原声版电影《音乐之声》字幕翻译研究
音乐之声英文字幕
音乐之声英文字幕《音乐之声》英文字幕(The story starts in an abbey of Salzburg, Austria, in the last Golden Days of the Thirties.) 开篇:玛利亚在山冈上忘情高歌Halleluyah!Bernice: Reverend Mother...Reverend Mother: Sister Bernice.Bernice: I simply cannot find her.Reverend Mother: Marisa?Bernice: She's missing from the abbey again.Sister A: Perhaps we should have put a cowbell around her neck.Sister B: Have you tried the barn? You know how much she adores the animals. Bernice: I have looked everywhere, in all of the usual places.Reverend Mother: Sister Bernice, considering that is Maria, Isuggest you look in some placeunusual.(Later, Maria gets back and comes to see Reverend Mother.)Reverend Mother: I'm here, my child. Now sit down.Maria (short for M): Oh, Reverend Mother, I'm so sorry. I justcouldn't help myself. The gates were open and the hills were beckoning and before...Reverend Mother: I know! I have not summoned you here for apologies.M: Oh, please Mother, do let me ask for forgiveness.Reverend Mother: If it will make you feel better.M: Yes. Well you see, the sky was so blue today and everything wasso green and fragrant. I just had to be a part of it! And you know those birds kept meeting me higher and higher as though it wanted me to goright through the clouds with it.Reverend Mother: Child, suppose darkness had come and you were lost?M: Oh, Mother, I could never be lost up there. That's my mountain; I was brought up on it. It was the mountain that led me to you.Reverend Mother: Oh?M: When I was a child, I would come down the mountain and climb atree and look over into your garden. I'd see the sisters at work and I would hear them sing on their way to Vespers, which brings me to another transgression, Reverend Mother. I was singing out there today without permission.Reverend other: Maria, it is only here in the abbey that we haverules about postulant singing.M: I can't seem to stop singing wherever I am. And what's worse, Ican't seem to stop saying things. Everything and anything I think and feel.Reverend Mother: Some people would call that honesty.M: No, but it's terrible, Reverend Mother. You know how Sister Beth always makes me kiss the floor after we had a disagreement? Well latelyI've taken to kissing the floor when I see her coming just to save time.Reverend Mother: Maria, when you saw us over the abbey wall and longed to be one of us, that didn't necessarily mean that you were prepared for the way we live here, did it? M: No, Mother. But I pray and I try and I am learning. I really am.Reverend Mother: What is the most important lesson you have learned here, my child? M: To find out what is the will of God and to do it whole-heartedly.Reverend Mother: Maria, it seems to be the will of God that youleave us. M: Leave you?Reverend Mother: Only for a while, Maria.M: Oh, please, Mother, don't do that. Please don't send me away!This is where I belong. It's my home. My family. It's my life.Reverend Mother: Are you truly ready for it?M: Yes, I am.Reverend Mother: Perhaps if you go out into the world for a time, knowing what we expect of you. You will have a chance to find out that you could expect it from yourself. M: I know what you expect, Mother, and I can do it. I promise I can!Reverend Mother: Maria...M: Yes, mother. It is God's will.Reverend Mother: There is a family near Salzburg that needs a governess until needs a governess until September.M: September?!Reverend Mother: To take care of seven children.M: Seven children?!Reverend Mother: Do you like children Maria?M: Oh yes, but seven....Reverend Mother: I will tell Captain Von Trapp to expect you tomorrow. M: A captain?Reverend Mother: A retired officer of the imperial Navy. A fine man and a brave one. His wife died several years ago. Living in the dorm with the children, and I understand he has had a most difficult time managing to keep a governess there.M: Er.. Why difficult, Reverend Mother?Reverend Mother: The Lord will show you in His own good time.(Maria, with her bag and guitar in hands, walks sullenly out of the abbey.) M (singing): What will this day be like, I wonder.What will my future be, I wonder.It could be so exciting to be out in the world, to be free.My heart should be wildly rejoicing,Oh, what's the matter with me? I've always longed for adventure, to do the things I've never did. Now here I'm pacing adventure, then why am I so scared?(Oh, help.)I have confidence in confidence alone,Besides which you see, I have confidence in me.(In front of the Von Trapps' house, Maria wonders at its grandeur. She knocks at the door. A man appears.)M: Hello, here I am! I'm from the convent. I'm the new governess, Captain. Franz: And I'm your butler, Fraulein.M: Oh, well, how do you do? Hmm.Franz: Wait here, please.(While waiting, Maria enters a hall. It is such a magnificent hall, that she can't help dancing.The Captain appears.)Captain (Short for C): Why do you stare at me that way?M: Well, you don't look at all like a sea captain, sir.C: I'm afraid you don't look much like a governess. Turn around, please.M: What?C: Turn. Hat off. It's the dress. You have to put on another one before you meet the children.M: But I don't have another one. When we enter the abbey, ourworldly clothes are given to the poor.C: What about this one?M: The poor didn't want this one.C: Hmm.M: I would have made myself a new dress but there wasn't time. I can make my own clothes. C: Well, I'll see that you get some material. Today, if possible. Now, Fraulein...er.... M: Maria.C: Fraulein Maria, I don't know how much the Mother has told you?M: Not much.C: You're the twelfth in a long line of governesses, who have cometo look after my children since their mother died. I trust that you will be an improvement on the last one. She stayed only two hours.M: What's wrong with the children, sir?C: There was nothing wrong with the children, only the governesses. They were completely unable to maintain discipline. Without it, the house cannot be properly run. Please remember that, Fraulein.M: Yes, Sir.C: Every morning you will drill the children in their studies. Iwill not permit them to dreamaway their summer holidays. Each afternoon they will march about the ground, breathing deeply. Bedtime is to be strictly observed. No exceptions.M: Excuse me, sir. When do they play?C: You'll see to that they conduct themselves at all time with the utmost orderliness and decorum, I'm placing you in command.M: Yes, sir.(Captain blows his whistle. After slamming of doors, the children appear on the terrace in a line, and then walk down one by one.) C: Now, this is your new governess, Fraulein Maria. As I sound your signals, you will step forward and give your name. You, Fraulein, will listen carefully. Learn their signal so you can call them when you want them.Liesl: Liesl.Frederick: Frederick.Louisa: Louisa.Kurt: Kurt.Bargitta: Bargitta.Marta: Marta.(The youngest girl steps forward.)C: And Gretl. Now, let's see how well you listened.M: Oh, I won't need to whistle for them, Reverend Captain. I mean, I'll use their names. And such lovely names.C: Fraulein, this is a large house. The grounds are very extensive.I will not have anyone shouting. You will take this, please. Learn to use it. The children will help you. Now, when I want you, this is what you will hear.M: No, sir. I'm sorry, sir. I could never answer to a whistle. Whistles are for dogs and cats and other animals but not for children and definitely not for me. It would be too humiliating. C: Fraulein, were you this much trouble at the abbey?M: Oh, much more, sir.C: Hmm.M: Excuse me, sir, I don't know your signal.C: You may call me Captain.(Captain leaves.)M: At ease. Well now that there's just us. Would you please tell me what are your names again and how old you are?Liesl: I'm Liesl. I'm sixteen years old and I don't need a governess.M: Well, I'm glad you told me, Liesl. We'll just be good friends.Frederick: I'm Frederick. I'm fourteen. I'm impossible.M: Really? Who told you that, Frederick?Frederick: Fraulein Josephine. Four governesses ago.Louisa: I'm Bargitta.M: You didn't tell me how old you are, Louisa.Bargitta: I'm Bargitta, she's Louisa. She's thirteen years old andyou're smart. I'm ten and I think your dress is the ugliest one I ever saw.Kurt: Bargitta, you shouldn't say that.Bargitta: Why not? Don't you think it's ugly?Kurt: Of course, but Fraulein Helder's was ugliest. I'm Kurt. I'm eleven. I'm incorrigible.M: Congratulations!Kurt: What's incorrigible?M: I think it means you won't be treated like a boy.Marta: I'm Marta and I'm going to be seven on Tuesday. And I'd likea pink parasol. M: Well, pink is my favorite color, too. Yes, you're Gretl, and you're five years old? My, you're practically a lady! Now I have to tell you a secret. I've never been a governess before. Louisa: You mean you don't know anything about being a governess?M: Nothing. I'll need lots of advice.Louisa: Well, the best way to start is to be sure to tell father to mind his own business. Frederick: You must never come to dinner on time.Bargitta: Never eat your soup quietly.Kurt: And during dessert always blow your nose.Gretl: Don't believe a word they say, Fraulein Maria.M: Why not?Gretl: Because I like you.Frau Schmidt: All right now, children! Outside for your walk.Father's orders. Now, hurry up! Hurry up! Quick, Quick… Fraulein Maria, I'm Frau Schmidt, the housekeeper.M: How do you do!Frau Schmidt: How do you do! I'll show you to your room. Follow me.(On the way to her room, Maria feels something strange in her pocket. It is a toad. She cries out and throws it away. The children watch this and leave in laughter. Later the dinner is served, Maria is late.) M: Good evening. Good evening, children.Children: Good evening, Frauen Maria.(Without noticing a pinecone on her chair, Maria sits on it, jumpsup with pain and immediately.)M: Ha Ha.C: Enchanting little tune. Something you learned at the abbey?M: No, erm... it's eh... rheumatism. (Sits down again) Excuse me, Captain, haven't we forgotten to thank the Lord? For what we are aboutto receive, may the Lord make us truly thankful. Amen.C: Amen.M: I'd like to thank each and every one of you for the precious gift you left in my pocket earlier today.C: Erm... What gift?M: It's meant to be a secret Captain, between the children and me.C: Aha. Then I suggest that you keep it and let us eat.M: Knowing how nervous I must have been. A stranger in the new household. Knowing how important it was for me to feel accepted. It was so kind and thoughtful of you to make my first moments here so warm and happy and pleasant.(Marta crying.)C: What Is the matter, Marta?Marta: Nothing.(The children burst into tears one by one) C: Frauen, is it to be at every meal or merely a dinnertime that you intend to lead us all to th is rare and wonderful new world of indigestion? M: They're all right, Captain. They're just happy. (Outside the house, Rolfe knocks at the door.) Franz: Ah, Rolfe. Good evening.Rolfe: Good evening, Franz. I trust everything is under control?Franz: Yes, yes.Rolfe: Good.Franz: Are there any developments?Rolfe: Perhaps. Is the captain at home? Franz: He's at dinner.Rolfe: With the family?Franz: Yes.Rolfe: Please give him this telegram at once. Franz: Certainly.(Inside, Franz gives the telegram to the captain. He reads it.) Liesl: Franz, who delivered it?Franz: That young lad Rolfe, of course. Liesl: Father, may I be excused?C: Hmm. Children, in the morning I shall be going to Vienna.Children: Not again, father!Gretl: How long will you be gone this time, papa? C: I'm not sure, Gretl. I'm not sure.Louisa: To visit the Baroness Schneider again? Frederick: Mind your own business.C: As a matter of fact, yes, Louisa.Marta: Why can't we ever get to see the Baroness? Louisa: Why would she want to see you?C: It just so happens that you are going to see the Baroness. I'm bringing her back with me to visit us all.Children: Good!C: And uncle Max.Children: Uncle Max!!(Liesl goes out to the yard)Liesl: Rolfe! Oh, Rolfe!Rolfe: No, Liesl. We mustn't.Liesl: Why not, silly?Rolfe: I don't know. It's just...Liesl: Isn't this why you're here waiting for me? Rolfe: Yes, of course. I've missed you, Liesl. Liesl: You have? How much?Rolfe: So much that I even thought of sending you a telegram, justso that I'd be able to deliver it here.Liesl: Oh, that's a lovely thought. Why don't you? Right now.Rolfe: But I'm here.Liesl: Please Rolfe. Send me a telegram. I'll start it for you. Dear Liesl. Rolfe: Dear Liesl, I'd like to be able to tell you how I feel about you. Stop. Unfortunately this wire is already too expensive. Sincerely, Rolfe.Liesl: Sincerely?Rolfe: Cordially.Liesl: Cordially?Rolfe: Affectionately.Liesl: Hmmm...Rolfe: Will there be any reply?Liesl: Dear Rolfe, Stop. Don't stop. Your Liesl. If only we didn't always have to wait for someone to send father a telegram. How do I know when I'll see you again?Rolfe: Well, let's see. I could come here by mistake. With atelegram for Colonel Schneider. He's here from Berlin staying with the... No one is supposed to know he's here. Don't tell your father, now.Liesl: Why not?Rolfe: Well, your father is so... so Austrian.Liesl: We're all Austrian.Rolfe: Well, some people think we ought to be German. And they're very mad at those who don't think so. They're getting ready to.... Well, let's hope your father doesn't get into trouble. Liesl: Don't worry about father. He's a big naval hero. He was even decorated by the Emperor.Rolfe: I know. I don't worry about him. But I do worry about his daughter. Liesl: Me? Why?Rolfe: Well, you're so...Liesl: What?Rolfe: Well, you're such a baby!Liesl: I'm sixteen, what's such a baby about that?Rolfe (singing): You wait, little girl, on an empty stage, for fate to turn the light on. Your life. Little girl, is an empty page, That men will want to write on.Liesl (singing): To write on?Rolfe (singing): You are sixteen, going on seventeen.Baby, it's time to think,Better beware, be canny and careful.Baby, you're on the brink.You are sixteen, going on seventeen.Fellows will fall in line.Eager young lads and Ruez and Kaz will offer you food and wine.Totally unprepared are you, to face a world of men.Timid and shy and scared are you,Things beyond your kin.You need someone older and wiser,Telling you what to do.I am seventeen, going on eighteen.I'll take care of you!(It begins to rain, Liesl and Rolfe run into a pavilion for shelter.) Liesl (singing): I am sixteen, going on seventeen.I know that I'm naive.Fellows I meet may tell me I'm sweet,And willingly I believe,I am sixteen, going on seventeen.Innocent as a rose.Bachelor of dandy's, drinkers of brandy's.What do I know of those?Totally unprepared am I,To face a world of men.Timid and shy and scared am I,Of things beyond my kin.I need someone older and wiser,Telling me what to do.You are seventeen, going on eighteen.I'll depend on you.M: Come in. Frau Schmidt.Frau Schmidt (showing the material): For your new dresses, Fraulein Maria. The Captain had these sent out from town.M: Oh, how lovely. I'm sure these will make the prettiest clothesI've ever had. Tell me, do you think the Captain would get me some more material if I asked him? Frau Schmidt: How many dresses does a governess need?M: Not for me, for the children. I want to make them some plainclothes. Frau Schmidt: The Von Trap children don't play, they march. M: Surely you don't approve of that?Frau Schmidt: Ever since the Captain lost his poor wife he runs this house as if he were on some of his ships again. Whistles, orders. No more music, no more laughing. Nothing that reminds him of her. Even the children.M: It's so wrong.Frau Schmidt: Ah, well. How do you like your room? There'll be new drapes at the windows.M: New drapes? But these are fine.Frau Schmidt: Nevertheless new ones have been ordered.M: Oh but I really don't need them.Frau Schmidt: Good night, now.M: Frau Schmidt, do you think if I asked the Captain tomorrow about the material... Frau Schmidt: He's leaving for Vienna in the morning.M: Oh, yes, of course. Well, how long will he be gone?Frau Schmidt: It all depends. The last time he visited the Baroness he stayed for a month. I shouldn't be saying this, not to you, I mean I don't know you that well. But if you ask me, the Captain is thinking very seriously of marrying the woman before the summer is over. M:That'd be wonderful. The children will have a mother again.Frau Schmidt: Yes. Well, good night.M: Good night.(Maria is praying.)M: Dear Father, now I know why you sent me here. To help these children prepare themselves for a new mother. And I pray that thisfamily will become a happy family in my sight. God bless the Captain. God bless Liesl and Frederick. God bless Louisa, Bargitta, Marta and little Gretl. And... oh I forgot the other boy, what's his name. Well, God bless what's his name? God bless the Reverend Mother and sister Margarita and everybody at Mamburg Abbey. Now, dear God. About Liesl. Help her to know that I'm her friend. And help her to tell me what she's been up to.(Liesl climbs in from the window)Liesl: Are you going to tell on me?M: Shhh... Help me to be understanding so that I may guide her footsteps. In the name of the Father, the Son and the Holy Ghost, Amen.Liesl: I was out taking a walk and somebody locked the doors earlier than usual and I didn't want to wake everybody up so when I saw your window open... You're not going to tell father, are you?M: Hmm. How in the world did you climb up here?Liesl: How we always got up to this room to play tricks on the governess. Louisa can make it with a whole jar of spiders in her hand!M: Spiders?! Oh, Liesl, were you out walking all by yourself? You know, if we would wash out that dress tonight nobody would notice it tomorrow. You could put this on. Take your dress in there, put it to soak in the bathtub. And come back here and sit on the bed. We'll have a talk.Liesl: I told you today I didn't need a governess. Well, maybe I do.(Outside are thunders and lightening. Gretl runs in.)M: Gretl, are you scared? You're not frightened by the storm, are you? You just stay right here with me. Where are the others?Gretl: They're asleep. They're not scared.Other girls also appear at the door)M: Oh, no? Look. All right, everybody, up here on the bed. Children: Really?M: Well, just this once, come on! Now all we have to do is wait for the boys.Liesl: You won't see them, boys are brave.(Frederick and Kurt turn up too.)M: You boys weren't scared too, were you?Frederick: Oh no. We just wanted to be sure that you weren't. M:That was very thoughtful of you, Frederick. Frederick: It wasn't my idea. It was Kurt's.M: Kurt. That's the one I left out. God bless Kurt. Gretl: Why doesit do that?M: Well, the lightning says something to the thunder and the thunder answers back.Gretl: The lightning must be nasty.M: Not really.Gretl: Why does the thunder get so angry? It makes me want to cry. M: Well, when anything bothers me and I'm feeling unhappy, I just try and think of nice things.Children: What kind of things?M: Uh, well, let me see. Nice things. Daffodils. Green meadows.Skies full of stars. Raindropson roses. And whiskers on kittens.(Singing) Bright copper kettles and warm woolen mittens, Brown paper packages tied up with strings,These are a few of my favorite things.Cream colored ponies and crisp apple strudels, Doorbells and sleigh bells schnitzel with noodles, Wild geese that fly with the moon on their wings, These are a few of my favorite things.Girls in white dresses with blue satin sashes, Snowflakes that stay on my nose and eyelashes.Silver white winters that melt into springs,These are a few of my favorite things.When the dog bites,When the bee stings, when I'm feeling sad.I simply remember my favorite things,And then I don't feel so bad.Louisa: Does it really work?M: Of course it does! You try it. What things do you like?Marta: ……Pussy Wallo p!Gretl: Christmas!Kurt: Bunny rabbits!Frederick: No school!Louisa: Pillow fight!Liesl: Telegram!Bargitta: Birthday present!Kurt: Any present!Marta: Achoo!!M: Gesundheit! See what fun it is!(Singing) Raindrops on roses and whiskers on kittens,bright copper kettles and warm woolen mittens.Brown paper packages tied up with strings.These are a few of my favorite things.Cream colored ponies and crisp apple strudels,Doorbells and sleigh bells schnitzel with noodles,Wild geese that fly with the moon on their wings,These are a few of my favorite things.(Oh, together!)Girls in white dresses with blue satin sashes,Snowflakes that stay on my nose and eyelashes.Silver white winters that melt into springs,These are a few of my favorite things.When the dog bites....(While Maria and the children are enjoying themselves, the Captain comes in.) M: Well... hello.C: Fraulein, did I not tell you that bedtime is to be strictly observed in this house? M: Well, the children were upset by the storms so I thought that if I... You did sir. C: Do you or do you not have difficulty remembering such simple instructions? M: Only during thunderstorms, sir.C: Liesl?Liesl: Yes, father?C: I don't recall seeing you anywhere after dinner.Liesl: Oh really? Well, as a matter of fact...C: Yes?Liesl: Well, I was...M: What she would like to say Captain is that er... she and I had been better acquainted tonight. But it's much too late now to go into all that. Come along children, you heard your father, go back to bed immediately.C: Fraulein, you have managed to remember that I am leaving in the morning. Is it also possible that you remember that the first rule in this house is discipline? Now, I trust that before I return you will have acquired some.M: Captain. Er... I wonder if before you go I could talk to you about some clothes for the children.C: Fraulein Maria...M: But if I could just have some material...C: There are obviously many things not the least of which is repetitious. M: But the children!C: Yes, and I'm their father. Goodnight.(Maria makes the children's play clothes out of the drapes and takes the children out to enjoy the out-door activities.)Louisa: Fraulein Maria, can we do this every day?M: Don't you think you'd soon get tired of it, Louisa? Louisa: I suppose so. Every other day?Kurt: I haven't had so much fun since the day we put glue on Fraulein Josephine's toothbrush.M: I can't understand how children as nice as you manage to playsuch awful tricks on people.Bargitta: Oh, it's easy.M: But why do it?Liesl: How else could we get father's attention?Bargitta: Yes.M: Oh, I see. Well, we'll have to think about that one. All right everybody, over here.Liesl: What are we going to do?M: Let's think of something to sing for the Baroness when she comes. Kurt: Father doesn't like us to sing.M: Well, perhaps we can change his mind. Now, what songs do you know? Frederick: We don't know any songs.M: Not any?Marta: We don't even know how to sing.Bargitta: No.M: Well, let's not lose any time. You must learn.Liesl: But how?M: (singing) Let's start at the very beginning, a very good place to start. When you read you begin with?Gretl: ABC.M: When you sing you begin with Do Re Mi.Children: Do Re Mi.M: Do Re Mi, the first three notes just happen to be: Do Re Mi. Children: Do Re Mi.M: Do Re Mi Fa So La Ti. Let's see if I can make it easier. Doe, a deer, a female deer.Ray, a drop of golden sun.Me, a name I call myself.Far, a long, long way to run.Sew, a needle pulling thread.La, a note to follow Sew.Tea, a drink with jam and bread.That will bring us back to Doe, oh, oh, oh.(repeat.)Do Re Mi Fa So La Ti Do! So, Do!M: Now children, Do Re Mi Fa So, and so on are only the tools we use to build a song. Once you have these notes in your heads you can sing a million different tunes by mixing them up. Like this: So Do La Fa Mi Do Re. You do that?Children: So Do La Fa Mi Do Re.M: So Do La Ti Do Re Do.Children: So Do La Ti Do Re Do.M: Now, put it all together.Children: So Do La Fa Mi Do Re, So Do La Ti Do Re Do.M: Good!Frederick: But it doesn't mean anything.M: So we put in words. One word for every note. Like this: (singing) When you know the notes to sing, you can sing almost anything. Together!Children (singing): When you know the notes to sing, you can sing almost anything. Doe, a deer, a female deer,Ray, a drop of golden sun,Me a name I call myself,Far, a long, long way to run,Sew, a needle pulling thread,La, A note to follow Sew......(Captain returns with the Baroness and uncle Max. On their way home, Captain sees his children climbing the trees.)Baroness: This really is exciting for me, George, being here with you. C: Trees, lakes, mountains, when you've seen one you've seen them all. Baroness: That is not what I mean and you know it.C: Ah, you mean me. I'm exciting.Baroness: Is that so impossible?C: No, just... er... highly improbable.Baroness: There you go, running yourself down again.C: Well, I'm a dangerous driver.Baroness: You know, you're much less of a riddle when I see you here, George. C: In my natural habitat?Baroness: Yes, exactly.C: Are you trying to say that I'm more at home here, among the birds and the flowers and the wind that moves through the trees like arestless sea.Baroness: How poetic!C: Yes, it was rather, wasn't it? More at home here than in Vienna.In all your glittering salons. Gossiping gaily with balls I detest, soaking myself in Champagne. Stumbling about the Waltzes by Strauss. I can't even remember. Is that what you're trying to say? Baroness: Moreor less, yes.C: Now, whatever gave you that idea?Baroness: How I do like it here, George. So lovely and peaceful. How can you leave it as often as you do?C: Oh, pretending to be madly active, I suppose. Activity suggests a life filled with purpose. Baroness: Could it be running away from memories?C: Or perhaps just searching for a reason to stay.Baroness: Oh, I hope that's why you've been coming to Vienna so often. Or were there other distractions there?C: Oh, I'd hardly call you a mere distraction, darling.Baroness: Well, what would you call me, George?C: Lovely, charming, witty, graceful. The perfect hostess. And.. er.. you're going to hate me for this: in a way, my savior.Baroness: Oh, how unromantic!。
从关联理论看电影《音乐之声》的字幕翻译
作者： 王宁
作者机构： 开封大学外国语学院,河南开封475004
出版物刊名： 电影文学
页码： 153-154页
年卷期： 2013年 第10期
主题词： 电影《音乐之声》;字幕翻译;关联理论
摘要：英文电影《音乐之声》自从引进到中国的市场后,就受到广大观众的青睐,在社会上的各大影院都相继上映。
伴随着时代快速的发展以及观众审美意识的转变,中国观众对电影中的字幕翻译质量愈加关注。
影视作品的字幕翻译要综合考虑到多个方面的因素,保证字幕翻译的质量。
本文以电影《音乐之声》为例,从关联理论视角对字幕翻译的特征和限制性因素,结合不同的翻译策略分析《音乐之声》的字幕翻译,力求在字幕翻译中寻求一个最佳的关联点。
原声版电影《音乐之声》字幕翻译研究
原声版电影《音乐之声》字幕翻译研究作者：彭丹来源：《电影评介》2012年第02期[摘要] 电影《音乐之声》引入中国之后，该片就以译制片的形式吸引了广大中国观众，曾在各大影院反复上映。
然而随着时代的发展和需求，译制片已经不能满足观众的需求，原声字幕版电影应运而生并且吸引了更多观众。
以飞鸟影苑制作的原声字幕版《音乐之声》为例，从关联理论的角度研究其字幕翻译是否遵循关联原则。
[关键词] 关联理论字幕翻译关联原则最佳关联doi:10.3969/j.issn.1002-6916.2012.02.031引言电影《音乐之声》引入中国之后，该片就以译制片的形式吸引了广大中国观众，曾在各大影院反复上映。
然而随着时代的发展和需求，译制片已经不能满足观众的需求，原声字幕版电影应运而生并且吸引了更多观众。
正因为如此，本文选择了由飞鸟影苑制作的原声字幕版《音乐之声》，试图从关联理论的角度出发，研究其字幕翻译是否遵循关联原则。
一、理论依据1986年，Dan Sperber和Deirdre Wilson在格拉斯（H.P.Grice）提出了语用学相关原则（Principle of Relevance），随后在此基础上发展了关联理论（Relevance Theory）。
他们的学生Ernst-August Gutt根据关联理论对翻译进行了研究，并出版了《翻译与关联：认知与语境》（Translation and Relevance: Cognition and Context），在这本书中他提出了关联翻译理论。
[1]Sperber 和Wilson提出，关联原则包括关联的认知原则和交际原则：关联的第一原则，即认知原则：人类认知倾向于同最大关联相吻合。
关联的第二原则，即交际原则：每一个明示的交际行为都应设想为它本身具有最佳关联。
最大关联要求对话语进行理解时付出的努力尽可能小而获得的语境效果为最大，但在实际交际中，最佳关联才是人们所期待的，即对话语进行理解时只需付出有效的努力就可获得足够的语境效果。
从受众角度论影视原声作品字幕的英汉翻译
从受众角度论影视原声作品字幕的英汉翻译黄越【摘要】影视艺术是视听双频的大众传播艺术,因而影视翻译较之其它类型的翻译,显得独特而复杂.本文从大众传播中受众的角度,探讨字幕翻译的原则及策略,提出了字幕英汉翻译以受众为中心的总原则,同时给出并详细分析了支持这一总原则的分原则:合理的经济原则、口语化、易懂性原则.本文还相应提出了具体的翻译策略,如减译、缩译、阐译、标点符号的使用等.【期刊名称】《山东外语教学》【年(卷),期】2011(032)003【总页数】6页(P85-90)【关键词】字幕；受众；英汉字幕翻译【作者】黄越【作者单位】湖南财政经济学院外语系，湖南长沙410205【正文语种】中文【中图分类】I0461.0 引言中国观众对引进的外国影视作品的欣赏、认识和评价经历了一个过程。
改革开放以前,国人很少有机会走出国门与外国人直面接触,也很少有机会观看原版的外国影视作品,收看到的外国影视作品基本上是译制片(经翻译和配音后播出的影视作品即原影片脚本经过翻译并请目的语配音演员对口型配音后的影视作品),只觉得外国人讲话(尤其是西方人)总是“洋腔洋调”、“怪声怪气”,很不适应。
随着中外交流合作的发展,越来越多的国人走出了国门,也欣赏到了各种各样的原版影视作品,知道了外国人说话也很自然、并不矫揉造作,“原片中的音调并不像译制片中那么高”(赵春梅,2000),所以,现在部分观众为了“原汁原味”,会选择观看加中文字幕的原声版(以下简称字幕片)。
从制作方来说,如果只对影视作品添加字幕,那么字幕片的引进成本要大大低于译制片。
字幕片只需要请翻译译好脚本,再经导演修改,把译好的脚本加到屏幕上即可。
而译制片的生产流程则比较复杂,包括:“翻译译本子→导演对口型、修改剧本→现场录对白→后期合成。
”(金霖,2000)这样一来译制片的成本就增高了,“译制片的成本是字幕片的十至十五倍”。
(Luyken et al.,1991)基于这些原因,目前国内字幕片的翻译市场需求很大。
关联理论视角下《音乐之声》配音版翻译研究
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从目的论看电影《音乐之声》中对白的汉译
最新英语专业全英原创毕业论文，都是近期写作1 目的论指导下《页岩》英译汉中的词类转译现象2 英语商务信函中礼貌策略的应用3 中美企业文化研究4 《麦田守望者》成长主题解析5 《巴比特》主人公形象解析6 从关联理论看英文电影字幕翻译中的减译7 从功能对等理论看政治文献中中国特色词汇翻译8 面部表情和目视行为的跨文化研究9 论<<禁食与欢宴>>中乌玛的觉醒10 简爱的独立性格剖析11 从僵尸和吸血鬼比较中西方文化的异同12 《虹》的生态女性主义解读13 以学生为中心的英语词汇教学的研究14 The Symbolic Meanings of Colors in Chinese and Western Cultures15 简爱女性意识分析16 从文化翻译学行为论看汉语国俗语的英译过程——对林语堂和《吾国吾民》的个案考察17 美国电影所体现的时代精神——以《阿凡达》为例18 小议非英语专业大学生英语口语能力的培养19 跨文化商务活动中的交际与礼仪20 Charlotte Bronte’s Concept of Marriage－－Comment on Jane Eyre from angle of true love21 On Trademark Translation of Automobiles22 从心理学角度看霍尔顿的内心世界23 论英语新课标下高中生跨文化意识的培养24 小学任务型英语教学中的课堂游戏研究25 英语修辞的翻译方法26 分析奥利弗退斯特悲剧生活的原因27 From Dormancy to Revival—A Feminist Study on Kate Chopin’s Awakening28 化妆品商标的文化内涵与翻译29 论《追风筝的人》中“风筝”的象征意义30 Analysis of the Personality Changes of the Characters in The Grapes of Wrath31 Love under Asceticism in The Scarlet Letter and The Thorn Birds32 功能对等理论透视下的影视片名翻译33 美国电影与文化霸权—以好莱坞大片《阿凡达》为例34 Effects of First Person Narration on Thematic Expression 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追求女性自我意识的孤独灵魂——评《觉醒》中的爱德娜115 初中英语说写技能综合教学研究116 论《兔子，跑吧》中兔子逃跑的原因117 从《人生的枷锁》中三个女性看毛姆的婚爱观118 Analysis on the Picaresque Elements in The Adventures of Huckleberry Finn 119 从中西婚礼文化看中西方文化差异120 《黑暗之心》主人公马洛的性格分析121 《理智与情感》中埃莉诺的性格简析122 论《老人与海》中的象征主义123 英汉产品简介的对比分析124 通过姚木兰和斯嘉丽形象的对比看中西文化的异同125 英语公益广告中隐喻的应用及翻译研究126 基于中西文化差异的翻译策略研究127 从《嘉莉妹妹》看本性与理性的斗争128 《乞力马扎罗山上的雪》中的生与死129 从精神分析学的角度论劳伦斯小说《查泰莱夫人的情人》130 英语专业学生议论文写作中连接词使用情况研究131 英语科技文献的句子特点与翻译132 论地理位置对中美民族性格的影响133 英语新词的发展研究134 精神危机下的自我救赎－－对索尔贝娄《赫索格》中社会异化与身份认同的解读135 论《白鲸》主角的悲剧实质136 论中美商务谈判中个人主义和集体主义价值观冲突及对策137 国际商务函电的礼貌原则研究138 商务英语中的缩略词研究139 《飘》中斯嘉丽人物性格分析140 关于《白鲸》中的象征主义手法运用的研究与探讨141 从文化角度探析中英基本颜色词的比较和翻译142 浅议商标品牌的翻译143 《我弥留之际》中的格雷马斯叙事结构144 苔丝悲剧原因探究145 高中英语词汇教学策略146 An Analysis of Dick Diver’s Tragedy in Tender Is the Night Based on Adler’s Individual Psychology147 从《纯真年代》的女性角色看旧纽约的女性地位148 人际会话中英语委婉语的功能与应用149 中西方新闻报道看道德观差异150 An Analysis of the Gothic Horrors in A Rose for Emily151 中美礼貌语中的“面子文化”152 网络英语词汇探究153 美国拓荒运动中的新女性形象－－读威拉凯瑟《我的安东妮娅》154 国产电影字幕归化与异化研究－－以《集结号》为个案研究155 简析美国文学中的美国梦156 透过《傲慢与偏见》论简奥斯丁的婚姻观157 《理智与情感》的现实主义特征158 哥伦布和郑和航海的对比研究——两次航海所反映出的中西方文化差异159 如何增强小学生英语课堂教学的趣味性160 外来词的翻译方法初探161 《动物农庄》的极权主义的研究162 形名组合Deep+Noun之认知研究163 中西亲子关系对比性研究164 Gone with the Wind: From Novel to Film165 《威尼斯商人》中的人物夏洛克性格分析166 从E.B.怀特与秦文君的儿童文学作品看中西方价值观之比较167 On Dickinson’s Choice of Nature as the Theme of Her Poems168 论旅游英语的语言学特征169 从功能对等视角浅析法律翻译中的文化因素170 论汉英翻译软件的局限性171 对黑人妇女在民权运动期间争取教育权的背景分析172 中英广告中的双关语探析173 英语广告的修辞及其翻译174 《道连葛雷的画像》叙事艺术的分析175 Study on Characteristics of American Black English from Social Perspectives176 珀西•雪莱抒情诗意象研究177 从英汉动物成语比较中英文化差异178 论圣经诗篇的修辞特点179 产品说明书的翻译技巧180 浅析《睡谷传奇》中的浪漫主义181 英汉状语语序修辞对比与翻译182 浅析中英恭维语183 从思维方式看中英科普文章的差异184 简•奥斯丁的婚姻观在《傲慢与偏见》中的体现185 李宁的品牌推广186 论英语语言中的性别歧视现象187 A Cross-Cultural Study on Linguistic Taboo188 从《红楼梦》和《飘》看中美恭维语比较189 从“信”“达”标准分析英译药品说明书中存在的误译190 Naturalism in Sister Carrie191 A Chinese-English Translation of Public Signs Based on Nida's Fuctional Equivalence Theory192 基于中西文化差异的翻译策略研究193 中美幽默的比较194 浅析《格列佛游记》中的乌托邦主题195 从《画皮》及《暮色》比较分析中西人鬼文化196 礼貌策略在国际商务谈判中的运用197 欧美电影对英语学习者英语口语的影响198 从语境视角浅析《生活大爆炸》中反语的幽默属性199 论电影片名翻译的“忠实性”200 从目的论看电影《音乐之声》中对白的汉译。
浅析英文原声影视剧的字幕翻译
作者： 郑春艳
作者机构： 郑州澍青医学高等专科学校,河南郑州450064
出版物刊名： 文教资料
页码： 58-59页
年卷期： 2010年 第22期
主题词： 原声电影;字幕翻译;表达功能;艺术效果
摘要：影视字幕翻译（subtitling）是一项不同于其他文字翻译的特殊翻译形式,译者必须参照影视的声音、画面、文化背景等才能进行文字操作。
我国当前英语影片字幕翻译的质量良莠不齐,本文以几部经典英文影片和当前热播的美国电视剧为例,针对英语影视作品中字幕翻译的一些常见的问题进行了研究和探讨。
英文电影字幕翻译赏析1
英语电影字幕翻译鉴赏（一）——————电影片名翻译鉴赏课程目的：电影片名的确定、选择并非无目的、无原则，它是片商和观众之间相互沟通的第一个直接的窗口。
瘪脚的译名通常是见词猜义或死译硬译的结果，常与影片内容风马牛不相及。
让学生欣赏鉴别各类电影片名的译本。
通过全面了解片名的来源及其命名特点，引导学生翻译相关影片的片名。
课程内容：1.引导学生概括电影片名的特征片名言简意赅，但信息量大，总摄全片内容。
它们多以名词、短语、简单句出现，其中以短语居多。
2.列举一些令人印象深刻或夺人眼球的成功片名Ghost（人鬼情未了）；American Beauty（美国丽人）；Windspeaks (风语者)3.电影片名不同译本的鉴赏比对Sound of Music“仙乐飘飘何处闻” VS “音乐之声”Ghost “第六感生死恋” VS “幽灵” VS “人鬼情未了The Lives of Others “别人的生活” VS “窃听风暴”Pretty Woman “漂亮女人” VS “风月俏佳人” VS “麻雀变凤凰”Catch Me if You Can “逍遥法外” VS “猫鼠游戏”4.电影片名翻译的要求（原则）1）经济效益原则就片商制片的目的看，他们不仅是借助电影这一艺术形式达到丰富人们文化生活，促进人际间的交流，还要赚取利润，也就是它必须产生社会经济效益。
影片的经济效益常在于片名对观众的吸引程度，片名的好坏直接关系到票房收入的高低。
●如Sound of Music 在台湾曾被译为“仙乐飘飘何处闻”就令观众颇为不解。
后该片被译为“音乐之声”，已被广泛接受。
一些奥斯卡经典影片如Waterloo Bridge译为“魂断蓝桥”也已成为经典之作。
2）信息原则作为片名，虽然客观上要求简练、整洁，但一个字、一个词都包含有丰富的信息内容，使人一看便可猜出它属于哪类电影。
●the Third Man 曾被译为“第三者”，给人的第一印象是爱情旋涡里的三角恋，而本片的第三者其实是指目睹一场凶杀的第三个目击者。
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ｄｏｉ：ｌ（）．３９６９￣．ｉｓｓｎ．１００２—６９１６．２０１２．０２．０３１
引言 电影《音乐之声 》引入中国之后 ， 该 片 就 以 译 制 片 的 形 式 吸 引 了 广 大 中 国观 众 ，曾在 各 大 影 院 反 复 上 映 。 然 而 随着 时 代 的 发展 和 需 求 ，译 制 片 已经 不能 满 足观 众 的 需 求 ，原 声 字 幕 版 电影 应运 而 生并 且 吸 引 了更 多观 众。 正 因 为如 此 ，本 文选 择 了 由飞 鸟 影苑 制 作 的原 声 字幕 版 《音 乐之 声 》，试 图 从 关联 理 论 的角 度 出发 ，研 究其 字 幕翻 译 是 否遵 循 关 联 原 则 。 一 、 理 论 依 据 １ ９８６ 年 ， Ｄａ ｎ ＳＰｅ ｒｂｅ ｒ 和 Ｄｅｉｒｄｒｅ Ｗ ｉｌｓｏｎ在 格 拉 Ｈ．Ｐ．Ｇｒｉｃｅ） 提 出了语 用学相关原则 （Ｐｒｉｎｃｉｐｌｅ ｏｆ Ｒｅｌｅｖａｎｃｅ），随后 在此基 础上发 展 了关 联 理 论 （Ｒｅｌｅｖａｎｃｅ Ｔｈｅｏｒｙ）。 他 们 的 学 生 Ｅ ｒｎｓｔ—Ａｕｇｕｓｔ Ｇｕｔｔ根 据 关 联 理 论 对 翻 译 进 行 了 研 究 ， 并 出 版 了 《翻 译 与 关 联 ： 认 知 与 语 境 》 （Ｔｒａｎｓｌａｔｉｏｎ ａｎｄ Ｒｅｌｅｖａｎｃｅ： Ｃｏｇｎｉｔｉｏｎ ａｎｄ Ｃｏｎｔｅｘｔ），在 这 本 书 中他提 出了关联 翻译理论。【１】 Ｓｐｅｒｂｅｒ和 Ｗｉｌｓｏｎ提 出 ，关 联 原 则 包 括 关 联 的 认 知 原 则 和 交 际 原 则 ： 关联 的第一原则 ，即认 知原则 ： 人类认知倾 向于 同最 大关联 相吻合 。 关联 的第二原则 ，即交际原则 ： 每 一个 明 示 的交 际行 为都 应 设 想 为 它本身具有最佳 关联 。
辩 二二二二二二二二二二
原声版电影 音乐之声 字幕翻译研究
［摘要 ］ 电影 《音 乐之 声 》引入 中国之后 ，该片就 以译 制片的形式吸 引 了广 大 中国观众 ，曾在各 大影 院反 复上映 。然 而随着时代 的发展 和需求 ，译制 片已经 不能满足观众的 需求 ，原 声字幕版 电影应运 而生并且 吸 引了更 多观众 。以飞 乌 影 苑制作的原声 字幕版 《音 乐之 声 》为例 ，从 关联理论 的角度研 究其字幕翻译 是 否 遵循 关联 原 则 。 【关键词 】关联理论 字幕 翻译 关联原 则 最佳 关联
关联 原 则 是翻 译 活 动 中译 者 应 该 遵 循 的 原 则 。 翻 译 就 是 在 原 语 和 目 的 语 之 间 寻 求 到 最 佳 关 联 ，从 而 让 目的语接 受 者 能够 轻松 接 受原 语 所传 达 的信 息。 因此 ，关联 理 论 不 仅 对 翻 译 有 着 很 强 的 解 释 力 ，而 且 可 以指 导翻 译 活 动。这 也 是本 文 选 用关联理 论来指导 电影 《音乐之声 》 的字幕翻 译研 究的原 因。
字幕 翻 译 的第 二 个特 点 就是 口 语化特点。Ｇｏｔｔｌｉｅｂ认 为字幕翻译是 将 源语 言 由话语 形 式转 化 为 目标 语 言 的书 写形 式。【５】因此 ，字 幕翻译 者应 该 克服 翻译 中的 困难而 保 留其 口语 化 特 征 。
第 三 ，字 幕 翻 译也 是 一种 说 话 方 式 的 转 变 ：从 听 觉 语 言 转 到 书 面 语言 ，从源语言转到 目的语。因此 ， 在 转换 过程 中，译者 势 必会 碰到 很 多 困难 如 不规 范用 语、俚 语 等 的翻 译 。
第 四 ，字 幕 翻译 是 源 语言 的浓 缩。 因 为通 常情 况 下 ，人 示 字幕 的 空间 与演 员们 对话 中的停 顿却 是 有 限 的，所 以字幕 翻 译 必须 浓 缩 。
第 五 ，字 幕 具 有 不 可逆 转 性。 观众 在 观看 影视 剧 时 ，不管 是否 看 懂 或者 听懂 ，都 必须 紧跟 影视 剧 情 节。这 无 疑要 求译 者 必须 选 用通 俗 易懂 的语言 来对源语言进行转换。
最 大 关联 要 求对 话 语 进 行理 解 时付 出 的努力 尽 可能 小而 获 得 的语 境效 果 为最 大 ，但在 实 际 交 际 中， 最佳 关联 才是 人 们所 期 待 的 ，即对 话 语 进 行理 解 时只 需 付 出有 效 的努 力 就 可 获 得 足 够 的 语 境 效 果 。 【２】
二 、字幕翻译 字 幕翻译 与其 它文学翻 译不 同 ， 有 其 自身 的特 点。最 大 的一 个 特点 就 是 易 受攻 击。 字幕 翻 译 一般 位于
屏 幕 下 方 ，其质 量 的好 坏 一 目了然 。 一 般 来 说 ， 对 源 语 言 有 所 了 解 的 观 众 在观 看 影 片时 ，会不 自觉 地对 字 幕 采取 一 种批评 态 度 ，稍 有 不 当就 会 引起观众 的不信任 。【４】因此 ，字 幕翻译的质量最为关键 。