第一篇：英語電影片名漢譯論文

Research on English Film Title Translation and Translation Equivalence Theory Application

Author: Huo Yishuai Supervisor: Li Liping, Associate Professor

(College of Foreign Languages, Shandong Agricultural University, Tai’an 271018)

Abstract: This paper begins with the prevalence and impact of English film in China.It discusses the importance of English film title translation and the methods and theories of current title translation.And then propose translation equivalence concept to guide the title translation.Also, this paper summarized some of the methods.At last , the paper pointed out some of the principles in accordance with the process of translation in the use of translation equivalents theory

Key words: English film;title translation theory;translation equivalence;principle 英語電影片名漢譯及翻譯等值理論在其中的應(yīng)用的研究

摘要：本文以英語電影在中國的流行及影響出發(fā)，論述了英語電影片名漢譯的重要性及當(dāng)前英語電影片名漢譯形成的較常用的方法和理論，并指出了翻譯過程中出現(xiàn)的問題。進(jìn)而提出以翻譯等值理論指導(dǎo)英語電影片名的漢譯，也總結(jié)了相應(yīng)的一些方法。同時(shí)，還指出在運(yùn)用等值理論進(jìn)行翻譯的過程中還應(yīng)遵循的一些原則。

關(guān)鍵詞：英語電影；片名翻譯；翻譯等值理論；原則

1.Description of English films in China's current situation and the necessity of translation

Film can create miracles---just like all those people who sit in the theater thinking from reality to dream world know it.Fascinating story with perfect pictures, shocking music, and great close-up scenes make you forget yourself completely.The aftertaste of a classic film bring to you is endless.When you think of the screen which make you get goose bumps, an exciting or eager showing in your eyes.People call movies is the seventh art after the literature, drama, music, dance, painting and sculpture.But, it’s not just an art.It is an art that have lots of audiences, suit both refined and popular tastes and with commercial.Today, cross-cultural communication is more active than ever, the spirit of national culture and ideology is mainly characterized by the content in the film.Therefore movies become the main channel of cultural transmission, and its influence is so large that can't be matched by other art forms.On the one hand, economic and cultural development stimulates the emerging film and television-dubbing career to flourish.Its operations around the world, including draw the materials, translation and distribution.On the other hand, the popularity of cable television and home video, the improvement of the technology(video, VCD and DVD)also plays a role in fueling the film’s spreading.Since the first movie introduced to China in 1896, the Chinese film industry has undergone enormous changes.Shoot technology innovation make the film a great audio-visual impact to the audience, and watching movies has become very common and very stylish entertainment in people’s lives now.In addition, the demand for foreign films, especially English films, is growing highly.Facing to these foreign language films, the primary task is translated them into Chinese, and the translation of the film title is one of the most important part.The film title is a link connecting the audience and film;it has the enormous influence to the film box office.First, except actor's exquisite performing skill, philosophy dialogue as well as gorgeous picture, a good film why can attract the audience has the direct relation with a film title which is pregnant with meaning and make people think a lot.The film title is a film's brand trademark.In the multitudinous film advertisement newspaper, the film title is always in the extremely striking position, and it is playing the role which leads attention directly.As a film, the title is seen firstly by the audience.Therefore, every movie screenwriter and director will highly summarize his movie content, and takes one as the title for it can both express one's ideas expressively and appeal eyeball.Second, the film express certain ideas to the audience to pass certain information , and the film title should also highlight the video content , convey the theme information and establish the entire film emotional tone.Film titles can not only summarize the content of the film succinctly , reveals the theme of the film, and make the audience seize the film's style and substance , but also inspire the imagination of the audience and watching desires with its distinctive form of language.Excellent film titles like the outstanding literary works, should be concise the summary of the content of films, succinctly revealing the theme, and stimulate the audience's imagination.The perfect unity of a good title and the good content will allow the audience to get the influence of the arts and the joy of beauty.2.Film title translation Since the first English language film was introduced to China, there are already three decades till now.This period, the translator made constantly efforts and improvements, and formed some common translation methods.Currently, there are more and more English films introduced into China.The translation industry also formed a relatively fixed translation theory, specifically;there are the following three theories: 2.1 The literal translation or free translation Literal translation and free translation are two representative methods of translation in the history of translation.Due to variations in people's understanding of literal translation and free translation, there are someone accept both of these methods, someone accept just one, someone accept neither.However, in terms of the perspective of describing translation or transfer translation, literal translation and free translation is always meaningful.Literal translation and free translation is designed to faithfully express the ideological content of the original and reproduce the original art.Simply put, the literal translation means the translation methods and sentence structure is more similar to the original sentence, but does not rule out some adjustments at the phrase level.Free translation means discarded the original expression, and find a synonymous expression equivalent to the original, or make major changes or adjustments to the original sentence structure.2.1.1 Literal translation Carefully understands the literature name and film title, we can find different types.Therefore, the translation methods vary.The following types suit for the Literal translation 2.1.1.1 Protagonists name or description for the title.Such as:

Hamlet

HA MU LEI TE,(哈姆雷特)Othello

AO SAI LUO,(奧賽羅), King Lear

LI ER WANG，(李爾王), Macbeth

MAI KE BAI,(麥克白), Romeo and Juliet

LUO MI OU YIU ZHU LI YE,(羅密歐與朱麗葉)David Copperfield

DAI WEI KE BO FEI ER,(大為.科波菲爾), Jane

JIAN ,(簡(jiǎn)), Sister Carrie

JIA LI MEI MEI ,(嘉莉妹妹), Lucky Jim

XING YUN DE JI MU，(幸運(yùn)的吉姆), a lonely Johnny

GU DU DE YUE HAN NI,(孤獨(dú)的約翰尼), Julius

ZHU LI SI KAI SAI,(朱麗斯凱撒), Father and Son

FU YU ZI,(父與子), Sons and Lovers

ER ZI YU QING REN,(兒子與情人).2.1.1.2 The place where the story happen for title,Such as:

Wuthering Heights

HU XIAO SHAN ZHUANG,(呼嘯山莊), Chicago

ZHI JIA GE,(芝加哥), Washington Square

HUA SHENG DUN GUNAG CHANG,(華盛頓廣場(chǎng)), Boston

BO SHI DUN,(波士頓), The Secret Garden

MI MIO HUA YUAN，(秘密花園), in the Chinese screen

ZAI ZHONG GUO PING MU SHNAG,(在中國屏幕上).2.1.1.3 Stories for titles, such as: the merchant of Venice

WEI NI SI SHANG REN,(威尼斯商人), The Adventures of Tom Sawye TANG MU SUO YE LI XIAN JI ,(湯姆索也歷險(xiǎn)記), Gulliver's travels

GE LIE FO YOU JI,(格列佛游記), Alice s Adventures in Wonderland

AI LI SI MAN YOU XIAN JING,(愛麗絲漫游仙境)，Mansfield Park

MAN SI FEI ER DE YUAN,(曼斯菲爾德園).2.1.1.4 the other types, such as: Great Expectations

YUAN DA QIAN CHENG,(遠(yuǎn)大前程), The Mayor of Casterbridge

KA SI TE QIAO SHI ZHANG,(卡斯特橋市長(zhǎng)), The Grapes of Wrath

FEN NU DE PU TAO,(憤怒的葡萄), the Godfather

JIAO FU,(教父), Five Classics

WU JING,(五經(jīng)), a Midsummer Night s Dream

ZHONG XIA YE ZHI MENG,(仲夏夜之夢(mèng)), Twelfth Night

DI SH ER YE,(第十二夜), Pride and Prejudice

AO MAN YU PIAN JIAN,(傲慢與偏見), time machine

SHI JIAN JI QI,(時(shí)間機(jī)器), The Call of The Wild

YE XING DE HU HUAN,(野性的呼喚), The Sea-wolf

HAI LANG,(海狼).These titles are just a few words, but they reveal the author's intention and the true state of mind.It represents the author's effort and reflected the monumental piece of substance and essence of the film.Therefore, for those that can be translated literally must be translated by literal to keep the work formerly original and make the title and content unite in harmony.Especially when it comes to the film named after the main character.The hero is the typical character live in specific times and specific environments that are created by the author, such as Shakespeare’s Hamlet and a-Q in the works of Lu Xun.They have a distinct character, image, and destiny.The principles and methods of translation of film title or translation of literary works are the same.Both of them take the breadth of its audience and the diversity of appreciation level into account, therefore, the translation should be simple and popular, easy catchy and implying the subtle meaning.Film title suitable for literal translation should be translate as literal as possible in order to convey the information formerly and maintain the perfect unity of the original title and content.That should be a basic principle and method of the film title translation.This type title just needs to be image, vivid, concise in the text, and it can fully reproduce the content of formerly.Such as: description of a walk in the clouds is the love story of a pair of young men and women filled with the vineyards of grapes flowers, so the film is literally translated as the Walk in the Clouds, while maintaining the formerly known as the meaning and full of poetic.Such cases are: the age of innocence(The Age of Innocence), natural born killers(Natural Born Killers), the perfect world(better world), death on the Nile(Death on the Nile)rain man(Rain Man)superman(superman), citizen(Citizen Kane), schindler’ s list(Schindler's List)2.1.2 free translation Certain English film title contains very few words and the language is simple.It is apparently lightly, but the connotation is actually rich and pregnant with meaning, does not reveal.If this kind of film title translates literally, it will be difficult to reach its contents, reveal its charm.Therefore, when translation must rest on the entire book content, the original book title intention, and unit the target language characteristic, sets up a new name.In order to concise its content to reflect its implication, and executes the literary talent slightly to make the translated name and the original work style coordinates.For example: Gone With the Wind

PIAO ,(飄)，Waterloo Bridge

HUN DUAN LAN QIAO,(魂斷藍(lán)橋), Blood and Sand

BI XIE HUNAG SHA,(碧血黃沙), The Bathing Beauty

CHU SHUI FU RONG,(出水芙蓉), Polsinney Harbour

YU XIANG JI DU QING,(漁鄉(xiāng)幾度情), Wines-burg Ohio

XIAO CHENG JI REN ,(小城畸人), Earthquake

JING HUN DUO MING,(驚魂奪命), The Red Shoes

HONG LING YAN ,(紅菱艷)，Speed

SHENG SI SHI SU,(生死時(shí)速), Black Mask

HEI XIA ,(黑俠)，Black Beauty

HEI JUN MA ,(黑駿馬)，Dr Jekyll and Mr.Hyde

HUA SHEN BO SHI ,(化身博士)and so on 2.2 Integration of literal translation and free translation

English and American films have a number of titles in simple and concise, but moral implication and difficult to grasp.In addition, some titles originated from allusions, meaning rich and obscure, hard to check.It is difficult to understand the implied meaning of the original title.People must think about the whole content or check allusions, carefully wondering and hashing, accurately understand the intent of author when translate them.Based on the foundation of literal translation of original titles ,translator plus word or change word to some key words to make translation semantic clearly , such as: a Farewell to Arms

YONG BIE LE ,ZHANG ZHNEG;(永別了，戰(zhàn)爭(zhēng))，Ghost

REN GUI QING WEI LIAO；(人鬼情未了)One Flew Over The Cuckoos Nest

FEI YUE FENG REN YUAN;(飛越瘋?cè)嗽?, On The Golden Pond

JIN SE CHI TANG;(金色池塘), Moonlighting

PI XING DAI YUE;(披星戴月), Who Shall Live and Who Shall Die

SHENG SI DA QUAN;(生死大權(quán)), Night Killer

LAI ZHE BU SHAN;(來者不善), Shooting First

XAIN FA ZHI REN;(先發(fā)制人).for Whom The Bell Tolls SANG ZHONG WEI SHUI ER MING;(喪鐘為誰而鳴), 2.3 The literal translation adds the explanation

Due to the different style of film and different points between British and Chinese language, some titles translated by word will be too abstract, implicit and irrelevant with story content.People may feel dull, and it cannot make any guiding effects.Therefore, for these titles, translator should appropriately plus a text which can reflect hero image or film content when translate them.Based on the foundation of literal translation, according to the content of film, it will play a finishing touch to the characters and film content for example, Oscar(LIE QUAN AO SI KA CHUAN QI;獵犬奧絲卡傳奇), it will bursting bald if literal translation for AO SI KA(奧絲卡), also will be easily confused with Oscar Ward.Adding the word of dog , it generally works very well.And Comeback(GU LI E MENG;故里噩夢(mèng)), plus the word of nightmare ,it greatly enhance the attraction and literary character.Lime Light(WU TAI DENG GUNAG;舞臺(tái)燈光), Patton(BA DUN JINAG JUN;巴頓將軍), Legal Eagles(FA WANG SHNE YING;法網(wǎng)神鷹), The Piano(GANG QIN KE;鋼琴課), The French Connection(FA GUO FAN DU WANG;法國販毒網(wǎng)), Silas Marner(ZHI GONG MA NAN:織工馬南), this is the case.Film title translation is not only the conversion of language but also a cultural exchange.Translation needs follow the correct principles and methods, needs more inspiration and rigorous attitude , in order to make the translation of well-known and widely accepted.In recent years, we widely introduce the foreign works and films, but the introduction of the original books and films are very scarce, these are mostly translated works.Taking the important role of a film title into account, the film producer make efforts to find a proper title that can lead full content, highlight the theme and must be simple and concise, have a profound message.Moreover, the producers try to make the title to be a pair of eyes that can reveal the individuality and give the deep impression to the audience.From the title, people can understand the content of the work, the hero's image, and have a desire for the whole film.People named the film like this, the same as the film title translation.Someone may think the translation of film names is an easy shot, but translating well was not an easy thing actually.It is necessary to conform to the language specification, and should be full of charm;it is necessary to be faithful to the original content of the title, and should be reflect to the original language features of the title.So the translation of film names is the artistic recreation.However, it is not until after more than 100 years of the introduction of first foreign films in China, translation of film names begin to get its due attention.Early research on the subject, such as Brief Discussion on Foreign Film Tittles Translations(Lin Qiuyun, 1996)and Discussion on the Translation of Film Names(Ning zhishou life, 1997), simply emphasizes the translation skills and ignore the cultural and commercial characteristics of the movie title.After entering the 21st century, based on the original translation theory, scholars began to study the features of the film titles from different perspectives.Fore example, He Ying(2001)analysis the characteristics of the movie title from the source of the movie title ,style , feature and category , and made a literal translation﹑free translation ﹑transliteration and another translation.Fang Yongbin, Wang Xiaotong(2005)study from the advertisement feature and cultural characteristics.Now, researchers increasingly attach importance to the film title value reflected in cultural exchanges, business profits and the artistic.3.Problems in the current film title translation Currently, the translation of film titles as a translation not in literary field has not yet attracted enough attention.There are more Chinese people watching films and TV series than reading the literature, but Chinese academia give the translation of literary more attention than the studies of film translation.“(Qian Shao-Chang, 2000: 61).In addition, there are many film titles mistranslations in the current film title translation.I find it mainly caused by the following two reasons after a brief analysis: 3.1 Lack of understanding of cultural connotation ”Title translation should be did after the completion of other translation tasks”.(Newark, 1988:12)Therefore, the translator should translate the movie's title based on watching the whole movie and fully understand the film.The culture is the specific lifestyles and modes of expression of the groups, which use a particular language as the expression “(Newmark, 1998:21).Clearly, the film titles also include certain cultural connotation.If the translator cannot be aware of or misunderstood the cultural connotation, it is likely to have the title caused by mistranslation.E.g1: American film: American Beauty, Mainland and Hong Kong have their own respective title translation version.Mainland translated as ”《美國美人》“, Hong Kong translated as ”《美國麗人》“.Unfortunately, these two simple versions of literal translation is mistranslation.According to the American Heritage Dictionary, American Beauty is a kind of roses, flower leaf length, purple.These beautiful and sacred flowers are symbol of divine love.In the film, the director used this flower as a symbol of a girl's love with the approach of association, Taiwan's translation is《美國心·玫瑰情》and it is more appropriate.3.2 Simply pursuit of business profits

As an entertainment industry, film should to not only entertain the public but also earn the box office revenue.Therefore, the translation of film titles will inevitably be subject to the influence of the marketing strategy of the entire film.To attract audiences, some film titles translation may not have any relationship with the film's storyline.Let us look at the following example:

E.g.: Original Sin(《原罪》)

《激情叛侶》

The Shaw shank Redemption

(《肖申克的救贖》)

《月黑高飛》

Pretty Woman(《漂亮女人》)

《風(fēng)月俏佳人》

The Lives Of Others(《別人的生活》)

《竊聽風(fēng)暴》

If the readers have read the above-mentioned movies, they will find the second movie title translation far away from the original, and not consistent with the story.Now, there are still a lot of translators, simply pursuit of commercial profit, regardless of any translation principles, resulting in a lot of mistranslation.4.Translation equivalence concept Film is a form of art loved by peoples from all over the world.Excellent film has no national boundaries and it is a very good form of cultural exchange.When we introduce a foreign film, the first thing is to give it a proper name.Good title can make the target language audience eager to see the film faster and therefore, translation of film titles is very important.Zhou Jueliang had pointed out that translations vary based on the different types.Translation of the film title has its own characteristics(He Ming, 1998).From a linguistic point of view, film titles usually have a very simple constitute, usually only a few words.Compared with the other forms of language conversion, which are clearly not limited by deep level language such as sentences, paragraphs, text.However, due to special requirements on the functional, translation of film, titles show complex phenomenon to a certain degree, and it needs to be pointed out with translation theories and principles.Among all translation theory, translation equivalence can be used as important theoretical basis of movie title translations.Translation equivalence concept is a core issue in the modern translation theory in the West.1790, Alexander Fraser Tytler said ”good translations are fully moved advantage of original language to another, make the translate language people can clearly understand, strongly felt just like the original language people feel “in his Brief Discussion on Translation Theory.He first proposed the translation equivalence concept in the history.(Zhang Ling, 1994).America linguistics and translation theorist, Jacobson believes that all human languages have equal expressive power, but in the translation process, we must first overcome the structural differences between the original language and the target language to ensure that text equivalent.Eugene Nada the same as Jacobson, he stressed the commonality of language, but from the point of view of communication science and Informatics, he proposed, “the relationship between translation recipient and translation information should be basically the same as the relationship between the original recipient and the original information.” in 1964,(Jiang Zhiwen, and Wen Jun 2000).Newmark explore the ”reciprocal“ problem from the translation theory's point of view.He divided translation into ”semantic translation“ and ”communicative translation“.Semantic translation focuses on the semantic content of the original text, and communicative translation focused on the reader's understanding and response.Newmark thinks most of the translation of non-literary texts suitable for communicative translation(Newmark, 2001).Moreover, all about this, the center of attention is the function of the language, rather than the language feature, it emphasize the functional equivalence.When it comes to the translation of English film titles, the so-called ”equivalence“ refers that the effect of the film translate title to the target language country audience should be the same as the affect of the original title to the original language nation audience , thereby to created a watching desire and achieve the aim of cultural exchange.In accordance with the principles of equivalent translation, and combine with different actual situation, we can take the method of literal translation, transliteration, free translation in English film title translation.4.1 The literal translation or transliteration Literal translation or transliteration refers that when the title is easy to understand, we can directly translate it according to the literal meaning or pronunciation of the title.Such as:

Ｂｅａｕｔｙ ａｎｄ Ｔｈｅ Ｂｅａｓｔ

《美女與野獸》 Ｂｒａｖｅ Ｈｅａｒｔ

《勇敢的心》 Ｃｉｔｉｚｅｎ Ｋａｎｅ

《公民凱恩》 Ｔｈｅ Ｇｏｄｆａｔｈｅ

《教父》 Ａｍｅｒｉｃａｎ ｂｅａｕｔｙ

《美國麗人》 Ｃａｓａｂｌａｎｃａ

《卡薩布蘭卡》 Ｊａｎｅ Ｅｙｒｅ

《簡(jiǎn)愛》 Ａｎｎｉｅｎ Ｈａｌ

《安妮?霍爾》 Ｊｕｒａｓｓｉｋ Ｐａｒｋ

《侏羅紀(jì)公園》 Ｓｏｕｎｄ ｏｆ Ｍｕｓｉｃ

《音樂之聲》 Ｔｉｔａｎｉｃ

《泰坦尼克號(hào)》 Ｋｉｎｇ Ａｒｔｈｕｒ

《亞瑟王》 Ｓｃｈｉｎｄｌｅｒ’ｓ ｌｉｓｔ

《辛德勒名單》 Ｇｌａｄｉａｔｏｒ

《角斗士》 Ｌｏｖｅ ｏｆ Ｍａｙ

《五月之戀》

Here is to be noted that, when some names in English film titles are unimportant consonants, it can be omitted in the transliteration.Because if the name more than four words, it is not conducive to memory and Chinese audiences would be awkward to read.Therefore, it should comply with principle of brief.(Hua Xianfa, 1999:190).Annien translated as ”An(安)“, not ”An Nien(安尼恩“;Schindler translated as ”Xin Dele(辛德勒)“, not ”Si Xindele(斯辛德勒)“.Some of the masterpieces of the world, such as Jane Eyre, Juliet, Wuthering Heights, has a relatively fixed in Chinese translation, so the English film title translation should comply with established principles and translate respectively.Which is capable of maintaining the original charm and allows viewers to immediately think of the original works? In addition, the transliteration should used the certain words provided in the transliteration table, and not use the easy associative terms, so as not to cause misunderstanding or make a fool mistake(Hua Xianfa, 1999:190).Jurassic translate as ”ZHU LUO JI(侏羅紀(jì))“, it cannot be translated into ”ZHU RU JI(侏儒紀(jì))“.4.2 Free translation

As mentioned above, English film has massively use of the personal name or geographical names directly as the film title.If translates literally constantly, it is a string of meaningless character to the translated language audience possibility and does not play any attraction role.Therefore, this requests the translator fully understand the movie content and display their subjective initiative, to make the translated title to be faithful to the original content, and transmit the movie content ,and express one's ideas expressively(He Ning, 1998).4.2.1 Literal translation adds the explanation Ｓｌｅｅｐｌｅｓｓ ｉｎ Ｓｅａｔｔｌｅ 《西雅圖不眠夜》 Ｔｈｅ Ｎｅｔ 《網(wǎng)絡(luò)情緣》 Ｍｏｏｎｓｔｒｕｃｋ 《月色撩人》 Ｓａｎｄ ａｎｄ Ｂｌｏｏｄ 《碧血黃沙》 Ｉｎｔｅｒｐｒｅｔｅｒ 《翻譯**》

Ｅ．Ｔ． 《Ｅ．Ｔ．外星人》 Ｔｈｅ Ｆｕｇｉｔｉｖｅ 《亡命天涯》 Ｍｙ Ｆａｉｒ Ｌａｄｙ 《窈窕淑女》 Ｐｌａｔｏｏｎ 《野戰(zhàn)排》 Ｏｎｃｅ Ｕｐｏｎ ａ Ｔｉｍｅ ｉｎ Ａｍｅｒｉｃａ 《美國往事》 Ｏｎ ｔｈｅ Ｗａｔｅｒｆｒｏｎｔ 《碼頭風(fēng)云》 Ａｌｌ Ｑｕｉｅｔ ｏｎ ｔｈｅ Ｗｅｓｔ Ｆｒｏｎｔ 《西線無故事》 Ｆｉｒｓｔ Ｋｎｉｇｈｔ 《劍俠風(fēng)流》 Ｄａｙｓ Ｔｏｕｃｈｅｄ ｂｙ Ｌｏｖｅ 《心動(dòng)歲月》 4.2.2 Integration of transliteration and free translation Ｒｏｂｉｎｓｏｎ Ｃｒｕｓｏｅ 《魯賓遜漂流記》 Ｐａｔｔｏｎ 《巴頓將軍》 Ｓｈａｋｅｓｐｅａｒｅ ｉｎ Ｌｏｖｅ 《莎翁情史》 Ｂａｎｂｂｉ 《小鹿班比》 Ｎｏｔｔｉｎｇ Ｈｉｌｌ 《諾丁山情緣》 Ｐｈｉｌｌａｄｅｌｐｈｉａ 《費(fèi)城故事》 Ｓｈｒｅｋ 《怪物史萊克》 Ａｎｎｅ Ｆｒａｎｋ 《安妮日記》 Ｔｈｅ Ｉｓｌａｎｄ 《神秘島》 Ｔｈｅ Ｒｉｎｇ 《午夜兇鈴》 Ｔｈｅ Ｙｅａｒ ｏｆ ｔｈｅ Ｙｅａｒ 《姚明年》 4.3 Modified translation

4.3.1 Reconstructing the cultural intention

Because of the film and its title always infiltrate into the nation’s certain culture system of literature, history, philosophy, religious, traditional, custom and legend, and plus the diaphragm of culture ring, it often can’t be known by people belongs to another culture system.Therefore, it became ”super language factors“ in language inter-conversion and understanding or communication obstacles.Without carefully consider, it is easily to cause misunderstanding.(Lin Qiuyun, 1996)Such as the film Hobson ' s Choice ,it is translated into the HUO BU XUN DE XUAN ZE(霍布遜的選擇).It is about a shoe shopper named Hobson who not willing the eldest daughter married to a guy in the shop, but he give up because he is against by his three daughters’ alliance.Film actor named it Hobson, and does not have any problems apparently.However, Hobson is an English idiom, from the Observer Magazine(1712:509).Hobson is a United Kingdom Cambridge post boss in 16th century, and rental horse to their customers.However, he had a strange temper;he loves his horse very much and always insists on a fixed rotation of rental.When customers went to the stables to rent horse, they can only take the certain one even they do not like, and leave no room for negotiation.Later, people refer to the idiom, means ”there is no choice or room for negotiation“(Ma Gongru, 1997:243).Obviously, the HUO BU XUN DE XUAN ZE(霍布遜的選擇)has not translated the pragmatic meaning of it, and unable to achieve functional equivalence with the original film, too.If we change the angle, switched to the culture of intention which Chinese audiences familiar with, and translated into the BIE WU XUAN ZE(別無選擇),it will be better.Also Pumpkin Eater, it may be translated into the SHI NAN GUA DE REN(食南瓜的人).But it is derived from a popular nursery rhyme: ”Ｐｅｔｅｒ，Ｐｅｔｅｒ，ｐｕｍｐｋｉｎ ｅａｔｅｒ，ｈａｄ ａ ｗｉｆｅ ａｎｄ ｃｏｕｌｄｎ’ｔ ｋｅｅｐ ｈｅｒ． “So, according to the story, translate into the TAI TAI DE KU MEN(太太的苦悶)seems more appropriate.There are also a lot of success translations, such as the Waterloo Bridge(HUN DUAN LAN QIAO;魂斷藍(lán)橋), the Ghost(REN GUI QING WE LIAO:人鬼情未了), the Bridges of Madison County(LANG QIAO YI MENG:廊橋遺夢(mèng)), The Red Shoes(HONG LING YAN;紅菱艷), The Bathing Beauty(CHU SHUI FU RONG;出水芙蓉), Forrest Gump(A GAN ZHENG ZHUN;阿甘正傳).These translations discard the literal meaning of the original title, instead of the culture of intention which the Chinese audiences familiar with.4.3.2 Adjusted according to the differences between Chinese and English language

Chinese belong to Sino-Tibetan language family, English belong to Indo-European family.As a consequence, the Chinese emphasis on the accent and English emphasis on the syntactic difference.Because of the influence of doctrine philosophy,Chinese aesthetics audience emphasis on the special balance in the words.Therefore, four-word phrases are extensively using(Chen Hongwei, 1997:28).English stressed the correct syntax, and some films even take a sentence as name.So, the translator should note the differences in Chinese and English language, and make some appropriate adjustments.So those, the translation reader can catch information according to their mode of thinking.Such as:

Ｓｏｕｎｄ ｏｆ Ｍｕｓｉｃ 《音樂之聲》 Ｔｏｐ Ｇｕｎ 《壯志凌云》 Ｍｙ Ｆａｉｒ Ｌａｄｙ 《窈窕淑女》 Ｗｉｌｄ Ｗｉｌｄ Ｗｅｓｔ 《飚風(fēng)戰(zhàn)警》 Ｔｈｅ Ｗｉｚａｒｄ ｏｆ Ｏｚ 《綠野仙蹤》 Ｔｈｅ Ａｇｅ ｏｆ Ｉｎｎｏｃｅｎｃｅ 《純真年代》 Ｃｉｔｉｚｅｎ Ｋａｎｅ 《公民凱恩》 Ｂｌａｄｅ Ｒｕｎｎｅｒ 《銀翼殺手》 Ｉｔ Ｈａｐｐｅｎｅｄ Ｏｎｅ Ｎｉｇｈｔ 《一夜風(fēng)流》 Ｉｔ’ｓ ａ Ｗｏｎｄｅｒｆｕｌ Ｌｉｆｅ 《風(fēng)云人物 Ｍｒ Ｄｅｅｄｓ Ｇｏｅｓ ｔｏ Ｔｏｗｎ 《富貴浮云》 Ｙｏｕ Ｃａｎ’ｔ Ｔａｋｅ ｉｔ Ｗｉｔｈ Ｙｏｕ 《民主萬歲》

5.The principle that film titles translation should follow

5.1 Cater for the content of the original film, reflecting the themes of the original film, outstanding original film style

A good film should have a clear theme.Battle about cops and robbers or description of love, to reflect social ethics or science fiction.Film styles vary with different themes.Cops-and-gangsters films give a twist, such as

Speed、《生死 時(shí)速 》 The Rock、《石 破天 驚》 The French Connection;

《法國 販 毒網(wǎng) 》 Romance or romantic lingering, or patience, often give the taste, such as Waterloo Bridge、《魂 斷藍(lán)橋》 The Bridges of Madison County、《廊 橋遺夢(mèng)》 The Piano、《鋼琴別戀 》 Ghost、《人 鬼情 未 了》

Shakespeare re in Love;

《戀愛 中 的莎 士 比亞 》 Social and ethical topics serious, warning or enlightenment to people, such as the Kramer VS Kramer、《克雷默夫婦》 Rain M an;

《雨人 》

Fantastic, fantasy, and horror and science fiction films are often set in one about the fantasy world that does not exist in the real world, such as

The E.T.、《外星人 》 Batman、《蝙蝠俠》

Jurassic Park.《侏羅紀(jì)公園》

Translations should be able to properly reflect the content of the original movie, its themes, and highlight their style.United States 1939 film taken of Waterloo Bridge Love Story about a pathetic: in 1914, during the first world war, in London, in an air raid alert, luoyi·kelaoning and ballet dancer Myra met Captain young military officers on Waterloo Bridge, they just clicked immediately, and soon fall in love.However, as the war lovers cannot become family members.The heroine buried on the Waterloo Bridge under the wheels, and eliminating kill.Translator translate title is relevant to the Waterloo Bridge movie content, reflects the original tragic, is just right.Translator use ”broken souls“ to make it more acceptable to the audience.United States comedy Mrs.Doubtfire, talking about a story of a divorced man Daniel Hillard dressed up as a fat old woman going to his ex-wife's domestic every day in order to be able to see the children.Comedy scenes continue to appear in the film did some marvelous impressions.The translation is FEI MA XIAN SHANG(肥媽先生).The use of ”MOM“ and ”Sir“ highlighted the comedy style very well.YUN ZHONG MAN BU(云中漫步),the translation of the United States film A Walk in the Clouds are rated as the best.Original title literally means ”in the cloud“.Description of a pair of young men and women filled with scent of grape vineyards in the moving story of love.Vineyards in the movie named ”cloud“ covers a wide, green a, enveloped, is like a dream, love the heroine walks in the park.How romantic and poetic!This translation is in line with the film theme of romantic love, to read ”full of poetic, one Kiss, saw a cloud-like grape flowers smell the aroma of melts your heart all into“ and ”translation of Jacob was decent, image better, meaning long“(He Yue sensitivity, 1997), really colorful, and dominated!

5.2 Concise, easy to remember

Film is an art suit for both refined and popular tastes, and it is a popular form of entertainment too.In a sense, it is a commodity should be widely circulated.In order to make it easier to spread, movie title should be concise and easy to remember.This probably is the “usefulness” said by He Yuemin.Actually many films translation is consistent with the requirements.Such as: Star Wars、《星球大戰(zhàn)》

Forrest Gump、《阿甘正傳 》

Superman、《超人》

Terminator、《未來戰(zhàn)士》

Roman Holiday、《羅馬假日》

My Fair Lady、《窈窕淑女》

The Sound of Music、《音樂之聲》

For Whom the Bell Tolls、《戰(zhàn)地鐘聲》

On the Golden Pond、《金色池塘》

Bathing Beauty

《出水芙蓉》

It is not difficult to see that these translations use only a few words to translate all the content and meaning of the original movie.Moreover, most of them only four words, just as Chinese idioms, reading full of rhythm, easy catchy and easy to remember and spread.Also some translation of the movie title failed to meet this requirement.Feng HuaZhan(1980), said he saw a movie called the Qipulian·Bolongbeisiku.This title makes him very disgusted, because it is hard to remember and struggled to speak.5.3 Film title conformed to the Chinese language standard, and suited to our viewers enjoys habit.It should be said that some films do not need translator design, just translate it with the corresponding Chinese according to the equivalence principle.Of course, the premise is not to cause the audiences understand difficulties and must conform to the Chinese language standard.For example, the American adventure spy film named North by Northwest.Someone will translate it to XI BEI PAIN BEI(西北偏北).Through the title, viewers do not know what the film about, and it is not in line with Chinese language specification.Therefore, this translation is not desirable.Another translation of the film DIE HAI FENG YUN(諜海風(fēng)云)is a good translation.Which give the suspense, highlights the style of spy film, clear and concise, while correspond to the Chinese language specifications.English films always use the owner's name or location as the title of the story.There is also the case in our China film, but less.Chinese films’ habit is to use the title to summarize the content of substance.Therefore, the translation of English film Hamlet as HA MU LEI TE(哈姆雷特)is in line with our habits.Oliver Twist translated as WU DU GU ER(霧都孤兒)is better than translated as the AO LIE FU TUI SI TE(奧列佛 退斯特).Because the former give us the place where the story take place(fog city, London)and the identity of the main character(an orphan).The Chinese audience can accept it easily.The American film Gone with the Wind(LUAN SHI JIA REN;亂世佳人)based on the same name novel is a good example.The “LUAN SHI(亂世)” explain the background of the story(the civil war), “JIA REN” named the heroine of the movie and showed the heroine’s frustrated experience.Look at an example.There is a film about American campus life, called Mr.Holland's Opus, The film tells the story of a remarkable music teacher, Holland.Holland works hard for 30 years in his teaching positions.He was “not rich, not famous, but his achievements beyond fame and wealth ”.He influences every student of the school.He is the Orchestra's conductor, each student is his notes, and every student is his works(Opus).Name of the literal translation is the HE LAN XIAN SHENG DE ZUO PIN(賀蘭先生的作品), but now it is translated into the CHUN FENG HUA YU(春風(fēng)化雨).The new translation has a deeper meaning than the formerly and show the movie extraordinary story, allows viewers to experience a teacher’s permeated personality charm.(Cai Weidong, 2000:104-105).At the same time, wonderful translation is like a piece of art, for people to enjoy the beauty of art.6.The conclusion

When the importance of English film titles translation increasingly be reflected, when the shortcomings of the current English film titles translation theory and method is revealed, and when the relevant problems are getting cause the attention of people, I believe that people will intensify research on this area of expertise, moreover, the translation equivalent theory and attention principles I mentioned in paper will make some significances on the development and improvement of the title translation.After continuous efforts, the present translation problems will be gradually resolved, the translation of English film titles will be more standardization, and the usefulness, the literariness and the scientific nature of the translation will greatly enhance.Bibliography ．

[1] Jones, Gareth Stedman.Languages of Class [M].Cambridge: Cambridge University

Press.1983.101.[2] Saussure, Ferdinand de.Course in General Linguistics [M].London: Peter Owen Limited.1960.23, 67, 77, 20, 21, 22, 16.[3] Searle, John R.Speech Acts [M].Cambridge: Cambridge University Press.1969.75.[4] 賀鶯．電影片名的翻譯理論和方法［Ｊ］．外語教學(xué)，２００１（１）[5] 林秋云．外國電影片名翻譯簡(jiǎn)論［Ｊ］．上海科技翻譯，１９９６（３）[6] 陸谷孫.英漢大詞典[M].上海：上海譯文出版社.1991.[7] 顧冠華, 沈廣斌.中國傳統(tǒng)文化與高等教育[ M ] 北京: 海洋出 版社, 1999 10 [8] 陳煉，陳育．外國電影片名的翻譯［Ｊ］．湖南商學(xué)院學(xué)報(bào)，２００３，（９）

Acknowledgments

After finishing my B.A thesis, I really felt that I had come a long way.Many teachers and classmates gave me supports and helps in the process of writing this paper.I’d like first to take this chance to express my sincere gratitude to my supervisor associate professor Li Liping, who generously gave me her kindly help and instructions during the whole process of my paper writing, for her patience and guidance for this thesis.I’d like to take this paper not only as the ending of my undergraduate life, but the beginning of my postgraduate study.Most important of all, I want to give my thanks to my mother university and all teachers in the College of Foreign Languages.

第二篇：目的論視角下的英語電影片名漢譯研究

目的論視角下的英語電影片名漢譯研究

摘要 4-5 Abstract 5-6

Introduction 8-12

Chapter One: Literature Review 12-19

1.1 Traditional Studies on Film Title Translation 12-14

1.2 Studies on Film Title Translation from the Cultural Perspective 14-16

1.3 Studies on Film Title Translation from the Communicative Perspective 16-17

1.4 Studies on Film Title Translation from the Perspective of Translators 17-19 Chapter Two: Theoretical Framework of the Research 19-25

2.1 Hans Vermeer: Skopos Theory and Beyond 19-20

2.2 Basic Concepts of Hans Vermeer's Skopostheorie 20-25 Chapter Three: Film Titles 25-41

3.1 Film genres 25-26

3.2 Features of Film Titles 26-31

3.3 The Functions of English Film Titles 31-35

3.4 Comparison between English and Chinese Film Titles 35-41

Chapter Four: Analysis of English Film Titles Translation from thePerspective of Skopos Theory 41-66

4.1 Application of Skopos Theory to English Film Title Translation 41-46

4.2 Analysis of English film Titles Translation from the Perspective of Skopos Theory 46-52

4.3 Key Elements Influencing the Translation of English Film Titles in Light of Skopos Theory 52-55

4.4 Translation Methods Adopted in the Practice of English Film Title Translation 55-66 Conclusion 66-69 Bibliography 69-71 Acknowledgements

目的論視角下英語旅游文本的英譯漢研究 Abstract 6

摘要 7-10

Chapter One Introduction 10-14

1.1 Present Research Situation 10-11

1.2 Purpose and Significance 11-12

1.3 Structure of the Thesis 12-14

Chapter Two English-Chinese Translation of Tourist Text 14-29

2.1 English Tourist Text 15-21

2.1.1 Types of English Tourist Text 16

2.1.2 Function of English Tourist Text 16

2.1.3 Linguistic Characteristics of English Tourist Text 16-21

2.2 Problems in English-Chinese Translation of Tourist Text 21-25

2.2.1 Linguistic Level 21-24

2.2.2 Cultural Level 24-25

2.3 Causes of Existing Problems 25-29

2.3.1 Difference of Social Background 25-26

2.3.2 Difference of Thinking Mode 26-27

2.3.3 Difference of Value 27-29 Chapter Three The Skopos Theory 29-35

3.1 Definition and Development of Vermeer's Skopos Theory 29-32

3.1.1 Definition of the Skopos Theory 30

3.1.2 Behavior of Translation and Purpose of Translation 30-32

3.2 Three Translation Principles of the Skopos Theory 32-33

3.2.1 The Skopos Rule 32

3.2.2 The Coherence Rule 32-33

3.2.3 The Fidelity Rule 33

3.3 Second Generation of the Skopos Theory—Nord's Skopos Theory 33-35

Chapter Four Main Points and Strategy of E—C Translation of Tourist Text Based on Skopos Theory 35-51

4.1 Main Points and Strategy of E-C Translation of Tourist Text Based on Vermeer's the Skopos Rule 35-40

4.1.1 Reader-centered Translation 36-37

4.1.2 Translation with Purpose 37-40

4.2 Main Points and Strategy of E-C Translation of Tourist Text Based on Vermeer's Coherence Rule and Fidelity Rule 40-44

4.2.1 Intratextual Coherence 40-41

4.2.2 Intertextual Coherence 41-44

4.3 Skopos Rule as the Primary Principle in Conflict of the Three Rules 44-45

4.4 Main Points and Strategy of E-C Translation of Tourist Text Based on Nord's Theory 45-51

4.4.1 Understanding Literary Style of the Original Text 46-47

4.4.2 Understanding the Logic of the Original Text 47-48

4.4.3 Understanding Cultural Background of the Original Text 48-49

4.4.4 Understanding Meaning of the Words 49-50

4.4.5 Understanding Grammatical Structure 50-51 Chapter Five Conclusion

第三篇：(全英文論文)英文電影片名的漢譯研究

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二、原創(chuàng)論文參考題目 1 2 3 4 5 6 7 8 9 論奧斯丁女性主義觀點(diǎn)在《愛瑪》中的體現(xiàn) 英漢死亡委婉語的文化差異及其分類對(duì)比

淺析《到燈塔去》中女性主義思想在兩位女主人公身上的體現(xiàn) 旅游資料翻譯中文化因素的處理 任務(wù)型教學(xué)法在高中英語教學(xué)中的應(yīng)用 英語委婉語的特點(diǎn)及運(yùn)用

從英漢習(xí)語的翻譯看中西方文化差異 會(huì)話含義理論在法庭話語中的運(yùn)用 雌雄同體：《奧蘭多》中時(shí)代精神的體現(xiàn) 圖式理論分析中國網(wǎng)絡(luò)流行詞翻譯 《沉默的羔羊》三部曲中漢尼拔博士性格探析 12 跨文化交際中的社交語用失誤及其對(duì)英語教學(xué)的啟示 13 對(duì)“老人與海”中人物的分析 從原型批評(píng)理論角度分析威利洛曼的悲劇 15 《玻璃動(dòng)物園》中的逃避主義解讀 Analysis of Love Tragedy in The Apple Tree in Light of Realism 17 英語中的性別歧視 Saussure’s Five Contributions to Linguistic Study and Its Modern Applications 19 對(duì)公共演講課堂中大學(xué)生課堂表現(xiàn)的心理分析 On Contradiction Between Comprehension and Expression in Translation 21 男權(quán)社會(huì)中女性的地位—《遠(yuǎn)大前程》中人物郝維仙之研究 22 斯嘉麗的新女性形象探析 淺析《德伯家的苔絲》中苔絲的悲慘命運(yùn) 《玻璃動(dòng)物園》中的逃避主義解讀 25 《喜福會(huì)》中的女性身份重建 絕望而不言敗的抗?fàn)帯指竦摹尔溙锸赝摺?27 An Application of Schema Theory in Interpreting 28 對(duì)《遠(yuǎn)離塵囂》中三個(gè)男主人公命運(yùn)的分析 29 中法餐桌文化對(duì)比 《白象似的群山》中話語權(quán)利爭(zhēng)奪探究

譯前準(zhǔn)備對(duì)交替?zhèn)髯g成效的課堂研究——以禮儀祝辭類口譯為例 32 從《弗洛斯河上的磨坊》看維多利亞時(shí)期的新女性主義觀 33 Symbolic Meanings of Babel in The Dogs of Babel 34 從適應(yīng)與選擇角度看公示語翻譯方法

女性的自我迷失與回歸—從女性主義視角解讀《蒂凡尼的早餐》(開題報(bào)告+論文)36 影視字幕翻譯原則——從文化角度進(jìn)行研究 37 淺談商務(wù)英語廣告的翻譯 38 淺析《麥田守望者》主人公霍爾頓 39 廣告翻譯中的語用失誤研究 40 論英語小說中俚語的漢譯

《追風(fēng)箏的人》作為成長(zhǎng)小說的的體裁分析 42 英語習(xí)語陷阱及其學(xué)習(xí)策略 43 商務(wù)信函中模糊語的使用研究 44 小說《飄》中斯嘉麗的女性主義探究

通過象征主義、梭羅的自然思想和梭羅的個(gè)人主義析《瓦爾登湖》 46 問題類型對(duì)TEM閱讀成績(jī)影響的實(shí)證研究 47 從關(guān)聯(lián)理論的角度看《圍城》中言語幽默的翻譯 48 中英色彩詞的文化內(nèi)涵異同分析

雙重文化下的文化選擇——解析電影《刮痧》中中國移民的文化身份危機(jī) 50 希望和宿命論之間的掙扎-分析《德伯家的苔絲》中的苔絲形象 51 艾米麗·勃朗特《呼嘯山莊》中男主人公希斯克利夫的形象分析 52 高中英語新課標(biāo)在xx中實(shí)施情況調(diào)查與分析 53 漢英稱贊語的對(duì)比研究

試論金融英語詞匯的特點(diǎn)與翻譯

不做房間里的天使——解讀《愛瑪》中的女性主體意識(shí) 56 莎士比亞戲劇《哈姆雷特》中男主人公性格分析 57 淺談企業(yè)形象廣告設(shè)計(jì)

淺析隱藏在“面紗”之后的伯莎梅森 59 論小說《德庫拉》中的哥特元素 60 解析《麗姬婭》中的哥特美學(xué) 61 從跨文化角度對(duì)中美語言禁忌的淺析 62 被忽視的主人公——析《簡(jiǎn)愛》中的瘋女人

中西方文化中家庭觀念差異研究——以電影《推手》為例 64 淺析隱藏在“面紗”之后的伯莎梅森 65 跨文化交際中的障礙淺析及其解決方法 66

從功能對(duì)等角度看信用證英語的翻譯 68 淺析隱藏在“面紗”之后的伯莎梅森 69 淺談?dòng)⒄Z在未來的國際地位

淺析合作原則在漢英廣告語翻譯中的運(yùn)用 71 《呼嘯山莊》愛情悲劇根源分析

淺析《戀愛中的女人》的圣經(jīng)意象原型——從原型批評(píng)角度解讀 73 史蒂芬克萊恩《紅色英勇勛章》中的自然主義表現(xiàn)手法 74 EFL Learning Strategies on Web-based Autonomous Learning 75 A Comparative Study of Politeness Expressions in English and Chinese 76 淺析《貴婦畫像》中的心理描寫 77 英漢產(chǎn)品簡(jiǎn)介的對(duì)比分析 78 非語言行為在英語交流中的應(yīng)用

從《霍華德莊園》到《印度之行》：論福斯特聯(lián)結(jié)夢(mèng)的破滅 80 從哈姆雷特心理變化軌跡淺析其性格發(fā)展階段 81 中英文顏色詞的文化內(nèi)涵及翻譯

論《西游記》中文化因素的翻譯策略——以詹納爾和余國藩的英譯本為例 83 The Religious Thoughts in The Pilgrim’s Progress

美國牛仔和牛仔文化

從文化語境的角度比較《詩經(jīng)》的兩個(gè)英譯版本 86 元認(rèn)知策略指導(dǎo)下的英語專業(yè)高年級(jí)學(xué)生聽力學(xué)習(xí)87 英漢動(dòng)物習(xí)語內(nèi)涵意義的文化差異 88 《野性的呼喚》和《老人與海》的對(duì)比研究 89 翻譯中的語境因素分析

淺議英漢習(xí)語翻譯中文化語境的制約作用

A Study of C-E Translation of Tourist Materials from the Perspective of Cross-culture 92 伍爾夫《一間自己的房間》的女性主義解讀 93 古典詩歌中典故的翻譯 94 法律英語的特點(diǎn)

《達(dá)洛維夫人》死亡意識(shí)解讀 96 中西方在養(yǎng)老孝道方面的差異

The Function of Symbols in the Feminist Novel Possession 98 性格、學(xué)習(xí)策略和英語學(xué)習(xí)成績(jī)的關(guān)系研究 99 論口譯中的跨文化意識(shí) 100 英漢問候語語用分析 101 英漢習(xí)語文化差異淺析 102 世紀(jì)以來英漢委婉語的語義變遷

對(duì)比分析中西方魔幻影視中英雄主義——以《哈利波特》與《西游記》為例 104 《理智與情感》中的婚姻 105 英語習(xí)語翻譯中的“功能對(duì)等” 106 語用模糊及語用功能

淺析隱藏在“面紗”之后的伯莎梅森

An Analysis of the Leading Character in ‘The Old Man and the Sea’ 109 Approaching English Vocabulary Teaching—a Lexicological Perspective 110 世紀(jì)以來英漢委婉語的語義變遷

尋找女性的自我 — 評(píng)托妮莫里森作品《秀拉》中秀拉形象 112 英漢問候語對(duì)比研究

《哈克貝利費(fèi)恩歷險(xiǎn)記》的藝術(shù)特色分析

托尼莫里森《寵兒》中保羅D的形象解析 115 從標(biāo)記理論看英語詞匯性別歧視現(xiàn)象

An Analysis of the Initiation Theme in The Child in Time 117 英語財(cái)經(jīng)報(bào)道中的詞匯銜接研究

On Advertising Translation from the Perspective of Skopostheorie 119 論英語商務(wù)合同中狀語從句的翻譯 120 論《推銷員之死》中威利?洛曼的死亡原因

A Tentative Study on Metaphor Translations in Fortress Besieged from the Perspective of Relevance Theory 122 中美時(shí)間觀差異對(duì)跨文化交際的影響 123 論廣告英語的修辭特征及其翻譯 124 逆向思維在外語學(xué)習(xí)中的應(yīng)用

元認(rèn)知策略在高中英語寫作教學(xué)中的運(yùn)用 126 A Comparison of the English Color Terms 127 文化差異對(duì)商標(biāo)翻譯的影響

從《嘉莉妹妹》分析西奧多萊塞對(duì)人性欲望的理解

On Hybridization in Translation of Culture-loaded Lexemes in Moment in PekingThe Duality of Life and Death——An Analysis on Virginia Woolf’s Mrs.Dalloway

從文本類型角度看旅游宣傳資料的漢英翻譯 131 《海的女兒》中安徒生的悲劇情結(jié)分析 132 星巴克營(yíng)銷策略研究

論《麥田里的守望者》中的象征體系及霍爾頓的精神世界 134 從目的論角度看企業(yè)推介材料的中譯英技巧－以家具產(chǎn)品介紹為例 135 精神之光——《到燈塔去》中拉姆齊夫人的人性解析 136 委婉語與英語交際

對(duì)《傲慢與偏見》中貝內(nèi)特太太及其女兒們的人物評(píng)論 138 女性主義視角下《傲慢與偏見》的情態(tài)意義解讀

背叛與救贖：從佛洛伊德的人格理論分析《追風(fēng)箏的人》阿米爾的成長(zhǎng) 140 從麥田里的守望者到中國的青少年

女性主義視角下《小婦人》中四姐妹的人物分析

《永別了武器》中戰(zhàn)爭(zhēng)對(duì)人類所造成的毀滅 143 納撒尼爾·霍桑《紅字》中的象征主義 144 清明節(jié)與萬圣節(jié)的比較

淺談中國電影產(chǎn)業(yè)發(fā)展的問題及對(duì)策 146 阿法——《多芬的海》中的加勒比人

外國商標(biāo)的中文翻譯策略及其產(chǎn)品營(yíng)銷效應(yīng)研究 148 論《追風(fēng)箏的人》中“風(fēng)箏”的象征意義 149 《野性的呼喚》中的生態(tài)觀

論漢英詩歌翻譯中對(duì)“真”和“美”的追求 151 班德瑞曲名漢譯策略之解析

152 《德伯家的苔絲》簡(jiǎn)寫本與原著的語篇比較——基于倒裝句的分析視角 153 從《馬拉喀什》和《射象》看喬治奧威爾散文的藝術(shù)風(fēng)格 154 從十字軍東征看中世紀(jì)宗教沖突

155 A Comparative Study of Cultural Connotations of Yellow and Huang in English and Chinese 156 論《海狼》中拉爾森船長(zhǎng)本性的雙重性 157 中西方餐桌禮儀的文化對(duì)比分析 158 詞義的選擇和商務(wù)英語的漢譯 159 淺析交替?zhèn)髯g過程中停頓現(xiàn)象 160 《魯賓遜漂流記》中魯濱遜的形象分析 161 對(duì)外漢語教學(xué)中的成語研究

162 任務(wù)型教學(xué)在高中英語閱讀課中應(yīng)用的調(diào)查

163 約翰歐內(nèi)斯特斯坦貝克《憤怒的葡萄》中的生態(tài)整體主義觀 164 受超驗(yàn)主義影響的具有美國精神的作家 165 A Comparison of the English Color Terms 166 從關(guān)聯(lián)理論角度分析《絕望主婦》中話語標(biāo)記語I mean 167 論英文電影名翻譯 168 論《簡(jiǎn)愛》中的瘋女人 169 法律英語詞匯的特點(diǎn)及其翻譯

170 Analysis of the Personality Changes of the Characters in The Grapes of Wrath

171 淺析《小婦人》中喬的女性意識(shí)及其成長(zhǎng)過程 172 DOTA游戲英雄名稱漢譯策略

173 Salinger, a True Man: A Study of Salinger Based on The Catcher in the Rye 174 方言電視節(jié)目收視群體特點(diǎn)及社會(huì)影響分析 175 跨文化交際中的個(gè)人主義和集體主義沖突及解決辦法 176 從自我認(rèn)同角度再析《簡(jiǎn)愛》 177 論《老無所依》中的英雄缺失 178 意象手法在《永別了，武器》中的使用 179 論中美廣告中所反映的文化價(jià)值觀差異 180 論萊辛作品《又來了，愛情》中婦女失愛的原因 181 從影片《刮痧》分析中美文化差異和沖突 182 淺析隱藏在“面紗”之后的伯莎梅森

183 An Analysis of the Tragic Fate of Mary Turner in The Grass Is Singing 184 二元對(duì)立模型在伍爾夫《達(dá)洛衛(wèi)夫人》中的應(yīng)用 185 從商業(yè)廣告看文化因素對(duì)廣告翻譯的影響

186 論《一個(gè)小時(shí)的故事》中馬拉德夫人女性意識(shí)的覺醒 187 中西方禮貌用語對(duì)比分析 188 英語閱讀有效教學(xué)活動(dòng)設(shè)計(jì)研究 189 《飄》中生態(tài)女性意識(shí)的研究 190 從功能對(duì)等理論看字幕翻譯 191 《野性的呼喚》中的人性和野性 192 Advertising and Its Application 193 非傳統(tǒng)式英雄——從女性主義批評(píng)角度看《名利場(chǎng)》 194 提高大學(xué)生英語口語的流利度 195 《紅高粱家族》中鄉(xiāng)土文化翻譯研究 196 目的論視角下公益廣告的翻譯 197 英語諺語重復(fù)修辭格的翻譯 198 解讀《拉帕希尼的女兒》中的父愛

199 Situational Approach to Grammar Teaching in Senior High English Classes 200 正面解讀《名利場(chǎng)》中的蓓基-夏潑

第四篇：目的論視角下的英語電影片名漢譯——方艷霞

目的論視角下的英語電影片名漢譯分析

方艷霞

摘要：隨著全球化的快速發(fā)展，各國之間的跨文化交際活動(dòng)也愈加頻繁。而電影作為跨文化交際活動(dòng)和文化傳播的重要組成部分，電影的片名翻譯也顯得愈加重要。本文筆者將從德國功能學(xué)派目的論視角下討論英語電影片名的翻譯，并通過信息功能、審美功能和商業(yè)功能三個(gè)角度以及不同譯本的比較和翻譯策略分析，提出電影片名的翻譯應(yīng)當(dāng)以目的論為依據(jù)，遵循翻譯目的為最高原則，采取適當(dāng)?shù)姆g策略，最終形成相對(duì)比較恰當(dāng)?shù)碾娪捌g，以傳達(dá)出電影片名的信息功能、審美功能和商業(yè)功能。

關(guān)鍵詞：目的論；電影片名翻譯；翻譯原則；信息功能；審美功能；商業(yè)功能

一、導(dǎo)言

隨著全球化的深入和快速發(fā)展，跨文化交際活動(dòng)越來越頻繁，成為各國文化交流和文化傳播的重要途徑。而電影作為文化傳播的其中一種載體形式，也愈加備受重視。這之中，電影片名的翻譯也顯得愈加重要，如果沒有處理好電影片名的翻譯，就會(huì)直接影響譯入語觀眾對(duì)電影內(nèi)容和電影所承載的文化藝術(shù)的理解。因此，尋找好的恰當(dāng)?shù)碾娪捌g策略，不僅能很好的實(shí)現(xiàn)文化交際和文化傳播功能，還能幫助電影制作商實(shí)現(xiàn)經(jīng)濟(jì)效益。在翻譯過程之中更多的還要考慮譯入語觀眾的理解水平、他們的文化形態(tài)和文化習(xí)慣以及一定的經(jīng)濟(jì)政治條件，要綜合考慮多種因素，最后找到合適的翻譯策略。

因此，本文中，筆者將首先簡(jiǎn)要介紹一下德國功能派目的論，重點(diǎn)介紹費(fèi)米爾的目的論，然后將以一些典型的英文電影片名的翻譯實(shí)例為例，從目的論的翻譯三大法則出發(fā)討論其中運(yùn)用到的翻譯策略，最終以目的論為概括，討論目的論在電影片名翻譯中的適用性，使片名實(shí)現(xiàn)以下三種功能：信息功能、審美功能和商業(yè)功能。

二、理論概述

二十世紀(jì)五六十年代，西方翻譯理論主要研究的是語言學(xué)和對(duì)等理論, 從原文的角度來研究翻譯的奧秘。到二十世紀(jì)七十年代，翻譯研究中的語言學(xué)取向受到挑戰(zhàn), 德國的翻譯學(xué)者擯棄了獨(dú)霸譯壇的結(jié)構(gòu)主義刻板模式, 創(chuàng)立了功能派翻譯理論。

功能派翻譯理論的形成大體有三個(gè)階段。首先，賴斯根據(jù)布勒的語言功能模式提出了文本類型理論，將文本類型分為信息型、表情型和操作型三種。譯文與原文具有不同的功能，有時(shí)候“等值”是完全不可能實(shí)現(xiàn)的。賴斯認(rèn)為譯者要優(yōu)先考慮譯文的功能特征而不是對(duì)等原則。賴斯的研究可謂是翻譯目的論的發(fā)端。其后, 費(fèi)米爾以人類行為理論為基礎(chǔ)創(chuàng)立了功能派的奠基理論:翻譯目的論。他認(rèn)為，翻譯行為的實(shí)施是為了達(dá)到某種目的或者目標(biāo)，強(qiáng)調(diào)譯者的主觀能動(dòng)性。費(fèi)米爾認(rèn)為:“翻譯時(shí), 譯者根據(jù)客戶或委托人的要求, 結(jié)合翻譯的目的和譯文讀者的特殊情況, 從原作所提供的多信息中進(jìn)行 選擇性的翻譯。”隨后, 曼塔利進(jìn)一步發(fā)展了費(fèi)米爾的“目的論”。三位學(xué)者的著作和文章奠定了以目的論為核心的功能派翻譯理論。另一位德國學(xué)者克里斯蒂安·諾德系統(tǒng)地整理了功能派的思想，將翻譯目的論納入到功能派翻譯理論的整體框架中, 建立了自己的翻譯理論體系，即“功能+忠誠”理論，是德國功能學(xué)派目的論中的一個(gè)核心概念。

在這之中，費(fèi)米爾的目的論是德國功能學(xué)派目的論的重要組成部分，他的目的論涉及三個(gè)主要概念，分別是翻譯行為、委托人和翻譯委托。翻譯行為是由目的的活動(dòng)，委托人則是翻譯的發(fā)起者，翻譯委托中會(huì)指明翻譯的目的、交稿日期和譯者的薪酬等等。他提出了翻譯應(yīng)遵循的三大原則，分別是目的原則、連貫原則和忠實(shí)原則。目的原則即翻譯目的，要符合譯入語讀者的期待，翻譯目的決定了翻譯方法。連貫原則則是指語內(nèi)連貫，讓譯入語讀者能夠理解。忠實(shí)原則則是譯文要忠實(shí)于原文，忠實(shí)的程度則由委托人和譯者根據(jù)譯入語讀者的期待決定，是一種語際連貫。目的原則最根本，是核心。連貫原則和忠實(shí)原則從屬于目的原則。忠實(shí)原則又要從屬于連貫原則。

在英語電影的英譯中，同樣要遵循以上的三大原則，在三個(gè)原則的基礎(chǔ)上，采取合適的翻譯策略，使片名實(shí)現(xiàn)以下三種功能：信息功能、審美功能和商業(yè)功能。

三、電影的分類

一般而言，電影可以分為以下三類，分別是科普片、教育片和故事片。科普片和教育片因?yàn)槭鼙姸际悄骋活惾后w，而且?guī)缀鯖]有商業(yè)性和娛樂性，采取的翻譯策略一般就是翻譯直譯。而故事片的受眾則是普羅大眾，故事片細(xì)分下來的種類也很多，商業(yè)目的性強(qiáng)，故事片的娛樂功能和商業(yè)價(jià)值就決定了要采取“目的論”的翻譯原則，具體的翻譯策略也比較多樣化。所以本文筆者將著重討論故事片片名的翻譯。

四、如何實(shí)現(xiàn)電影片名的三大功能

1、信息功能

信息功能，顧名思義，就是向觀眾傳達(dá)電影的主要內(nèi)容，傳達(dá)的可能是故事主人公、故事梗概、故事發(fā)生時(shí)間、故事發(fā)生地點(diǎn)或者故事結(jié)局，一個(gè)電影片名傳達(dá)的信息內(nèi)容可以包括以上的一個(gè)部分或者所有，也就是說觀眾在看到片名后，會(huì)對(duì)電影相關(guān)的主題或者類型有所了解。因此，片名 是對(duì)整個(gè)電影故事的高度凝練，可以讓觀眾一目了然，至少留給他們一定的猜測(cè)空間。基于此種信息功能，所以翻譯這種比較具有強(qiáng)烈信息傳遞功能的電影片名，采取的方法一般是直譯，當(dāng)然也不排除個(gè)別例外。直譯就是 基本上是對(duì)等的字對(duì)字翻譯。

比如The King's Speech，中國大陸翻譯成《國王的演講》，而香港翻譯的是《皇上無話兒》，臺(tái)灣則翻譯成《王者之聲：宣戰(zhàn)時(shí)刻》。

The King’s Speech講述的是因?yàn)榈艿芤驉凵峄饰唬s克郡公爵臨危受命，成為喬治六世國王，在二戰(zhàn)的背景之下，喬治六世面臨著發(fā)表鼓舞人心的演講的艱巨任務(wù)，為什么說艱巨，因?yàn)閱讨瘟阑加锌诔浴榱丝朔诔缘拿。瑔讨瘟罋v經(jīng)治療，終于靠醫(yī)生、家人和自己的毅力下，在二戰(zhàn)成功發(fā)表了鼓舞人心的演講。所以故事圍繞的核心，眾人為之努力的目標(biāo)就是為了最后的演講。英語片名，毋庸置疑，想傳遞的就是這種意思，所以大陸的翻譯《國王的演講》這種直譯是很恰當(dāng)?shù)模瑖鴥?nèi)的觀眾看到該片名，就大概了解了故事的主題核心就是關(guān)于一個(gè)國王的演講。而反過來看臺(tái)灣和香港的譯本，為了追求語言的美感，有點(diǎn)過譯了。《皇上無話兒》確實(shí)有模糊地表達(dá)出喬治六世口吃的狀態(tài)，但是這種根據(jù)電影內(nèi)容的編譯或者說是意譯，反而不如直譯效果好，讓人有點(diǎn)摸不著頭腦，也不是整個(gè)故事的核心。香港的《王者之聲：宣戰(zhàn)時(shí)刻》聽起來很有噱頭，乍一看有點(diǎn)像是蝙蝠俠這種漫威英雄電影或者戰(zhàn)爭(zhēng)電影，會(huì)有一定的誤解。可能在噱頭方面比較有亮點(diǎn)，但是也是過譯了，顯得有點(diǎn)夸張，而且“聲”和“speech”完全不能對(duì)等，只能說模糊地有點(diǎn)牽扯，可能比較有亮點(diǎn)的是“宣戰(zhàn)”二字，因?yàn)楣适卤尘熬褪嵌?zhàn)，但是明明直譯更省力，而且效果更好，為什么要化簡(jiǎn)為繁，大費(fèi)周章的花式翻譯。所以綜合大陸版本和港臺(tái)版本的對(duì)比，可以看出大陸版本的直譯更加精確地傳達(dá)出了電影內(nèi)容。另外的例子像是The Boy in the Striped Pajamas《穿條紋睡衣的男孩》，The Butterfly Effect《蝴蝶效應(yīng)》等，前者是電影故事的主人公；后者是電影故事的一個(gè)理論基礎(chǔ)，將理論延伸至人類社會(huì)。像這種傳達(dá)很明確信息的電影片名，直譯無疑是最好的翻譯策略。

綜上所述，對(duì)于信息類，一般沒有文化負(fù)載詞的電影片名，不管采取何種具體的翻譯策略，都是為了實(shí)現(xiàn)電影片名一定程度上的信息功能，而這時(shí)候，在目的論指導(dǎo)下采取的翻譯策略，無論是直譯還是策略，都是為了實(shí)現(xiàn)電影符合譯入語觀眾的期待，觀眾是影響片名翻譯的主體，即遵循了目的原則。

2、審美功能

審美感受更多的是一種藝術(shù)體驗(yàn)，內(nèi)心的感覺。也就是在翻譯電影片名的時(shí)候要考慮到觀眾的感受，尤其是美的感受。由于中西方文化的差異，譯者在翻譯電影片名時(shí)要從譯者的角度克服一定的文化障礙，幫助讀者實(shí)現(xiàn)最大程度的審美感覺。這個(gè)時(shí)候，一般處理的是不好直譯，如果直譯的話不符合中文閱讀習(xí)慣和思維方式的電影片名，而為了實(shí)現(xiàn)這種以觀眾為中心的審美功能，采取的翻譯策略肯定排除直譯，一般是意譯、增詞、減詞或調(diào)整語序等等，不管怎樣，翻譯策略的選擇都是圍繞著譯入語觀眾的審美能力的。

比如Scent of a Woman翻譯成《聞香識(shí)女人》，而不是其他的譯法《女人香》或者《女人的芳香》。如果只為了信息功能而直譯的話，也就是翻譯成《女人香》或者《女人的芳香》的話，就沒有《聞香識(shí)女人》這種只可意會(huì)不可言傳的美感來得更加美、更加有內(nèi)涵。《聞香識(shí)女人》在原文的基礎(chǔ)上加了兩個(gè)動(dòng)詞“聞”和“識(shí)”，多了這兩個(gè)詞，就多了一種朦朧而又模糊的立體美感，很能吸引觀眾的眼球，從這一方面來說，達(dá)到了翻譯委托人也就是電影公司的目的，吸引觀眾，同時(shí)又符合譯入語觀眾也就是中國觀眾的審美習(xí)慣和用語習(xí)慣。

另外一個(gè)例子就是Hilary and Jackie，分別有三種譯本《希拉里與杰基》，《狂戀大提琴》和《她比煙花寂寞》，同樣英文片名都是名詞，也就是故事的兩個(gè)主人公，一對(duì)姐妹希拉里和杰基。電影其實(shí)講述的是一個(gè)寂寞的故事，妹妹拉大提琴天賦過人，卻有著不為人知的內(nèi)心無比寂寞的一面，她反而羨慕姐姐這種普普通通人的生活。妹妹的生活是在華麗背后的虛空與流離，流離在親情和愛情之外，結(jié)局無異乎是悲劇的，與其說是故事片，不如說是文藝片，因此藝術(shù)性更強(qiáng)，導(dǎo)演想傳達(dá)給我們的東西也更加晦澀難懂。如果像信息類的故事片名一樣采取直譯，也就是《希拉里與杰基》，雖然和英文的片名如出一轍，但是感覺不深刻，觀眾乍一看，不會(huì)想到講的是更加有深度的東西。可以說，翻譯成《她比煙花寂寞》，從某種程度上說，算是超越了英文標(biāo)題Hilary and Jackie，不管是藝術(shù)性審美性還是給觀眾帶來的直觀沖擊來講，中文標(biāo)題更勝一籌，中文標(biāo)題算是譯者自己的發(fā)揮，根據(jù)電影內(nèi)容和電影含義的編譯，給人一種寂寞空虛蕭條的悲劇之感。從這一點(diǎn)來說，翻譯成《她比煙花寂寞》審美效果確實(shí)很好。而《狂戀大提琴》雖然說也是譯者自己的編譯，也符合電影中妹妹的特點(diǎn)，但是就深度和廣度而言，顯然是不足的，比《她比煙花寂寞》稍遜一籌。

不管是《她比煙花寂寞》的翻譯還是《聞香識(shí)女人》的翻譯，從某種程度上都很好地實(shí)現(xiàn)了譯者的主觀能動(dòng)性，都是為了更好地符合譯入語觀眾的期待和符合譯入語觀眾的審美要求和審美期待，譯者在這里主觀能動(dòng)性很強(qiáng)，將譯本和譯入語讀者放在了更重要的位置，因此也很符合目的論的目的原則以及連貫原則，而忠實(shí)原則的程度很大程度上也是取決于譯者以及委托人的意愿的，以服務(wù)目的原則為宗旨實(shí)現(xiàn)的。因此以目的論為指導(dǎo)的電影片名的翻譯，如果要實(shí)現(xiàn)一定的審美功能，則也是要以三大原則為依據(jù)的。

3、商業(yè)功能

電影的制作發(fā)行，傳遞到其他國家，不單單是為了文化交際和文化傳播，更重要也更加主要的是實(shí)現(xiàn)電影的商業(yè)價(jià)值，這是電影制作發(fā)行的核心目的，尤其是在當(dāng)今競(jìng)爭(zhēng)激烈的電影市場(chǎng)上。所以電影片名的翻譯應(yīng)當(dāng)要充分發(fā)揮起市場(chǎng)化和商業(yè)化的作用，要足夠吸引觀眾的眼球、好奇心和觀看欲望。而這主要考慮的是翻譯委托人的意愿，要實(shí)現(xiàn)商業(yè)價(jià)值，其實(shí)也考慮到了譯入語觀眾的心理需求，只不過為了符合他們的期待或者給他們制造期待，可能會(huì)過分放大原有的英文標(biāo)題。

例如The Prestige大陸翻譯成《致命魔術(shù)》，臺(tái)灣翻譯成《頂尖對(duì)決》，香港翻譯成《死亡魔法》。其實(shí)跟原有的英文標(biāo)題幾乎毫不相關(guān)，算是一種根據(jù)電影內(nèi)容的再創(chuàng)作。

電影內(nèi)容其實(shí)是關(guān)于兩個(gè)著名魔術(shù)師的明爭(zhēng)暗斗，二人出招接招，一來一往，爭(zhēng)斗在劇烈升級(jí)，友誼和道德都被拋諸腦后，一場(chǎng)血案在悄悄醞釀，電影劇情環(huán)環(huán)緊扣，扣人心弦，很是燒腦。要想表達(dá)出導(dǎo)演想要表達(dá)的意味以及劇情的內(nèi)容，直譯當(dāng)然不可取。無論是《致命魔術(shù)》、《頂尖對(duì)決》還是《死亡魔法》其實(shí)都是抓住電影核心，主要的矛盾沖突然后加以理解翻譯的。單從文字角度，不看對(duì)觀眾產(chǎn)生的影響的話，三個(gè)都各有特色，《致命魔術(shù)》無論是“致命”還是“魔術(shù)”，這兩個(gè)詞都緊扣住了電影的核心，“致命”暗示了結(jié)局，“魔術(shù)”則是手段；《頂尖對(duì)決》則著重強(qiáng)調(diào)兩個(gè)主人公之間的你來我往爭(zhēng)斗，只是卻未點(diǎn)名關(guān)鍵的“魔術(shù)”二字；《死亡魔法》和《致命魔術(shù)》異曲同工，都是一樣的意思，只是措辭不同，語氣和措辭相較于《致命魔術(shù)》更加和緩。但是如果從觀眾的角度來看，《死亡魔法》肯定不行，像童話故事一樣。而《頂尖對(duì)決》有種港片的即視感，不會(huì)聯(lián)想到和魔術(shù)有關(guān)，而魔術(shù)作為該電影的重要元素，是不可或缺的。綜合比較，無疑是《致命魔術(shù)》聽起來更加酷炫，懸疑或者是殘酷，會(huì)更有看頭，觀眾也會(huì)更加喜歡，作為商業(yè)片而言，起碼片名就很有市場(chǎng)，既不落俗，又不會(huì)太難懂。只要觀眾喜歡了，那么電影的商業(yè)價(jià)值就實(shí)現(xiàn)了。

電影片名的翻譯實(shí)現(xiàn)商業(yè)功能仍舊需要以目的論為依據(jù)，考慮到翻譯委托人的目的，即創(chuàng)造市場(chǎng)價(jià)值，以目的性原則為最高原則，這時(shí)候的忠實(shí)程度就可以根據(jù)目的需求具體看待了。

五、結(jié)語

隨著電影市場(chǎng)多元化的發(fā)展，電影種類日益繁多，但是在翻譯電影片名的時(shí)候，無論是中翻外語還是外語翻成中文，都應(yīng)當(dāng)以翻譯目的論的三大原則為指導(dǎo)，處理好電影片名的翻譯，以實(shí)現(xiàn)片名的信息功能、審美功能和商業(yè)功能。但是在此基礎(chǔ)上為了實(shí)現(xiàn)更好的文化交際，還應(yīng)具體問題具體分析，適當(dāng)保持某種文化的特定特色，以促進(jìn)世界文化的多元性，欣欣向榮和繁榮發(fā)展，促進(jìn)文化交流以及文化傳播。

參考文獻(xiàn)：

［1］Nord, C.2001.Translating a s a Purposeful Activity: Functional Approaches Explained.Shanghai:Shanghai Foreign Language Education Press ［2］Eugene A.Nida.1993.Language, Culture and Translation.Shanghai: Shanghai Foreign Language Education Press ［3］Reiss，K & Vermeer.H.J.G.1984.Groundwork for a General Theory of Translation.Tubingen: Niemeye.［4］譚載喜，1999，《新編奈達(dá)論翻譯》，北京:北京對(duì)外翻譯出版 公司。［5］張美芳，2005，《翻譯研究的功能途徑》，上海：上海外語教育出版社。

第五篇：論文：英語電影片名的翻譯

中文文摘

電影是一種集藝術(shù)性和商業(yè)性于一體的藝術(shù)形式，是最具有影響力的媒體之一。越來越多的英語電影被引入中國，促進(jìn)了中西方文化交流。電影片名作為電影的重要組成部份之一，具有傳達(dá)信息，表現(xiàn)美感和吸引觀眾的功能。在過去的二三十年里，影視翻譯取得了很大的發(fā)展，但作為翻譯領(lǐng)域一個(gè)重要組成部份，電影片名的研究工作還做得遠(yuǎn)遠(yuǎn)不夠。目前似乎還沒有人提出一套比較完整可行的原則指導(dǎo)片名翻譯。目前英語片名翻譯的問題主要表現(xiàn)為譯名不統(tǒng)一，呈現(xiàn)出“一名多譯，良蕎不齊”的狀況。

本文以新興的功能翻譯理論作為研究基礎(chǔ)，大力提倡以觀眾為取向的英語片名翻譯方法。功能翻譯理論不同于傳統(tǒng)的翻譯理論，它強(qiáng)調(diào)了翻譯及目的文本在其文化中的功能。作為功能翻譯理論的“目的論”認(rèn)為，翻譯是一種有目的行為，“目的”決定所有翻譯行為。根據(jù)“目的論”，決定翻譯目的的最重要因素之一就是譯文的接受對(duì)象，他們作為譯文預(yù)期的接受者有其各自特定的文化背景和不同的交際需求。此外，功能理論還賦予譯者更高的地位和更多的自由，認(rèn)為為了達(dá)到翻譯的目的與功能，譯者可以最大限度地利用原文的文本信息，并在實(shí)踐中采用行之有效的不同翻譯策略。這也符合了當(dāng)今影視翻譯鼓勵(lì) 譯者具有一定個(gè)性和創(chuàng)造性的趨勢(shì)。

在以上理論研究的基礎(chǔ)上，文章將功能理論應(yīng)用于分析英語電影片名翻譯的現(xiàn)象，對(duì)英語片名的翻譯進(jìn)行了深入系統(tǒng)而全面的描述與分析，探討了功能翻譯理論指導(dǎo)電影片名翻譯的合理性與可行性，以及在該理論指導(dǎo)下英語電影片名翻譯的一些策略。全文共分五早。

論文第一章首先介紹了英文電影片名的重要性，闡明了本文的寫作目的、研究方法和組織結(jié)構(gòu)。

第二章主要介紹了本研究的理論基礎(chǔ)一功能翻譯理論。本章首先介紹了功能翻譯理論的發(fā)展;其次介紹了指導(dǎo)功能翻譯理論的三大法則，即目的性法則，連貫性法則和忠誠性法則。指出功能翻譯理論的評(píng)價(jià)標(biāo)準(zhǔn)是“合適”，而不是“對(duì)等”。該理論作為對(duì)傳統(tǒng)翻譯理論的一個(gè)重大突破和翻譯理論研究的重要補(bǔ)充，為電影片名翻譯的理論研究開辟了一個(gè)新視角。

第三章介紹了電影的分類，定義了電影片名，分析了電影片名的功能和特點(diǎn)。并指出片名翻譯的最終目的和主要功能是激發(fā)觀眾的觀看欲望。電影片名不僅是物質(zhì)產(chǎn)品，同時(shí)又是精神產(chǎn)品。為了更好地實(shí)現(xiàn)片名翻譯的最終目的，譯者不僅要使得電影譯名具有導(dǎo)看功能，即片名能給觀眾提供影片的基本信息，還要使觀眾獲得美感并受到感召，最終采取行動(dòng)。這也就是要求譯者在譯文中努力實(shí)現(xiàn)電影片名的三種基本功能，即信息功能，美感功能和祈使功能。

III

第四章是理論與實(shí)踐相結(jié)合的一個(gè)章節(jié)，即將功能翻譯理論結(jié)合到具體的片名翻譯實(shí)踐中。作者分析了英語電影片名翻譯的主要方法和策略，即音譯、直譯、意譯及改譯，以及各種方法的優(yōu)勢(shì)和不足，指出了各種翻譯方法密不可分，優(yōu)勢(shì)互補(bǔ)。本文引用了大量豐富的例子來探討功能翻譯策略在電影片名翻譯中的運(yùn)用，認(rèn)為原英語片名只是信息提供者之一。除了原電影片名，電影本身也可能提供信息。因此，譯名與原名是否對(duì)等并不十分重要，充分滿足信息、美感、祈使三個(gè)功能的要求才是英語電影片名翻譯的首要標(biāo)準(zhǔn)。

第五章總結(jié)全文，指出電影片名翻譯的功能能否實(shí)現(xiàn)是英語電影片名漢譯的基本原則。要實(shí)現(xiàn)電影片名翻譯的功能，就要求譯者要明確片名翻譯的目的，了解電影的類型及主要內(nèi)容，并基于此選擇適當(dāng)?shù)姆g策略來實(shí)現(xiàn)電影片名翻譯的功能。

IV

Synopsis

The film, a particular art with both artistic and commercial values, is one of the most influential mass media with large quantities of English films being introduced into China.The film title, as an important part of the film, is of referential, expressive and appellative functions and its translation is a challenging job.Although film translation has been developing quickly in the past two or three decades, film title translation is a far less explored field.Up till now, no systematic and feasible theory on English film title translation has been put forward.Actually, film title translation is very problematic in that it is in a state of disunity.From the aspects of the functions and skopos of film titles, the author makes an analysis of the translation of film titles.Skopos theory, a newly developed theory, is adopted as the theoretical background of this thesis and an audience-oriented film title translation approach is highly advocated.Functionalism sheds new lights on the translation field.It reflects a shift from traditional linguistic and formal translation theories to a more functionally and socio-culturally oriented concept of translation.As a kernel of functionalism, Skopos theory holds that translation is an intentional action, and the skopos is the prime principle to determine the overall translational action.According to Skopos theory, one of the most important factors determines the purpose of a translation is the target receivers with their culture-specific backgrounds, their expectations and communicative needs.Moreover, functionalism gives the translator much more freedom than ever.The translator is encouraged to make good use of the source information and enjoys the freedom of choosing what strategy to follow to achieve the expected functions of the translation.In this thesis, the author applies the functionalist approaches to explain the phenomena of film title translation.The thesis makes an intensive and comprehensive study of the translation of English film titles.It proves the rationality and applicability of the functionalist approach and probes into the translation strategies of translation of English film titles under the guideline of functionalism.The thesis is divided into five chapters.The first chapter serves as an introduction.It presents the significance of the study, and also describes the skopos, research methodology and the structure of thesis.V

Chapter Two elaborates the theoretical basis—the functionalist approach, on

which the present study is founded.This chapter first introduces the historical views of the functional translation theory.After this, the chapter illuminates the three rules for any translation under the framework of functionalism: the skopos rule, the coherence rule and the fidelity rule;and indicates that criterion for translation evaluation is “adequacy”.Therefore, the functionalist theory has given a new perspective to the study of the translation of film title.Chapter Three introduces the genre of films, defines the film title to be examined in this thesis and discusses the features and functions of film titles.It points out that the ultimate purpose of film title translation is to induce the audience to see the film.But unlike commercial advertisement, the film title is not only a commercial product, but a spiritual product as well.In order to achieve the purpose, the title not only has to provide necessary information about the film to the audience but to entertain the audience and attract them.Only when the audience have been entertained and attracted by the title will they be persuaded to go to the cinema.That is to say, a translator should try to achieve three basic functions in target translation, namely thereferential, expressive and appellative functions.Chapter Four discusses the combination of theory with practice.This chapter applies the functionalist approach explain to the English film title translation.It first uses the functionalist approaches to the phenomena of film title translation.And it elaborates the strategies mainly applied in English film title translation, namely transliteration, literal translation, liberal translation and adaption, and discusses the merits and limitations of each method.This thesis argues that all the translation strategies are indispensable and supplementary to each other.It holds that equivalence to the original is not very important but the translation's adequacy to the requirement of the three functions is just the first and foremost criterion for the fulfillment of the skopos of reproducing the referential, expressive and appellative functions of original film titles Chapter Five is the conclusion that summarizes the whole thesis.It reaffirms that the translator should translate the English film titles under the basic principle of fulfilling the specific functions of it by applying translation methods in a flexible way.VI

Table of Contents 中文摘要........................................................................................................................I

Abstract........................................................................................................................II

中文文摘.....................................................................................................................III

Synopsis........................................................................................................................V

Chapter One Introduction........................................................................................1 1.1 Research Background..............................................................................................1 1.2 Data and Methodology.............................................................................................2 1.3 The Structure of the Thesis.....................................................................................2

Chapter Two Literature Review..............................................................................4 2.1 The Emergence of Functional Approaches..............................................................4 2.2 Functionalist Translation Theory.............................................................................5 2.2.1 Development of Functionalist Translation Theory...............................................5 2.2.2 Basic Concepts of Skopos Theory........................................................................6 2.2.3 Adequacy, Standard of Evaluation.......................................................................6 2.2.4 Translation Brief..................................................................................................6 2.2.5 Merits of Skopos Theory......................................................................................7

Chapter Three A Profile of Film Title Translation................................................8 3.1 Genre of Film...........................................................................................................8 3.2 Definition of Film Titles..........................................................................................8 3.3 Sources of Film Titles..............................................................................................8 3.3.1 The Indication of the Subject...............................................................…….........9 3.3.2 The Indication of the Object/Clue........................................................…….........9 3.3.3 The Indication of the Background........................................................................9 3.3.4 The Indication of the Plot....................................................................................10 3.3.5 The Indication of the Theme........................................................................…...10 3.4 Features of Film Titles...........................................................................................10 3.5 Functions of Film Titles........................................................................................11

VII

3.6 Skopos of Film Title Translation...........................................................................11

Chapter Four Application of the Functionalist Approach to the English Film Title Translation.....................................................................................................13 4.1 Strategies Employed in the Translation of English Film Titles.............................13 4.2 Strategies Employed in the Translation of Film TItles..........................................13 4.3 Summary................................................................................................................13

Chapter Five Conclusion.......................................................................................15 5.1 Summary and Conclusion of the Research...........................................................15 5.2 Limitations and Suggestions of the Research........................................................15

References...................................................……........................................................17

VIII

Chapter One Introduction

1.1 Research background

The year 1895 witnessed the first film in world history in France.Having developed for over a century, the film has become one of the most popular ways of entertainment for people.Additionally, it is also a means of expression as well as a vehicle for cultural communication.The film has included so much of various historical periods that people believe that by watching films of various types from various times and various countries, they can learn many aspects of history.The film is, so to speak, an acting and talking encyclopedia of culture and society.With the increasing pace of China's opening to the outside world as well as the development of cultural communication between China and English-speaking countries, more and more English films have entered Chinese market.In order to enable the audience to understand and appreciate the film, the whole film should be translated.Thus, there is an urgent demand for the translation of films.And because the film, as a specific form of literature and audio-visual art, is bound to have promising prospects in our age, it is of great significance to study and develop film-translating too.Film translation is the translating of languages and cultures, and the promotion of cross-cultural exchanges.And the film title, like the title to a literary text, delivers the most important information about the film to the audience.Therefore, as an indispensable part of the film translation, the film title translation naturally becomes an important branch of the general translation study.Whether the film is appealing or not, the title is one and the first deciding factor, for it is often the first that comes into the potential viewer's attention.It is expected to be eye-catching, ear-pleasing and curiosity-stimulating.The film titles generally bear three principal functions: the referential function, the expressive function, and the appellative function.The referential function means that the translation informs the audience the background and the plots of the film.It tells the audience as much of the information of the film as it can within several words and help them have a basic understanding of the film.The expressive function means that the translation sets the feeling-tone reflected in each film genre, which is very important to its communicative effectiveness;The appellative function means

that the translation must be written in a language that is immediately comprehensible to the audience so as to attract their attention, and triggerthem to enter the cinema to appreciate the film.And the film title, being short in form but rich in meaning, has its own linguistic, aesthetic, cultural and commercial features, all of which contribute a lot to the charm and the success of the film.Nowadays, the film title translation has attracted the attentions of many scholars.Many thesises of this topic could be seen in various kinds of academic periodicals.However, the studies in this field are not adequate and comprehensive enough.In this thesis, the author will try to make some theoretical explanations by examples which are taken from original texts and published translations.1.2 Data and Methodology

The present research is a descriptive analysis of English film title translation.It mainly focuses on the feature films which carry a greater variety than documentary films and science and educational films.They are usually intended to attract wide and varied audience.Thus, various feature film titles are collected from various sources such as books, journals, DVDs and the Internet for this research.The research is carried out in the light of the functionalist approaches to discover the principles of film title translation, and to see how the translation strategies are adequate to the requirements of the three functions in serving the skopos of film title translation.1.3 The Structure of the thesis

The thesis consists of five chapters: l)introduction, 2)literature review, 3)a profile of filmtitle translation, 4)an analysis of the film title translation from the functional perspective, 5)conclusion.The first chapter introduces the background and methodology of this research.The second chapter is the literature review which introduces the Skopos theory, including its development, basic concepts, basic rules and its influence on translation.The third chapter makes a profile of film titles.It introduces the genre of films, defines the film titles, analyzes its features and functions, and points out that the

skopos of English film title translation is to win the heart of the audience and be rewarded by a great box-office hit.The fourth chapter is the practical part of my thesis, where English film title translations are collected, reviewed and analyzed, for the purpose of discussing how the Chinese translation in various strategies are feasible in serving the skopos of entertaining the audiences and promoting the box-office.The fifth chapter is the last part.It summarizes the research conducted in the thesis to draw a conclusion.Chapter two

Literature Review 2.1 The Emergence of functionalist approaches The functional approaches originated in Germany in 1970s.Before its emergence, those linguistic-oriented theories had a great influence on translation.Many definitions of translation emphasized the linguistic aspect.For example, Catford thought translation is “the replacement of textual material in a language(SL)by equivalent material in another language(TL)”(cf.Nord, 2001:7);and according to Nida and Taber, the process of translation is “reproducing in the receptor language the closest natural equivalent of the source-language message”(Eugene A.Nida & Charles R.Taber, 2004:12).Because the linguistic approaches basically saw translation as a procedure of trans-coding, “equivalence” seems to be basic and somewhat indispensable.Werner Koller even indicated that the translation must preserve the source-language content, form, style, function, or “at least must seek to preserve them as far as possible”(cf.Nord, 2001:7).It declared the target text which is not equivalent to the source text to be a failed translation.Though many theorists still emphasize the equivalence in translation, they have to recognize that there may be non-equivalence in translation caused by the culture differences.Just as Koller stated in his recent work, “adaptation may be appropriate, or even inevitable, in order to make the translation reach its audience.(cf.Nord, 2001:7)And as for some pragmatic texts, such as advertisements and products instructions, ”equivalence“ can't be well applied for them.Thus, some translation scholars shift their focus from equivalence-based approaches to functionalist approaches, and ”a new theory was called for“.(Nord, 2001:8)

”The emergence of a functionalist translation theory marks an important moment in the evolution of translation theory by breaking the two-thousand-year old chain of theory revolving around the faithful vs.freeaxis.”

(Gentzler, 2004: 71)

Functionalism is a broad term for various theories that approach translation in this way.The major contribution to functionalism is the functionalist translation theory with the Skopos theory to its core.2.2 Functionalist Translation Theory 2.2.1 Development of functionalist translation theory The development of the functionalist translation theory experienced four stages, with Katharina Reiss, Hans J.Vermeer, Holz-Manttari and Christiane Nord as the main representatives.2.2.2 Basic Concepts of Skopos theory

“Skopos is the Greek word for ?aim? or ?purpose' and was introduced into translation theory in the 1970 by Hans J.Vermeer as a technical term for the purpose of a translation and of the action of translating.”

(Munday, 2001:78-79)

Nord indicates that the main idea of Skopos theory is that translation should be purpose-oriented.Vermeer has divided the purpose of translation into three possible kinds, including “the general purpose aimed at by the translator in the translation process”(cf.Nord, 2001;27), “the communicative purpose aimed at by the target text situation”(ibid: 27), and “purpose aimed at by a particular translation strategy or procedure”(ibid:28).And the term Skopos usually refers to the purpose of the target text.Except the term Skopos, Vermeer also uses some related words aim, purpose, intention and function in his theory:

1.?Aim’is defined as the final results an agent intends to achieve勿means of an action.2.?Purpose' is defined as a provisional stage in the process of attaining an aim.3.?Function' refers to what a text means or is intended to mean from the receiver's point of view, whereas the aim is the purpose for which it is needed or supposed to be need.4.?Intention' is conceived as aim-oriented plan of action.(cf.Nord,2001: 28)

He considers teleological concepts of these words to be equivalent, subsuming them under the generic concept of Skopos.However, Christiane proposed a basic distinction between intention and function, which is particularly useful in translation.Because the sender and the receiver usually belong to different cultural and situational settings, “intention and function may have to be analyzed from two different angles”.(Nord, 2001:29)2.2.3 Adequacy, Standard of Evaluation

Instead of equivalence, “adequacy” is highly emphasized within the framework of skopos theory.According to Skopos theory, the intended purposes of the target text determine the translation strategies, and criterion for translation evaluation is “adequacy”, which refers to “the qualities of a target text with regard to the translation brief'(Nord, 2001:35), which will be discussed later in this chapter.The translation should be ”adequate to“the requirements of the brief'.(Nord, 2001:35).“'Adequate' is a dynamic concept related to the process of translational action and referring to the “goal-oriented” selection of signs that are considered appropriate for the communicative purpose defined in the translation assignment.”

(cf.Nord, 2001:35)

The skopos of the translation determines the form of equivalence required for an adequate translation.Therefore, equivalence means adequacy to a skopos that requires that the target text serves the same communicative function or functions as the source text,山us preserving invariance of function between source and target text.That is, the concept of equivalence is reduced to “functional equivalence” on the text level of what Reiss refers to as “communicative translation”.(cf.Nord, 2001:36)2.2.4 Translation Brief

The translation brief indicates the text type, format or terminology of a translation.In the professional practice of translation, translators seldom start a translating activity out of their own reasons.Translation is usually done by assignment;that is, a client needs a text for a particular purpose and calls upon the translator for a translation.In the process of translational action, the initiator decides the communicative purpose.However, on real occasions, clients do not give the translators an explicit translation brief,they often do not know that a good brief spells a better translation.Based on the source text in the source settings, an experienced translator is able to infer the brief himself and make some variations upon the target text, in order to make

it meaningful to target culture receivers.In addition, the translation brief does not tell the translator how to go about their translation job, what translation strategy to use, or what translation type to choose.These decisions depend entirely on the translator's responsibility and competence.(Nord, 2001:30)

In terms of Skopos theory, the variability of the brief depends on the circumstances of the target culture, not on the source culture.Since translation has been defined as a translational action involving a source text, the source is usually a part of the brief.In terms of action theory, agents(sender, receiver, initiator, translator)play the most important parts.2.2.5 Merits of Skopos theory

Compared with traditional translation theory prevailing before 1970s, Skopos theory has so many distinctive characteristics that it becomes a trigger of revolution in translation studies.“The two most important shifts in theoretical developments in translation theory overthe past two decades have been(1)the shift from source-text oriented theories to target-text oriented theories and(2)the shift to include cultural factors as well as linguistic elements in the translation training models.Those advocating functionalist approaches have been pioneers in both areas.”

(Gentzler, 2004:70)

And the theory is also considered by Nord exactly as the translation model that is needed.Nord summarizes the advantages of it as ”pragmatic, culture-oriented and consistent“.(cf.Quan Xunlian, 2006)

Chapter Three

A Profile of English Film Title

The film title, like the title to a literary text, delivers the most important information about the film to the audience.A good film title can grip the attention of the audience and contribute a lot in box-office.Film title translation is an important job which is full of creation.It seems to be a simple and easy task, but actually it is complicated.It has its own features and unique functions all of which deserve the attention of translation scholars.A brief survey of English film titles will be conducted in this chapter before coming to the application stage.3.1 Genre of film In film theory, ”genre“ refers to the primary method of film categorization based on similarities in the narrative elements from which films are constructed.Just like literary genres, there are many types of films, but the most significant categories are feature films, documentary films, educational films, experimental and animated films as suggested in The Complete Film Dictionary.(cf.Xu Lin, 2005)

3.2 Definition of film titles

The title, according to The Complete Film Dictionary, means any words that appear on the screen not as part of the scene but as a means of conveying information to the audience.”Credit titles“ appear at the start and conclusion of a film to cite the various personnel responsible for the motion picture;”the main title“ gives the name of the film;”subtitle“ are placed at the bottom of the scene to translate foreign languages;”the end title“ tells the audience that the film is concluded and ”end titles“ give us the credits.(cf.Xu Lin, 2005)The thesis will discuss the ”main title“ which gives the name of the film.3.3 Sources of film titles The film title usually summarizes the main idea of the film and exposes the theme.If a translator wants to grasp the full meaning of the original title, and translate the film titles properly, he should first identify the sources of film titles.That means, he should know on what bases the films are named.The sources can be roughly

categorized into five types: 1)subject;2)objecbclue;3)background;4)plot;5)theme.(He Ying, 2001)3.3.1 The Indication of the Subject

The subject here refers to the protagonist-hero or heroine of the film.More often than not, the screenwriters either adopt the names of the main characters as the film titles, or entitle the film with the characteristics of the protagonist.Following are some examples of this type of source:

Romeo and Juliet Batman Alexander The Fantastic Four

3.3.2 The Indication of the

The clue or the most important object appearing in the film serving to be the thread that connects the whole plot is often adopted as the title.Following are some examples of this type of source:

Schindler's List 7axi Golden Eye A Clockwork Orange

3.3.3 The Indication of the Background

The background, which plays a very important part in the developing the plot, conveying the theme and portraying the characters, also serves as one of the chief sources for naming a film.This type of source originates from the place or time that is crucial for the development of the plot and the portrait of the protagonists, providing the audience with some basic background information of the film.Following are some examples of this type of source:Troy The Longest Day Mr.Bean's Holiday Air Force One

《特洛伊》 《最長(zhǎng)的一天》 《憨豆先生的假期》 《空軍一號(hào)》

《辛德勒名單》 《的士速遞》 《黃金眼》 《發(fā)條橙》

《羅密歐與茱麗葉》

《蝙蝠俠》

《亞歷山大帝》

《神奇四俠》

3.3.4 The Indication of the Plot

It's the most common type of source of film titles.The title always provides a glimpse of the film plot, or summarizes the content of the film.Following are some examples of this type of source:

Around the World in 80 days Kill Bill Star War Saving Private Ryan

3.3.5 The Indication of the Theme

Some of the films are entitled with the theme that the film intended to convey.Such titles are comparatively abstract, but contain much more symbolized meanings than the other types.They are very thought-provoking, profound and far-reaching in mood.Following are some examples of this type of source:

Pride and Prejudice Brave Heart Top Gun The Sound of the Music

《傲慢與偏見》 《勇敢的心》 《壯志凌云》 《音樂之聲》

《環(huán)游世界80天》 《殺死比爾》 《星球大戰(zhàn)》 《拯救大兵萊恩》

3.4 Features of film titles

Film titles are commonly short and brief to be eye-catching for people.And because the intended addressee of film titles is the general public, the language should be popular and comprehensive.Many rhetoric devices, such as simile, metaphor and oxymoron are employed in the film title to make them vivid and attractive, therefore, they can grab the audience's attention, arouse their curiosity and trigger their action.The overall features of the English film titles will be approached from linguistic, aesthetic, cultural and commercial aspects as follows.In general, English film titles are simple, concise and compact.A lot of film titles employ only one word, which are usually to be nouns.They may be the main character, the place or the time when the story takes place.For example, Speed, Mummy, Titanic and so on.Although there are some long film titles, such as When a Man Loves a Woman and It happened One Night, they are just a small number.Additionally, phrases enjoy the great popularity in the film titles.Most of them are noun phrases, verb phrases and prepositional phrases.3.5 Functions of film titles

”Function“ is a topic largely discussed by the translation scholars.Vermeer defines ction as ”what a text means or is intended to mean from the receiver's point of view".(Nord, 1:28).Each text is produced for a certain function and work this function.The station of a text should also be intended to function for the target receivers.Functionalism draws on Karl Biihler's organon(1934)about the text function.Biihler proposed that there were three basic text functions: referential, expressive and appellative functions.And because the film is a material product as well as a spiritual product, this dual decides that film titles have both functions of artistic appreciation and commercial advertisement, therefore the titles should bear the aesthetic function as well.3.6 Skopos of film title translation

The film is more than just an entertaining system.It is also a means of expression as well as a vehicle for cultural communication.According to Vermeer's Skopos theory, the possible purposes in the translational action can be divided into three kinds: the general purpose aimed at by the translator, the communicative purpose aimed at by the target text, and the purpose aimed at by a particular translation strategy or procedure.(cf.Nord,2001:27-28)Applying this classification in film title translation, we can see that the general purpose of a translator of film title translation is to earn living;the communicative purpose of film title translation is to induce the audience to go the cinema;and the purpose of using particular strategies in film title translation is to preserve or recreate the referential function, expressive function and appellative function to please the audience, regardless of whether the immediately feeling is amusement(comedy), fear(horror)or anything else.Among the three purposes, the communicative purpose is the most important one.A successful film title should be the one that can attract people to the cinema and contribute a lot to the box office.That is to say, the skopos of film title translation is to add the viewer with a translated film title, which can contribute to a good

understanding of the contents of the film, provide information of the background and the plots of the film, set the feeling-tone of the film, increase the title's artistic appeal, win the heart of the audience and promote the box-office.Generally speaking, to make a hit on box-office is the ultimate goal of film title translation..In order to fulfill this purpose, the translator's task is to apply suitable strategies of translation, to provide the clear and concise film titles and induce the audience to watch the film.Chapter Four

Application of the Functionalist Approach to the English

Film Title Translation

4.1 Strategies Employed in the Translation of Film Titles

There is no single translation strategy that can solve all the problems in film title translation.According to the three functions of film title, which we have discussed in chapter three, four main types of strategies can be applied in film title translation.They are transliteration, literal translation, liberal translation and adaption.The following part discusses the four strategies applied in film title translation with rich examples to see how they are adequate to the translation brief, that is the requirements of the referential function, the expressive function, and the appellative as an integrated whole in fulfilling the purpose of entertaining the Chinese audience and promoting the box-office.4.2 Strategies Employed in the translation of Film Titles

There is no single translation strategy that can solve all the problems in film title translation.According to the three functions of film title, which we have discussed in chapter three, four main types of strategies can be applied in film title translation.They are transliteration, literal translation, liberal translation and adaption.The following part discusses the four strategies applied in film title translation with rich examples to see how they are adequate to the translation brief, that is the requirements of the referential function, the expressive function, and the appellative as an integrated whole in fulfilling the purpose of entertaining the Chinese audience and promoting the box-office.4.3 Summary

From the analysis above, we can draw a conclusion that the translation of English film titles doesn't simply mean copying the content and the form of the original title.It a re-creative process based on the functional theories.There isn't a sole method for the film title translation.All methods has its limitations.When one

method does not work owing to linguistic, customary, cultural or other factors, naturally the translator must at once turn to the other means for help.He should have a better understanding of the type and the content of the original film, then he can choose a method which is adequate to the translation brief and well reproduces the referential, expressive and appellative functions of the film title.Chapter Five

Conclusion

5.1 Summary and Conclusion of the Research

In this thesis, we have conducted a study into the application of the functionalist approaches to the translation of English film titles.The film is one of the most influential mass media products.As China' film market's potential becomes larger and larger, more and more English films have entered Chinese market and held a very important position in Chinese people's recreational life.So the translation of film products has become an important part of international economic and cultural exchanges.The study of the translation of film titles is not only necessary but also urgent.That is the reason why the author attempts to make an analysis of the basic strategies applicable to the translation of English film titles from a functionalist perspective.The author elaborates on the functionalist approach that emerged in the 1970s in Germany.The functionalist approach made a breakthrough in the field of translation, which had been dominated by the equivalence theory for a long time.The functionalist approach is a shift from the source-text orientation to target-text orientation.It attaches greatest importance to the skopos, and points out that the prime principle determining the translation action is the skopos(purpose)of the target text.In this sense, the functionalist approach is the most suitable and practicable theory to guide the film title translation.For the Chinese audience, they watch the film for the purpose of entertainment.And as an essential part of the films, the film titles naturally should not only serve the skopos of entertainment, but also the skopos of inducing the audience to see the film.The referential function, the expressive function and the appellative function are defined as the translation brief in achieving this skopos.Various kinds of strategies are employed such as transliteration, literal translation, liberal translation and adaption to fulfill this skopos.All the translation strategies adopted by the translator serve to realize the ultimate purpose of film title translation by highlighting one or two or three of these three functions.Simultaneously meeting the requirements of the three functions achieves the skopos well while meeting the requirements of one or two functions may affect the degree of entertainment.For example, the audience may not feel the specific atmosphere of the film easily due to the translation's failure to meet the requirement of the expressive

function.Therefore, to produce a successful film title under the guidance of the Skopos theory, the translator should first make clear of the skopos of the film title translation, then, he is supposed to fully understand the differences between Chinese film titles and English film titles in culture-specificity, in referential and expressive functions.Finally it is important for the translator to choose appropriate strategy that can best serve the particular function and finally realize the skopos of the translation.The thesis cites rich examples to examine the specific strategies the translator has chosen when translating different kinds of English film titles.The purpose of this study is to analyze whether and how the translators translate in a way that enables the translation to reproduce the referential, expressive and appellative function of the original title.5.2 Limitations and Suggestions of the Research

The present research is a tentative study of English film title translation.However, it is only target receiver-oriented and cannot cover all the aspects of the translation of English film titles due to the limited time and sources.Therefore, there is still much to be investigated in great depth in the translation of English film titles from other aspects.References Christiane Nord.2001.Translating as a Purposeful Activity-Functionalist Approaches Explained, Shanghai: Shanghai Foreign Language Education Press Edwin Gentlzer.2004.Contemporary Translation Theories(Revised Second Edition)Shanghai: Shanghai Foreign Language Education Press Eugene A.Nida & Charles R.Taber.2004.The Theory and Practice of Translation, Shanghai: Shanghai Foreign Language Education Press Eugene A.Nida.2001.Language, Culture and Translation, Shanghai: Shanghai Foreign Language EducationPress Gideon Toury.2001.Descriptive Translation Studies and Beyond, Shanghai: Shanghai Foreign Language Education Press Gutt, Ernest-August.2001.Translation and Relevance, Shanghai: Shanghai Foreign Language Education Press Katharina Reiss.2004.Translation Criticism-The Potentials & Limitations, Shanghai: Shanghai Foreign Language Education Press Mark Shuttleworth & Moira, Cowie.2004.Dictionary of Translation Studies, Shanghai: Shanghai Foreign Language Education Press Mary Snell-Hornby.2001.Translation Studies-An Integrated Approach, Shanghai: Shanghai Foreign Language Education Press Mona Baker.2004.Routledge Encyclopedia of Translation Studies, Shanghai: Shanghai Foreign LanguageEducation Press Munday Jeremy.2001.Introducing Translation Studies-Theory and Applications, London: Routledge Peter Newmark.2001.A Textbook of Translation, Shanghai: Shanghai Foreign Language Education Press Peter Newmark.1988.Approaches to Translation.Cambridge: Cambridge University Press.Peter Newmark.2006.About Translation Beijing: Foreign Language Teaching and Research Press.Quan Xunlian, 2006, A Functionalist Approach to the Translation of Film Titles, Unpublished MA.dissertation, Anhui University

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