涵，译者可以采取套译法。

或是英汉两种文化享有完全不同的文化负载词，在目的语中保留原语的文化负载词会引起歧义，这时候，译者采取解释法，就可以减少文化冲突。

理解《甄嬛传》中有关文化负载词的翻译，这将为其它的影视作品中文化负载词的翻译提供一些帮助。

关键词：美版《甄嬛传》文化翻译文化负载词翻译策略I IA Study on English Translation of Culture-Loaded Words andExpressions in Subtitles of Empresses in the Palace Fromthe Perspective of Cultural TranslationAbstractMA Candidate: Hu Fangchen Advisor: Zu YunpengCross-cultural communication has become more and more frequent, and audiovisual works have played an increasing role in spreading culture. Some excellent Chinese films and TV serials have been introduced into other countries and nations, which boost the spread of Chinese culture. When the Chinese TV serials Empresses in the Palace was first on show to the public in 2011, audience rating had increased continually and this play had been played on different provincial TVs. In 2015, Empresses in the Palace was introduced into America and it had been on show to the American audience. Translation is inseparable from language and culture. The combination of language and culture has formed unique culture-loaded words and expressions. There are a large number of culture-loaded words and expressions in Empresses in the Palace, which reflect China’s unique culture, and those words and expressions are quite different in target linguistic culture.Since “cultural turn” in translation studies, cultural translation is a great breakthrough to the traditional idea that translation is a transfer process between two languages. It emphasizes the importance of cultural factors in translation. In the process of translation, on the one hand, translators should consider the features and the constraints of audiovisual subtitle, on the other hand, translators need to take the cultural differences between two languages into consideration.Audiovisual translation is different from literary translation, it is restricted by time, space and other factors, so translation strategies also need to applied flexibly. This paperIwill take cultural translation as its theoretical framework, and Chinese-English subtitles of American version Empresses in the Palace as the corpus. It will study the translation methods of culture-loaded words and expressions in American version Empresses in the Palace under the guidance of translation strategies. There are two translation strategies used while dealing with culture-loaded words and expressions—foreignization strategy and domestication strategy. The domestication strategy is to localize source language, to make target language or target audience as the center, it adopts the way of expression that the target audience are familiar with to convey the content of the original text. The foreignization strategy requires translators not to disturb the author and source language by maintaining the cultural characteristics of source text in target language. Through research, although source language and target language do not have the same culture-loaded word, they do have the same or similar cultural connotation, translator may adopt idiomatic translation. Source language and target language do not have the same culture-loaded word, maintaining those culture-loaded words and expressions in target language may bring misunderstanding to target readers, translators can adopt paraphrase to decrease cultural conflict. Understanding the translation of culture-loaded words and expressions in Empresses in the Palace, it will shed light on the translation of culture-loaded words and expressions in other audiovisual works.Key words: American version of Empresses in the Palace, cultural translation, culture-loaded word and expression, translation strategyI IContents摘要 (I)Abstract (I)Introduction (1)Chapter One Literature Review (5)1.1Studies on Subtitle Translation (5)1.1.1 Domestic Studies on Subtitle Translation (5)1.1.2 Overseas Studies on Subtitle Translation (7)1.1Studies on English Translation of Culture-Loaded Words and Expressions (9)1.3 A Brief Introduction to Subtitle (11)1.3.1 Types of Subtitle (11)1.3.2 Features of Subtitle (12)1.3.3 Constraints of Subtitle in Translation (13)1.4 An Introduction of Empresses in the Palace and Its American Version (14)1.4.1 A Brief Introduction of Chinese TV Serials Empresses in the Palace (15)1.4.2 A Brief Introduction of American Translation Empresses in the Palace (16)Chapter Two Theoretical Framework (18)2.1 Language, Culture and Translation (18)2.2 Cultural Translation (20)2.3 Domestication and Foreignization (22)Chapter Three Categories of Culture-Loaded Words and Expressions in Empresses in the Palace (24)3.1 Definition of Culture-Loaded Words (24)3.2 Classification of Culture-Loaded Words and Expressions in Empresses in the Palace (25)3.2.1 Ecological Culture-Loaded Words and Expressions (25)3.2.2 Material Culture-Loaded Words and Expressions (27)3.2.3 Social Culture-Loaded Words and Expressions (30)3.2.4 Religious Culture-Loaded Words and Expressions (32)3.2.5 Linguistic Culture-Loaded Words and Expressions (34)Chapter Four Strategies and Methods Used in the Translation of Culture-Loaded Words and Expressions From the Perspective of Cultural Translation (37)4.1 Foreignization Strategy Used in Empresses in the Palace (38)4.1.1 Transliteration (38)4.1.2 Word-for-Word Translation (40)4.2 Domestication Strategy Used in Empresses in the Palace (41)4.2.1 Paraphrase (42)4.2.2 Idiomatic Translation (45)4.2.2 Imitation (48)Conclusion (50)Bibliography (53)Acknowledgements (57)IntroductionAt present, high technology has developed rapidly all around the world, cross-cultural communication has become more frequent. In the past, People achieved cross-cultural communication by reading foreign literary works. However, audiovisual works have played an important role in knowing foreign culture and customs.Research BackgroundWith the further expansion of cross-cultural communication and the rapid development of China, the phenomenon of translating foreign audiovisual works into Chinese has decreased, some excellent China’s films and TV serials have been introduced into other foreign countries, and they are on show to the public. Translation studies have concentrated on the translation of literary works, researches on audiovisual translation are relatively new. Compared with the translation of literary works, audiovisual translation has its own characteristics. Instantaneity, colloquialism and popularity have put new requirements in audiovisual translation, which will bring great difficulties to translators.Because of differences in language, customs and so on, when it comes to the same thing, people of different nations may have different understandings, which will bring difficulties or obstacles in understanding and evaluating foreign audiovisual works. Audiovisual works are a part of a nation’s culture, and the combination of language and culture has formed unique culture-loaded words and expressions. Those culture-loaded works will bring misunderstanding to the foreign audience easily. Although people have difficult in understanding culture-loaded words and expressions, they are still eager for knowing foreign culture and customs through audiovisual works. It is a big challenge for translators to maintain those culture-loaded words and expressions in target language.1When the phenomenon “cultural turn” happened in translation studies, the position of culture has been recognized in translation. Susan·Bassnett has put forward that culture should be regarded as the basic unit of translation and translation is regarded as a kind of communicative activity. Translation theorists believe that translation is cultural communication between different countries and nations, it is not a single process of linguistic transfer. People have paid attention to the cultural factors in translation.Research Questions and the Significance of the StudyAmerican version Empresses in the Palace is done by first-class American audiovisual team. To meet American audience, it has adopted the method of flashback and taken elder Zhen Huan’s memories as a clue. About 3420 minutes of the original Empresses in the Palace is cut into 540 minutes of American version, and it is only one sixth of the original version. In less than three episodes, Zhen Huan has defeated Consort Hua. The rich personal characters and complex personal relations have lost in American version Empresses in the Palace. However, for the integrity of plot and content, cultural words and expressions of original version have been maintained in American version.This paper studies the translation of culture-loaded words and expressions in subtitle of Empresses in the Palace from the perspective of cultural translation, the author mainly pay attention to following two questions:1. Under the guidance of cultural translation, in order to make target text has the same effect in target language, what kinds of strategies and methods should be chosen?2. Subtitle translation has its special constraints, which are mainly in time and space, how do those two factors affect the translation of culture-loaded words and expressions?With the rapid improvement of China’s comprehensive national strength, the introduction of Chinese culture into other countries has become an urgent task. The role of audiovisual works in cross-cultural communication has been recognized. An excellent audiovisual work wants to been widely accepted in other countries andnations, translation is particularly important. Language, culture and translation are closely related, in order to make Chinese audiovisual works are widely accepted in target culture, it is far from enough to translate only from the perspective of language, there are great cultural differences between languages. Understanding the role of cultural factors and the appropriate strategies and methods used in the process of translation, it will shed light on the translation of culture-loaded words and expressions in other audiovisual works. It is the significance of this paper.Methodology of the ResearchThis paper mainly adopts the descriptive method. Before start writing this paper, the writer first downloads American version Empresses in the Palace and writes down Chinese and English subtitles through watching. According to Nida’s cultural categories, the writer classifies culture-loaded words and expressions. Then through the comparison between the original version and the American version, the writer summarizes concrete translation methods of culture-loaded words and expressions.Structure of the PaperThere are six parts in this paper. In the part of introduction, the writer first points out research background, research questions, and the significance of this study and research methodology of this paper.The first is the literature review. This chapter gives an overview of subtitle translation at home and abroad. Then the writer describes subtitle in detail. In the end, the writer introduces original version and American translation of Empresses in the Palace.The second chapter is the theoretical framework, the writer first introduces the relations between language, culture and translation and makes a summary. Then the writer introduces Susan·Bassnett’s cultural translation in detail. In the end, the author describes two translation strategies.The third chapter is about culture-loaded words and expressions in Empresses in the Palace. The writer first introduces the definition of culture-loaded words, then the writer classifies culture-loaded words and expressions in Empresses in the Palace andattaches tables.The fourth chapter is research part. The writer introduces some concrete translation methods under the guidance of domestication strategy and foreignization strategy. Then the author presents some detailed cases. The translation methods used in this thesis: word-for-word translation, transliteration, paraphrase, idiomatic translation and imitation.The last part is conclusion. The writer concludes the main findings and points out limitations of this study.Chapter OneLiterature ReviewWith the rapid development of technology and globalization, more and more technical and political texts as well as popular literature are available to normal audience. However, before that, religious and less literary works were the source texts of translation. After the reform and opening-up, a large number of foreign multimedia products are introduced into China, especially foreign films and TV serials. The strategies and methods of audiovisual translation need theoretical guidance. Therefore, lots of scholars have paid attention to audiovisual translation.1.1Studies on Subtitle TranslationAudiovisual works play an important role in cross-cultural communication. Lots of scholars and translation theorists have paid attention to audiovisual translation. Subtitle translation is a part of audiovisual translation.1.1.1 Domestic Studies on Subtitle TranslationIn the early stage of Chinese audiovisual works, it was impossible for Chinese audiences to watch the original foreign films, the majority of them were dubbed films. People paid less attention to audiovisual subtitles. In the 21th century, the chances for Chinese audiences to watch foreign audiovisual works have increased, the English skills of Chinese people also improve. So more and more Chinese audiences prefer a kind of watching mode with the original sound and subtitles. Meanwhile, the studies on audiovisual subtitles develop gradually.Because the research on subtitle translation is slow in China, this field is still in the primary stage. The experts in this field are relatively few, the published academicarticles are limited, the research scope is quite scattered. At present, people and teams engaging in subtitle translation can be classified into three kinds: professional agencies, network subtitle groups and scholars.The professional agencies engaging in subtitle translation are Changchun Film Studio, Shanghai Dubbing Studio, August First Film Studio, Beijing Film Studio and other institutions of various provincial television stations. China has a quota system in introducing foreign films, and dozens of films are introduced into China through legal channel. Those introduced foreign films are distributed to professional agencies, each studio only get a dozen foreign films, the lack of quantity leads to the lack of translators’ experience in subtitle translation, it is hard for subtitle translation to reach a higher theoretical level.The origin of subtitle groups develops rapidly with the popularity of internet in China. Domestic studios have quite strict restrictions on the introduction of foreign audiovisual works, the speed of introduction is slow and the number of introduction is limited. In order to appreciate more and more popular audiovisual works, social audiovisual work lovers form subtitle groups spontaneously. The number of network subtitle groups is numerous. The number of workers in a big subtitle group is three or four hundred. A big subtitle group can be divided into the sources of audiovisual works, translation, proofreading, time axis, compression and other departments. The emerging of network subtitle groups meet the needs of Chinese network users for simultaneous viewing of foreign films and TV serials. Network subtitle translators are regarded as “the communicators of cultures” or “network translators”. However, because of their enthusiasm and interest, the workers in subtitle groups engage in subtitle translation. In order to release subtitles quickly, they pursue the speed in translation, rather than the quality, omission and mistranslation are often seen in their translation. They have little interest in the research on subtitle translation theory. Moreover, restricted by copyright, subtitle groups can’t get a legal status.Although audiovisual translation study is slow in China, there are a lot of famous professors and experts in this field. Professor Zhang Chunbai, a pioneer in the study ofaudiovisual translation. In this article, he has summarized the characteristics and features of audiovisual works briefly. In the process of audiovisual translation, he thinks that translators should adopt the method of free translation. Professor Zhang Chunbai focuses on dubbing. As an experienced subtitle translator, Professor Qian Shaochang points that there are five characteristics between audiovisual language and literary language, which are no note, comprehensiveness, instantaneousness, popularity and hearing feature. He emphasizes three principles—fidelity, fluency and elegance, which are commonly accepted in audiovisual translation, and fluency is the most important. In the part of conclusion, he calls on the translation academy to pay attention to audiovisual translation. Professor Li Yunxing has put forward the constrain factors of time and space in the study of audiovisual translation. He proposes the primary requirement for subtitle translation, under the constraints of time and space, translators should provide the most relevant information through the most effective way. Ma Zhengqi has put forward five guiding principles in audiovisual translation, they are personal characterization, colloquialism, emotion, popularization and the sharp of mouth. There are other scholars who introduce the development of audiovisual translation. Dong Haiya has summarized the western scholars’ research on audiovisual translation.1.1.2 Overseas Studies on Subtitle TranslationOn the first of January, 1929, American film The Jazz Singer was on show in Paris, and French subtitles were added at the bottom of screen. On the seventeenth of August, Italian film The Singing Fool was on show in Copenhagen, Danish subtitles were added in this film. Although the level of subtitle translation in those two films was not good. However, as a form of audiovisual translation, interlingual subtitle began its development.Western scholars began the research on subtitles quite early. However, the early study focused on the description of subtitles, it didn’t summarize the characteristics of subtitle translation, and it could not provide some theoretical guidance from the technique angle.Cay Dollerup studied subtitle translation and pointed out some mistakes while translating subtitle of a television program from English to Danish. However, his research is not systematic and sufficient, which needs further study and detailed analysis. Titford’s article “Subtitle: Constrained Translation” was a brief and short one, which had made an important impact on audiovisual translation. In this article, the author proposed some constraints in subtitle translation.In the 1990s, the study on audiovisual translation had golden age. A breakthrough had been made in subtitle translation theory, the research in subtitle translation involved the concrete characteristics, techniques, principles, standards and other aspects of subtitle translation. In the year of 1992, Ivarsson, a Swedish subtitle translator, had published Subtitling for the Media: A Handbook of an Art, this book dealt with subtitles from the perspective of technology. Many subtitle translation strategies and skills were added to meet the development of digital technology.Finland scholar Gottlieb is a leader in the field of audiovisual translation, he discuss subtitle translation in detail from the angle of linguistics. He has made great achievements in idiom translation, transformation of translation modes, strategies and techniques in subtitle translation and other aspects.In recent years, the academic conferences on audiovisual translations have become more and more frequent, and the academic focus is still on subtitle translation. In 1987, the first dubbing and subtitle conference was held in Stockholm by European Broadcasting Union. In 2004, an international symposium whose theme was “linguistic conversion on screen”was hosted in London. In 2005, an international meeting whose theme was “Between Text and Image: the Latest Research in Audiovisual Translation” was held in Bologna, Italy. Those academic conferences have increased the exchange of relevant theories and practice experiences on subtitle translation between various countries, which greatly promotes the further research on subtitle translation.Meanwhile, some relevant academic agencies and institutions have developed rapidly. International Federation of Translators paid attention to the academic status of subtitle translation. In the early of 1987, International Federation of Translators hadestablished Audiovisual Translation Committee, to discuss and study translation question relating to media. In 1995, European Association for Studies in Screen Translations was established, it has become the most influential academic organization in the field of audiovisual translation in Europe. Since its establishment, this association has exerted far-reaching influences on subtitle translation in Europe.Generally speaking, subtitle translation develops rapidly in Europe, and it has formed a certain scale and system. However, compared with the rapid development of audiovisual works, the research on subtitle translation is relatively slow, the depth of this research can’t meet audiences’ interest. The research on subtitle translation still has a long way to go.1.2 Studies on English Translation of Culture-Loaded Words and ExpressionsIn 1998, Chen Xirong discusses the translation of culture-loaded words from the perspective of context theory for the first time. When translating culture-loaded words, he opposes that translator uses target context to replace source context and he points out that pursuing differences between source language and target language is the main point of the translation of culture-loaded words. Moreover, he puts forward three forms-literal translation, intertextual addition and extratextual annotation to maintain source cultural characteristics. After that, more and more scholars and experts pay attention to the English translation of culture-loaded words in translation and interpretation, and they put forward various translation principles and appropriate translation techniques (Chen Xirong: 1998).With the rapid development of Chinese, adopting foreignization strategy in the translation of Chinese culture-loaded words, it will help spread Chinese culture. In their article, Li Yong and Zhao Rulan has put forward four translation methods–transliteration, literal translation, literal translation plus annotation and conversion. Adopting foreignization strategy in English translation, those Chineseculture-loaded words definitely become Chinses English words. Taking Chinese culture as the goal, translators understand Chinese culture-loaded words correctly and express them accurately, it will spread Chinese culture well, to avoid cultural hegemony in translation (Li Yong and Zhao Rulan: 2010).On the basis of Chinese culture-loaded words interpreted in the press conference, Song Hua studies the translation methods of Chinese culture-loaded words from the perspective of Skopos theory, and describes five concrete translation methods–literal translation, literal translation plus annotation, transliteration plus annotation, idiomatic translation and free translation. The author points out that the choice of translation strategies is decided by translation purpose (Song Hua: 2013).Wu Wenyan thinks that the translation of culture-loaded words is the key to the successful translation of international publicity texts. From her own translation practice, the author takes some representative examples to discuss the questions in the English translation of Chinese culture-loaded words. Taking the purpose of international publicity translation and the linguistic differences between Chinese and English, the author thinks translators should take target language as the goal. Therefore, she puts forward three principles in the translation of Chinese culture-loaded words: remaining the original cultural information in target language; conforming to the expressive patterns of target language; closing to the target readers’ ways of thinking. On the basis of those three translation principles and the differences between Chinese and English, the translation methods need to be applied flexibly, like transliteration plus annotation, literal translation plus annotation and free translation (Wu Wenyan:2014).When translating Chinese culture-loaded words into English, some scholars have put forward some concrete translation methods, like literal translation, free translation, literal translation plus annotation and so on. From the obvious studies on the translation of Chinese culture-loaded words, we may clear see that adding annotations is a common method. However, adding annotations is not appropriate in subtitle translation, the author will discuss this question in this paper.1.3 A Brief Introduction to SubtitleIn Oxford Advanced Learner’s English-Chinese Dictionary, “subtitle means: “Words that translate what is said in a film/movie into a different language and appear on the screen at the bottom. Subtitles are also used, especially on television, to help deaf people” (2009：2016).Subtitle is the translated written word, and it is usually displayed at the bottom of the screen. In the book Dictionary of Translation Studies, the definition of subtitle is: “subtitle was a process of providing synchronized captions for films and television dialogue” (Mark Shuttleworth and Moira Cowie: 1997).Henrik Gottlieb has played an important role in audiovisual translation. He thought that audiovisual translation was a unique form of translation. In his thesis “Subtitle–A New University Discipline”, he defined: “Subtitle is a written, additive, immediate, synchronous and poly-media translation” (Gottlieb: 162).From those definitions, we may clearly see that subtitle is an explanatory supplement tagged at the bottom of the screen, and its purpose is to supply information, which is not understood through dialogues. Subtitle has played a more important role in cultural communication. When viewers are watching foreign films and TV serials, they can see their own native written language, which will help them overcome understanding barriers.1.3.1 Types of SubtitleWe can divide subtitle into different categories from various viewpoints. From the perspective of linguistics, there are intralingual subtitle and interlingual subtitle. Intralingual subtitle means subtitles and sound language, they belong to same country, but sound language may appear in the form of a dialect. For example, China’s Cantonese, Fujian dialect and dialects of other provinces, but subtitles are standard Mandarin, which can be understood by audience all over the country. The main purpose of intralingual subtitle is that intralingual subtitle will do a favor to people who have hearing problems to watch domestic programs. Intralingual subtitle is vertical, for it has。

功能对等理论视阈下《甄嬛传》字幕翻译研究

功能对等理论视阈下《甄嬛传》字幕翻译研究中国的传统文化与古代历史一直是最受欢迎的主题，电视剧《甄传》就是其中的经典之作，该作品讲述了清朝末年宫廷政治的故事，描绘出复杂的宫廷关系。

该剧的字幕是有深厚的文化内涵的，且与文化的历史背景有紧密联系，该剧在视觉上给观众带来了新的世界观，深刻地描绘了古老文化和传统生活。

本文旨在从功能对等理论视角来研究《甄传》的字幕翻译，探讨其在翻译过程中的功能性、内容性和主题性。

首先，在功能对等理论视阈下，字幕翻译要求能够完美地表达影片的原意，以确保观众能够真正理解剧情，以及明白特定的文化语境。

为此，在翻译《甄传》的字幕时，翻译者首先要努力保持原意的完整性，其次，要做出合理的口译缩略和编辑，使字幕翻译更加流畅、容易理解。

因此，在翻译《甄传》的字幕时，翻译者还应该注重模仿原文中的句法结构，以便达到功能对等的效果，同时承载更多中国古典文学特色，使观众进一步理解原剧情。

其次，字幕翻译不仅要保持原意的完整性，还要满足剧情的内容性要求。

《甄传》的翻译对字幕的内容性要求很高，因为它的故事内容繁多，讲述了宫廷政治、传统文化以及复杂的家族关系。

因此，翻译者除了要努力保持原意的完整性外，还要把握角色之间的关系，把握其中的情节，反映出字幕中的内容性要求。

此外，翻译者还应加强对原文语言本身的意义的把握，以便正确理解剧情背后的复杂思想，从而将原文的意义准确地表达出来，保持译文与原文的一致性。

最后，《甄传》的字幕翻译还应注重其在传播文化时的主题性要求，即将中国传统文化和历史文化传播给国外观众。

在翻译《甄传》的字幕时，翻译者应尽可能地清楚、准确地表达艺术气质，如表达出剧中角色的情感与感受，以及宫廷文化中的礼教、功夫和布阵等。

另外，字幕的翻译也要体现其中的文化差异，如将中国古典文学的经典诗句表达出来，使观众在观赏剧情的同时，能够更加深入地体会中国传统文化的精髓。

通过以上的研究，可以认为《甄传》的字幕翻译应该从功能、内容和主题三个视角出发，力求确保原意的完整性、不失原剧情的内容性以及正确反映中国传统文化的主题性。

甄嬛传字幕翻译赏析

甄嬛传字幕翻译赏析《甄嬛传》字幕翻译赏析。

《甄嬛传》是一部备受观众喜爱的古装剧，讲述了清宫后宫生活中的种种尔虞我诈、明争暗斗。

作为一部优秀的古装剧，字幕翻译在展现剧情和人物性格上扮演着重要的角色。

本文将对《甄嬛传》的字幕翻译进行赏析，探讨其在表达情感、传达文化内涵和塑造人物形象方面的独特魅力。

首先，字幕翻译在表达情感方面发挥着重要作用。

《甄嬛传》中充满了宫廷斗争和情感纠葛，人物之间的交流和情感表达是剧情的重要组成部分。

通过字幕翻译，观众能够更加真实地感受到人物之间的情感交流，从而更好地理解剧情发展和人物性格。

例如，当甄嬛与皇上对话时，字幕翻译能够准确地传达她的心情和态度，让观众更加深入地了解她的内心世界。

其次，字幕翻译在传达文化内涵方面具有重要意义。

《甄嬛传》作为一部古装剧，涉及到大量的古代文化和礼仪。

通过字幕翻译，观众能够更好地理解古代宫廷生活的细节和礼仪规范，从而增进对古代文化的了解和认识。

例如，当剧中出现了一些古代礼仪或者文化传统时，字幕翻译能够对这些内容进行解释和注解，帮助观众更好地理解剧情和背景。

最后，字幕翻译在塑造人物形象方面发挥着重要作用。

《甄嬛传》中有许多丰富多彩的人物形象，每个人物都有着独特的性格特点和情感表达。

通过字幕翻译，观众能够更加深入地了解每个人物的性格和内心世界，从而更好地理解剧情发展和人物关系。

例如，当一些人物的台词或者情感表达需要通过字幕翻译传达时，翻译的准确与否将直接影响观众对人物形象的理解和认知。

综上所述，《甄嬛传》的字幕翻译在表达情感、传达文化内涵和塑造人物形象方面都具有重要意义。

通过精准的翻译和恰当的注解，观众能够更好地理解剧情和人物，增进对古代宫廷生活和文化的了解，从而更好地享受这部优秀的古装剧。

希望未来能有更多的优秀字幕翻译团队参与到古装剧的翻译工作中，为观众带来更加精彩的观影体验。

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

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作者：王予阳来源：《海外文摘·学术版》 2020年第9期王予阳（惠州经济职业技术学院，广东惠州 516003）摘要：翻译是将一种语言转换为另一种语言的艺术，需要大量的技巧来实现其目的，影视剧的字幕翻译则是一种特殊的翻译方式。

电视剧在文化交流中发挥着非常重要的作用，随着越来越多的国产电视剧被翻译成不同的语言，因此字幕翻译应该引起我们的注意。

本文拟采取美版影视剧《后宫·甄嬛传》字幕为研究对象，以功能翻译理论为理论框架，采用对比研究及个案分析方法来探讨功能翻译理论在字幕翻译中的可行性。

并通过剧中字幕出现的成语、诗歌、敬语进行分析，总结出相应的字幕翻译策略。

本文将翻译理论与字幕翻译实践相结合，提出了一套适用于字幕翻译领域的有效技巧。

关键词：字幕翻译；美国版本电视剧；甄嬛传；功能翻译理论中图分类号：H315.9 文献标识码：A 文章编号：1003-2177（2020）09-0035-020引言伴随着中外跨文化交流的日益密切，中国大量影视出口到国外，国产电视剧已成为海外人士了解我国本土文化的重要渠道之一，并且国产电视剧在海外国家播放可视为国家软实力提高的标志。

然而语言障碍是一个不可忽视的问题，由于不同国家的语言限制，外国人听不懂中文，文字作为跨文化交流的媒介，准确、真实字幕的翻译显得尤为重要。

本文的研究主要集中于两个方面：（1）功能翻译理论如何为字幕翻译提供指导。

（2）字幕翻译中运用功能翻译理论是否会导致原文原意最小化。

所有的文本研究例子皆摘选自美版影视剧《后宫·甄嬛传》字幕。

1功能翻译理论功能翻译理论是当代翻译理论之一，它从传播学的角度为译者提供指导。

功能翻译理论最早可以追溯到20世纪70年代，它是以目的论（skopos theory)为核心。

目的论的核心概念就是在翻译过程中最重要的因素是整体翻译行为目的，其理论基础是“行为理论”行为理论认为翻译可以被看作是一种行为，翻译的方法和策略取决于目的，翻译的“目的”其实就是译文的目的。

从功能主义翻译目的论看《甄嬛传》字幕翻译

Analysis on the Subtitle Translation of Empresses in the Palace in Light of Skopos Theory 作者：林瑞榕
作者机构：福建体育职业技术学院公共基础课教育部,福建福州350003
出版物刊名：武夷学院学报
页码： 50-54页
年卷期： 2016年第7期
主题词：�甄嬛传》字幕翻译功能主义翻译目的论翻译策略
摘要：采用描述性和解释性研究方法，分析字幕翻译的特点，阐述翻译目的论的发展历程和原则，探讨这一理论应用于字幕翻译的可行性，以《甄嬛传》的字幕翻译为语料，运用目的论
对其字幕进行译例分析，总结出具体有效的字幕翻译策略。

归化下的《甄嬛传》字幕英译文献综述.pdf

However, most of the perspectives are limited to a few conversations, and no comprehensive study has been made from the perspective of domestication. But since Qing Dynasty, nearly one hundred years, most excellent translators take delight in talking about the domestication methods from the perspectiveFu, Lin Shu and Yang Bi are all the representatives, who are still widely circulated, and appreciated by the translation critics. The most brilliant views towards domestication are Fu Lei's "resemblance in spirit" in the 1950s and Qian Zhongshu's “sublimation” in the 1960s. Their translated works are very natural and fluent. Fu believes that “the ideal translation should sound as if it were written by the ST writer in Chinese".
Lawrence Venuti uses the term domestication in his work The Translator’s Invisibility：A History of Translation. Domestication is: “adopts a transparent, fluent style to minimize the strangeness of the foreign text for TL readers as accustomed to fluent translations that invisibly inscribe foreign texts with TL values and provide readers with the narcissistic experience to recognizing their own culture” (Venuti, 1995: 15). The term is based on the German theologian and philosopher Friedrich Schleiermacher’s academic speech On the Different Methods of Translation delivered at the Germany Royal Academy of Sciences in 1813. Venuti pointed that domesticating method is as far as possible not to disturb the reader, and let the author to understand readers. That is to say, in the target language or the reader oriented way to express and convey the original content. Another important scholar of the domestication school is Peter

目的论视角下美版《甄嬛传》的字幕英译探析

目的论视角下美版《甄嬛传》的字幕英译探析
杨娇
【期刊名称】《湖北第二师范学院学报》
【年(卷),期】2017(34)4
【摘要】字幕翻译是国内优秀影视剧走出国门传播中国文化的重要途径.本文以目的论为理论基础,探讨了其中三个原则,即目的原则、忠实原则和连贯原则在美版《甄嬛传》字幕英译中的体现,以期对字幕翻译及其研究有所裨益.
【总页数】4页(P120-123)
【作者】杨娇
【作者单位】商洛学院文传学院,陕西商洛726000
【正文语种】中文
【中图分类】H315.9
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