从“伪娘”现象来看“伪译”的存在价值--以迪斯尼电影Mulan的字幕翻译为例
.变译理论视阈下影视字幕的翻译研究 ——以《花木兰》为例
变译理论视阈下影视字幕的翻译研究以‘花木兰“为例牛英华(西北师范大学 甘肃 兰州 730070)作者简介:牛英华(1993年9月4日),女,汉族,甘肃省白银市会宁县,学生,硕士研究生,西北师范大学,翻译学㊂ʌ摘要ɔ 优秀影视作品的传播能够促进世界文化之间的交流㊂近年来,国外优秀的影视作品也涌入中国市场,因此其字幕翻译也因此变得尤为重要㊂本文以美国迪士尼电影‘花木兰“为例,从变译理论的 增,减,述,改 四种变通手段分析其在字幕翻译中的运用,为变译理论的应用研究以及影视字幕翻译两方面提供一些参考㊂ʌ关键词ɔ 变译理论;字幕翻译;‘花木兰“ʌ中图分类号ɔG 632.4 ʌ文献标识码ɔA ʌ文章编号ɔ1009-9433(2020)06-0262-01引言 变译理论作为翻译研究的中国学派,具有原创性和系统性,是把严译实践作为变译现象的考察,在深究严氏 信达雅 与 达旨术 的关系基础之上而得出的科学理论体系㊂ (黄忠廉,2002)该理论不仅对翻译实践具有指导作用,而且对中国译学理论的演进有重大推动作用㊂1 变译理论变译理论由黄忠廉教授通过大量翻译实践总结并提出, 变译是译者根据读者特殊需求采用扩充,取舍,浓缩,阐释,补充,合并,改造等变通手段摄取原作中心内容或部分内容的翻译活动㊂ (黄忠廉,2002)变通是变译的精髓,主要包括增,减,编,述,缩,并,改㊂变译不是胡译,也不是乱译㊂同时强调变译是人的行为,归根到底仍是人类所从事的一种翻译活动㊂诚然,变译理论并不是放之四海皆准的理论,在文学翻译应用方面有其自身的局限性,但就电影字幕翻译而言,该理论适用且有效㊂2 ‘花木兰“电影简介及影视字幕翻译特点2.1 电影简介 花木兰,中国历史上的巾帼英雄,以替父从军击败入侵匈奴而闻名天下,唐代皇帝追封为 孝烈将军 ㊂这样一位富有传奇色彩的人物对中外的文化都产生了不可磨灭的影响㊂因此,1998年迪士尼公司首次对中国元素电影‘花木兰“进行改编拍摄㊂之后,‘花木兰“也在中国同步上映,但由于此片是从外国人的角度来诠释中国古代故事,观众在欣赏动画片的时候,愉悦之余总有一种 熟悉的陌生人 的感觉㊂为了缓解这种 陌生感 ,影视字幕的翻译是非常必要的,若字幕能够满足受众对象的需求,便能提高群众的观影体验,也能更好地传达影视作品中的文化内涵㊂2.2 影视字幕翻译特点 字幕是与电影或电视对白同时呈现在屏幕上的对白的稿本,是为影视剧对白提供同步说明的过程㊂ (董海雅,2019)电影字幕翻译是对电影信息的传递在视觉上的一种补充㊂诚然,字幕翻译是沟通非母语观众与影片之间的一座桥梁㊂字幕翻译也是文本翻译的一种,有其自身的特点㊂(1)时间上的瞬时性是指字幕停留在屏幕上的时间有限,必须做到与影片人物语言和图像同步,否则就会影响观感㊂(2)空间上的局限性是指字幕所处的位置以及字符数量受到一定的限制,字幕通常出现在屏幕最下方且往往只有一行,至多两行㊂(3)语言上的易读性,即字幕翻译所使用的语言必须清晰简洁,通俗易懂,这 就要求译者必须选用短小精悍㊁灵活多变的句式实现信息的传递㊂ (杨洋,2006)以此来降低观众的理解难度,增强观影体验㊂3 变译理论在影视字幕翻译中的应用通过对比电影‘花木兰“的中英文字幕,并结合影视字幕翻译特点及电影本身的语言特点,发现变译理论的 增,减,述,改 四种变译手段在影片字幕翻译中应用较为普遍且合理㊂3.1 增 增是指在原作的基础上增加信息内容,是为了让观众更好的理解原文而对原作中某部分内容进行解释㊂例1:L i g h t t h e f i r e n o w !L i g h t t h e s i g n a l !译文:我们遭到攻击!快点燃烽火信号!原影视画面是匈奴入侵了中原长城城墙,原文本应该译为 快点燃烽火信号! 但是译者通过理解上下文,增译了 我们遭到攻击! ,使得上下文更加连贯,逻辑更加清晰㊂3.2 减 减是将原文中多余的信息进行删减,其目的是充分发挥有用信息的价值㊂译者可以运用变译策略将原文中不重要或者重复的信息加以删减㊂4 结语影视字幕的翻译有利于观众更好地欣赏影片内容并理解其文化内涵,而字幕翻译受到时间和空间的限制,因此在翻译过程中需要运用变通手段来达到传递信息和文化的目的㊂本文基于变译理论,重点分析了电影‘花木兰“的字幕翻译,举例分析了变译理论中的 增,减,述,改 四种变通手段在字幕翻译中的应用,以便为今后的字幕翻译提供一些思路,以期对中国文化 走出去 提供一定的参考价值㊂参考文献[1] B a k e r ,M o n a .E n c y c l o p e d i a o f T r a n s l a t i o n S t u d i e s [M ].S h a n g h a i :S h a n g h a i F o r e i g n L a n g u a g e E d u c a t i o n P r e s s ,2004.[2] C r o n i n ,M i c h a e l .T r a n s l a t i o n G o e s t o t h e M o v i e s [M ].S h a n g h a i :S h a n g -h a i F o r e i g n L a n g u a g e E d u c a t i o n P r e s s ,2011.[3] G o t t l i e b ,H e n r i k .S c r e e n T r a n s l a t i o n :S i x S t u d i e s i n S u b t i t l i n g ,D u b b i n g a n d V o i c e O v e r [M ].C o p e n h a g e n :K o p i b S e r v i c e ,2001.[4] 柴梅萍.电影翻译的拓展[J ].苏州大学学报(工科版),2006(01):79-82.[5] 董海雅.西方语境下的影视翻译研究概况[J ].上海翻译,2007(01):12-17.[6] 黄忠廉.变译理论[M ].北京:中国对外翻译出版公司,2002.[7] 江雨亮.翻译目的论及翻译策略指导下的‘花木兰“的字幕翻译[J ].戏剧之家,2020(01):20-24.[8] 麻争旗.影视译制概论[M ].北京:中国传媒大学出版社,2005.[9] 王建华,周莹,张静茗.中国影视翻译研究三十年[J ].上海翻译,2019(02):21-25.[10] 杨洋.电影字幕翻译述评[J ].西南交通大学学报(社会科学版),2006(04):93-97.262。
从目的论看电影《乱世佳人》的字幕翻译
从目的论看电影《乱世佳人》的字幕翻译从目的论看电影《乱世佳人》的字幕翻译电影《乱世佳人》是经典的好莱坞电影之一，于1939年上映。
这部电影以美国南北战争期间的南方庄园主儿女斯嘉丽的故事为背景，讲述了战争期间她的爱情、背叛与努力。
在电影中，字幕翻译发挥着将英文对白转化成中文文字的重要作用。
作为观众，我们可以通过对这部电影的字幕翻译进行分析，来探讨其目的以及对观众的影响。
首先，字幕翻译的目的之一是传递剧情与对话。
在《乱世佳人》中，剧情与对话是电影的核心部分，字幕翻译必须准确地传达这些信息。
对于英文中某些特定的语法或文化表达方式，字幕翻译需要选择相应的中文表达方式，以便观众能够理解故事发展以及角色之间的关系。
例如，在电影中，斯嘉丽与男主角瑞德先生之间有许多对话，这些对话凸显了战争期间他们之间的复杂感情。
字幕翻译需要在保留原文意思的基础上，选择中文表达方式，以便让观众跟随剧情并理解角色之间的交流。
其次，字幕翻译的目的之二是传达文化背景与情感。
《乱世佳人》发生在美国南北战争时期，其中涉及到了南方庄园主的生活方式、价值观念以及战争对他们生活的影响。
字幕翻译需要通过选择适当的中文词语和表达方式，来传达这些文化背景，并让观众能够感受到角色们的情感和思想。
例如，在电影中，有一场南方庄园主们开舞会的场景，字幕翻译应该使用与现代中国人熟悉的文化背景和场景相关的词语来传达宴会的氛围和盛况。
此外，字幕翻译的目的之三是在满足传达信息的同时，考虑观众的理解习惯。
观众多为中国或华人观众，字幕翻译时需要考虑到观众对于电影的理解习惯。
例如，在电影中，有许多复杂的动作场景和英语俚语，字幕翻译应该选择适当的中文表达方式，以便让观众能够理解并从中获得乐趣。
此外，字幕翻译还应该遵循中文的语法结构和习惯，以便让观众能够顺畅地阅读字幕并理解电影内容。
最后，字幕翻译的目的之四是与观众建立情感联系。
观众观看电影是为了从中获得情感上的满足，字幕翻译应该通过选择合适的中文词语和表达方式，来让观众与角色之间建立情感联系。
字幕翻译的可译性限度探析——以电影《小妇人》为例
作者简介：费小蓉，硕士研究生。
研究方向：文学、笔译。
马群英，通讯作者，昆明理工大学教师。
研究方向：英美文学、笔译。
1 可译性限度可译性限度问题是西方翻译理论的三大核心概念之一，它指将某一语言中的词语、短句或语篇转换为另一种语言的可能性程度。
语言的共性是翻译进行的前提，但语言是文化的载体，每种语言都是一定区域内人们的物质生产和社会活动的独特反映。
地理环境、历史发展等方面的差异，造成了各区域、各民族人民在思维方式、语言结构和民族文化上的差异。
在翻译过程中，这些差异往往会阻碍语言各个层面中信息交换的通道，限制语言的有效转换，进而造成信息流失和不可译现象，所以翻译的可译性限度问题是翻译研究无法避开的一个话题，而且这一问题对于不同领域的翻译都有着重要意义。
2 《小妇人》字幕翻译的可译性限度分析2.1 语音层英语是表音文字，汉语是表意文字，二者有截然不同的音韵系统与拼写系统。
汉语不具备构成英语音韵的文字结构条件，没有与英语头韵、元韵和尾韵相对应的音韵手段。
因此，在英译汉过程中，译者往往无法完整保留源语的音乐性及其音韵效果。
《小妇人》两版电影的英文字幕利用英语特有的音韵手法，充分表现了英语语言的韵律感与节奏感，但翻译时，这一类英文字幕往往只能在语义层实现转换，不能在语音层得到转换，例如：例1：Looks like the last ice we’ll have this year.译文：看来是最后一次玩雪了。
在例1原文中，look, like, last均以辅音字母l开头，形成辅音头韵；like与ice有相同的重读元音，形成元音韵。
但是，在例1的译文中，“看来（look）”和“最后（last）”不押韵，“看来（look）”和“雪（ice）”也不押韵。
例2：And I don’t intend to make myself all black and blue.译文：我不想把自己弄得遍体鳞伤。
在例2的原文中，black和blue均以辅音字母b开头，形成辅音头韵，black and blue被译为“遍体鳞伤”，这一译文明显没有传达原文的押韵。
目的论视角下的中英电影字幕翻译以私人订制为例
目的论视角下的中英电影字幕翻译 ----以《私人订制》为例摘要字幕翻译作为文学翻译的一部分，仍然是一个新的翻译领域。
然而，作为重要交际工具，字幕翻译已占据重要地位。
在经济全球化趋势逐渐增强的今天，中国电影不仅期望在全球电影市场占有更多份额，同时也承担着对外宣传中国文化的重要使命。
为了使外国观众能够观赏中国电影并从中了解中国文化，除了电影配音外，电影字幕成为最重要的沟通手段。
如果没有优秀的字幕翻译，影视作品中所要展示传达的精神理念则无法传递给观众，或者传递的信息支离破碎。
可见，字幕翻译在沟通不同文化、增强各国人民之间联系方面起着非常关键性的作用。
然而，国目前的字幕翻译存在着良莠不齐的问题，也没有受到足够的重视.本文在目的论视角下研究字幕翻译,目的论认为，翻译是一种有目的的行为，字幕翻译也不例外，它的主要目的是在时间和空间的制约下，向处在特定文化背景的观众最有效地传达电影的相关信息，使其能更好地理解和欣赏电影作品。
本文以《私人定制》这部电影为例，讨论了发生在影片当中的翻译行为策略。
本文认为，意译翻译策略对中英电影字幕翻译的影响较大。
从跨文化交流的角度来看，由于中外观众知识面和文化背景方面存在着巨大差异，电影翻译工作者应该尽可能帮助观众去理解与一个民族文化有着密切相关的语言现象，包括特色的文化词汇，和习惯与常用的口头语表达等，如果把这些词汇都直译出来，不仅会使译文显得繁复冗长，还会增加国外观众的阅读和理解难度。
因此，经过本文研究，意译法是在中英电影字幕翻译中较为普遍与广泛应用的一种翻译策略。
关键词：字幕翻译目的论翻译策略意译法私人定制AbstractMovie subtitling translation is a new field of translation. As an important tool for modern communication, subtitling translation has become quite an important phenomenon in the contemporary world. As globalization speeds up, Chinese films are expected not only to take more market shares in world screen-land, but also to shoulder the great responsibility of introducing a splendid Chinese culture. To make English-speaking audience watch Chinese movies and understand it, besides movie dubbing, subtitle translation is an important communicative method. Without good subtitle translation, the message movie sends is difficult for audience to understand, so, subtitle translation plays a very important role in communication between different countries, however, people pay little attention to this field.This paper is the research of subtitle translation from the perspective of Skopos Theories. The purpose of film subtitle translation is to provide, within the constraints of time and space, a well-translated subtitle which can contribute to a good understanding of what is happening on the screen. This paper takes Personal Tailor as a case, talking about the transitional version and strategy. Based on this thesis, the literal translation is very useful in the C-E film subtitle translation. From the perspective of cross-culture communication, different audience comes from different countries; they should have great different view in the aspect of culture and background. The subtitletranslators need to help the target audience to understand linguistic phenomenon about a country or its people, including the distinctive cultural words and the expression of spoken words. If we translate these words directly, it may make the version too long and too difficult to understand. Namely, the target audience will have difficulty in reading and comprehending the subtitle. Therefore, under the research of this paper, the free translation strategy is the more common and widely used in C-E film translation.Keywords: subtitle translationSkopos Theories free translation Personal TailorContentsAbstract(in Chinese)1Abstract (in English) (ⅱ)Chapter I Introduction71.1Film Subtitle Translation71.1.1Definition of Subtitle71.1.2 Features of Subtitle Translation71.2 Research Significance91.3 Organization of the Thesis10Chapter II the Analysis of Subtitle Translation under the Guidance of Skopos Theory112.1 Concepts of Skopos Theory112.2Three Rules of Skopos Theory142.2.1 Skopos Rule142.2.2Coherence Rule152.2.3 Fidelity Rule162.2.4 Summary172.3 Application of Skopos Theory to Subtitle Translation18Chapter III Study on Strategies from the Perspective of Skopos Theory Based on PersonalTailor203.1 A Brief Introduction on Subtitle Translation of Personal Tailor213.1.1The Introduction of Personal Tailor213.1.2 A Brief Introduction on Subtitle Skopos of Personal Tailor22 Chapter IV Methods in Subtitle Translation of the Personal Tailor254.1 Omission254.2 Literal Translation284.4Rewriting304.5 Reduction32Chapter V Conclusion345.1 Overview of my study345.2 Signification of my study355.3Limitation of my study355.4Suggestions of future study36 Bibliography…………………………………………………………………………………. .21Chapter I Introduction1.1Film Subtitle Translation1.1.1Definition of SubtitleSubtitle, according to the Ox ford Advanced Learner’s English-Chinese Dictionary, refers to the words that translating what is said in the film into another different language and appears at the bottom of the screen. Also, subtitle is used on television to help deaf people.Subtitles to most people, are the words printed or superimposed on a screen in a foreign language to tell the audience. What is being said on the sound track. (Ashen 1994:4398). Jacobson thinks subtitle is an explanatory of verbal symbols by other languages. Though different views also have something in common and their special aspects.(Jacobson 1959：233）Generally, subtitle can be divided into two classes: Intro-lingual subtitle and inter-lingual subtitle. Intro-lingual subtitle means that the subtitles are presented to help audiences who are deaf or have difficulties in hearing in the voices. Such as the Southern Fijian Dialect was translated into mandarin Chinese through subtitle. Inter-lingual subtitles are translated subtitle from other language. For example, a Chinese film popular in western countrieswas added English subtitles at the bottom of screen to help foreign audiences to understand the dialogues in it.This thesis mainly focuses on inter-lingual subtitles.1.1.2 Features of Subtitle TranslationSubtitle is part of literary translation, different from the other textual translation. It can be defined as the following points:(a)Instantaneity. The instantaneity of subtitle refers to thatthe subtitle and dialogue will be presented at the same time. They willdisappear soon which gives the audience little time think.(b)Popularity. The audience has different background and theirlevel ofeducation also different. The language of subtitle shouldconsider all kinds of the audience. Therefore, the subtitle translatorshould use the concise language to makethe mass audience understandthefilm.(c)Synchronism. Subtitle must go hand in hand with pictures andsound. The subtitle must be matching with the picture in the translatingprocess. This will involve the transformation of the spoken languageand written language which consists of deletion or addition of thesource language. So it inevitably will be the condition of the missinginformation.(d)Without annotation. In the process of literal translation, thetranslator can add their comments if the readers have questions. Butsubtitles due to restricted time and space, the translator can not addcomments. Because of this, there is no guarantee that subtitles andimages and sound synchronization, which will affect audience’sunderstanding of the film by distracting their attentions.1.2 Research SignificanceThis thesis focuses on the Chinese-English translation of filmsubtitle from the perspective of Skopos Theories. Translation scholars have favored traditional subjects，such as songs and poetry translation in the literaryfield. The Chinese subtitle translation is falling behind other countries on the practical operation, theoretical construction and quality controlling. Some readers think the literary translation is the foundation, and other translation is churning out inferior products or less important. （New mark，2001：5-6）And few of them think that the subtitle translations need theoretical guidance. In their opinion, subtitle is a kind of skill rather than an art.In view of neglection of subtitle translation in China, Domestic filmsubtitle translation always has a long way to go. Firstly, Chinese film has its own unique cultural connotations, in reflecting China’s splendid culture. Film is as an important way of cultural output. The study of subtitlecan promote cultural exchange between China and other western countries. The subtitle translation is a basis. Therefore, the study of subtitle translation can explore the skills of subtitle translation, improve the quality of the translational works, helping the audience understand the film easily and strengthening the communication of culture. Secondly, the study of subtitle translation in the area of C-E translation expedites the development of Chinese film in the external market. To make the world reallyknow about China, needs more promotion of Chinese native filmsResearch on the C-E translation of Chinese film has great significance of spreading Chinese culture as well as the promotion of Chinese films.1.3 Organization of the ThesisThere are four chapters in this thesis. Chapter one is introductionwhich consists of a general description of the subtitle translation, consisting of its definition, types, and features. The significance of the paper and organizational structure of the thesis are also included. The second chapter is about the general description of Skopos Theory, including its concepts and three rules in practical translation with some examples chosen in this movie Personal Tailor, in order to analyze and understand the rules.And finally is theapplication of it in the subtitle translation is talked about. Chapter three is the key of this thesis, it mainly talks about strategies of subtitle translation from the perspective of skopos based on the film—Personal Tailor.Some authentic examples are taken from the film to be analyzed and categorized. The strategies are omission, literal translation, free translation, rewriting, and reduction. Chapter four is the conclusion part, which concludes the introduction of major findings and the limitations and the further study of the research.Chapter II the Analysis of Subtitle Translation under theGuidance of Skopos Theory2.1 Concepts of Skopos TheorySkopos Theory is an approach to translation proposed in the late 1970s and early 1980s by Reiss＆Vermeer. Skopos Theory stresses the interactional, pragmatic aspects of translation. Skopos Theories have already been born for more than 30 years, which had been translated into many foreign languages and spread all over the world. In the late of 1980s, Skopos Theories entered into China and had great affection on China’s translation studies.Katharina Reiss, who was Vermeer’s teacher, firstly proposed Skopos Theories in her book Possibilities and Limits of Translation Criticism. Shefirstly introduces the functional category into translation criticism, she made the language functions and texture types and translational category associate. Katharina Reiss developed a translation criticized model based on relationship between original and translational function. Consequently, she proposed the prototype of functionalist approach. Reiss thought that translational ways were decided by the main functions of the original texts. Therefore, the suggestions Katharina Reiss gave is that translator should use the certain translational ways according to the text type. Before this, translational circle generally think the equivalents as the primary standards. Reiss considered the integral communicative performance, i.e. conceptual content, linguistic form, and communicative function should be equal to the source text. And the most important is the functional characteristics should be firstly considered in the practical translation.Hans J. Vermeer (1983), Reiss’st udent, has gone further. He breaks the limits of equivalence-based theory and considers translation (including interpreting) to be a type of transfer where communicative verbal and non-verbal signs are transferred from one language into another (other types would include the transfer from pictures to music, or from a blueprint to a building). Based on the principles of actionable theory,in the 1970s, Vermeer tried to bridge the gap between the translation theory and practice. His proposed Skopos Theory getting out of domination of source-text-oriented in the study of translation. This theory defines translation as an action which must be accomplished withpurpose and consequence based on source text, and this action should be finished by consensus. That is to say the translational action may involve actions like a consultant giving information. Since any action has an aim, or a purpose, translation as a type of human action is no exception. Then Vermeer uses skopos as the technical term for the aim or purpose of a translation Vermeer (1983b: 49) defines human action as intentional, purposeful behavior that takes place in a given situation; it is part of the situation at the same time as it modifies the situation. Further, since situations are embedded in cultures, any evaluation of a particular situation, of its verbalized and non-verbalized elements, depends on the status it has in a particular culture system. Manttari went on with the further research of Skopos Theories. (Holz-Manttari.1993, 301-320) This theory is also based on the principles of action theory, but Manttari prefers to name translator “message transmitters” (Holz-Manttari.1993, 301-320), which consist of textual material combined with other media such as pictures, sounds and body movements. In her model, translation is defined as “a complex action designed to achieve a particular purpose”. The generic term for the phenomenon is “translational action”. The purpose of translational action is to transfer messages across culture and language barriers by means of message transmitters produced by experts (Nord. 2001:13). She places special emphasis on the action aspects of the translation process, analyzing the role of the participants (initiator, translator, user, message receiver) and the situational conditions (time, place, medium) in whichtheir activities take place.In the early 1990s, Reiss’s student Christiane Nord had summarized the functionalist theory comprehensively. Christiane Nord had formulated the internal and external factors of text analysis in translation for the first time. Christiane Nord also had developed appropriate translation purpose and strategy which is based on prototext function. In her work Translating as a Purposeful Activity, Christiane Nord points out two interdependent limitations to the Skopos model. Nord raises the Loyalty principle of Skopos Theories: the responsibility translators have toward their partners (initiators, target receivers and original authors) in translational interaction. Loyalty means that the target-text purpose should be compatible with the original author’s intentions (Nord, 2001:32).2.2Three Rules of Skopos Theory2.2.1 Skopos RuleSkopos is a Greek word for"aim"or"purpose". "The top-ranking rule for any translation is thus theskopos rule, which means that a translation action is determined by its skopos; that is, ‘the end justifies the means, by Reiss and Vermeer. Vermeer also stresses on many occasions that the skopos rule is a general rule, and translation strategies and methods are determined by the purpose and the intended function of the target text. Vermeer regarded the skopos rule as the primary one, that is to say a translation action as determined by its skopos. Vermeer (1986: 20) explains the skopos rule in the following way: Each text isproduced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in away that enables your text/translation to function in the situation in which it is use and with the people who want to use it and precisely in the way they want it to function. The use of principle of Skopos rule in translation should be in the target language context and culture, according to the target language recipients expected function types. The purpose of translation action decided the process of the translation action, namely the result determinate method. That is to say, as long as to achieve the intended purpose, the translation is not necessarily equal to the source text. The framework of translation strategy is decided by many factors both within and outside the text. One of them is address design, which reflects the way that the target text was expected to be accepted. Different translation strategies serve the different purpose. Translation proper, paraphrase and re-editing can concern the different demand of communication.（Hatim，1997：34） In a word, the whole process of translation, including the translation methods and translation strategies, is decided by purpose of translation. Skopos Theory summarized the three kinds of purposes the translation action achieved, namely the purpose of translator, communicative purpose of the translational text, and the purpose used some particular methods achieved.And the most import is the purpose of the version, and the communicative objective is decided by the translation action sponsors.2.2.2Coherence RuleCoherence rulemeans that the target text should meet the standard of intra-textual coherence. It is the second essential rule of Skopos Theories, stressing that a translation should be acceptable to the receivers. The coherence rule states that the target text must be interpretable as coherent with the target text receivers. In other words, the target text must be translated in such a way that it is coherent for the target text receivers, given their circumstances and knowledge. In terms of coherence rule, the source text is no longer of most authority but only part of the translation belief. It is only an offer of information for the translator, who in turn picks out what he considers to be meaningful to the receivers. According to Vermeer, the source text is an offer of information that is partly or wholly turned into an offer of information for the target audience. However, the target text is expected to bear some relationship with the corresponding source text. Inter-textual coherence refers to the coherence between the target text and source text. Namely the translation must be closely related to the original meaning. Inter-textual coherence depends on how the translators understanding the original text as well as the skopos of target text. The existence of Inter—textual coherence depends on the consistency of following points: (a) the original message of the source text which the author wants to convey, (b) how the translator interpret the information, (c) how the translator translate for the target receivers.2.2.3 Fidelity RuleFidelity principle was presented by Nord. She found the skoposTheories havetwo defects: firstly, due to the differences in cultural pattern, people of different cultural backgrounds have different opinions on good translation. What’s more, if the communicative purpose of the translational text is opposite to the original text’s author, we should follow the skopos rule instead of the faithfulness. Therefore, Nord had put forward this fidelity rule to solve the problem of culture differences and the relationship among these participants in the translation action. In Nord’s opinion, the translators have moral responsibility for the target receivers; they need to explain how they do and why they do this. Above all is one of the part fidelity rules. And another part is that the fidelity rule asking the translators to be loyal to the original authors. The translators should respect the original authors so that they could coordinate the target language and the author’s intention. (Nord：1997).Hence, the fidelity rules focus on the relationship between the translators and authors, clients, TT receivers. Nord presents that the translators should follow th e guiding principles of “function plus loyalty”. Translation is a preceding offer of information. It is expected to bear some relationship with the corresponding source text. Vermeer calls this relationship "intersexual coherence" or "fidelity". This is postulated as a further principle, referred to as the "fidelity rule" by Reiss and Vermeer in 1984.The fidelity rule merely states that there must be coherence between the translated version and the source text.2.2.4 SummaryThis section has reviewed the concepts of and introduced the three basic rules. In brief, the basic principles of translation Skopos Theories are constitute by these three rules. But the first principle is the Skopos Theory, the coherence rule and the fidelity rule must be obeyed in purpose. In other words, both the fidelity rule and coherence rule are subordinate to skopos rule. Hans J. Vermeer has tries to bridge the gap between theory and practice. He states that linguistics can not solve all translation problems. Vermeer holds that translation is a form of translational action based on a source text, which involves verbal and non-verbal elements. Therefore, the theory is called Skopos Theories, a theory of purposeful action. As for the translation standard, the Skopos Theory uses adequacy and equivalence as the standard. The three rules of Skopos Theories are very crucial in this theory, which can be used to explain and analyze the connections between source text and target text. It can be concluded that it is feasible to apply Skopos Theories to the study of subtitle translation. It can be learned from the above analysis; the fidelity rule and the coherence rule are not universally applicable. We should be guided by the Skopos Theory and fidelity rule in the process of translation, appropriation is the best criteria.2.3 Application of Skopos Theory to Subtitle TranslationTranslation is an important communicating skill between different languages. In modern society, audiovisual products distributes to a worldwide area as a popular means of mass media. As the globalization of economy and culture isincreasingly developing in the new century, the audiovisual subtitle translation, accordingly, is playing a more and more important role. Good subtitles can enhance the audience’s experience of appreciating foreign films and make the culture communication more effective. Subtitling, as a specialized area of translation, is not only guided by translation studies, but also under constraints of film properties. In Skopos Theory, translation is regarded as a dynamic communication with interplay of source text, translator, addressee, etc. The translator is expected to take the translation purpose (skopos) as guidance, to choose the appropriate methods with consideration of all relevant factors. Therefore, during the process of subtitle translation, the subtitle translators should take all the factors into consideration to identify the translation purpose, and then adopt corresponding translation strategies. From this perspective, the author takes the Skopos Theory as instruction and applies the reduction and addition method to analyze the film subtitle translation.In the application of Skopos Theory to the process of subtitle translation, it first needs to determine the objective of the film translation. According to the translation purpose, translation strategy and methods can be decided then. In particular, the practical subtitle translation should be conducted in accordance with following steps：first of all, being familiar with the type of the film and the content of this film. Before the translation, the translator should watch this film andmust have a comprehensive and deep understanding of the film. Only after knowing about the movie characters, theme, and thelanguageand images characteristics, one can know which information should be conveyed to the audience by subtitling. If the translator to preempt the market opportunities without watching the film, it is hard to avoid bad quality of film subtitle translation. Secondly, knowing about the director and the audience. Translators also should know about the director’s style and intention. At the same time, the translator should also analyze the characteristics and expectation of the target audience, in order to achieve film translation purpose. Then, on the basis of understanding the all the factors of the film, it is necessary to make sure what is the translation intention. According to the intention, set out the translation strategy, methods, and skills. Finally according to the actual situation of the film, a subtitle translation should have modifications and adjusting. The main purpose of subtitle translation is to convey information to the target receivers under the restriction of time and space, in order to make them better understand and appreciate the film. Therefore, the subtitle translation should be according with the objective principle, the purpose of the coherence rule and loyalty principle as a guide, a good grasp of limits of time and space, with the most simple and coherent translation to transmit the source language culture to the target language audience, so the audience can appreciate foreign films without any obstacles, to achieve the purpose of cross-culture communication.Chapter III Study on Strategies from the Perspective ofSkopos Theory Based on PersonalTailor3.1 A Brief Introduction on Subtitle Translation of Personal Tailor3.1.1The Introduction of Personal TailorPersonal Tailor is a comedy, produced by “Huayi Brother” what do you do not dare imagine, we dare to do.”----- The slogan of Personal Tailor, Feng Xiaogang’s latest comedy project, not only introduces the film’s basic idea of “living a dream”, it also expresses the director’s ambition. In that context, Personal Tailor takes me back to an earlier Feng. The ingenious premise involves a small group of four people —Yang Zhong (Ge You), the “director of dreams” and his resourceful employees Miss Bai (Bai Baihe), the “fantastician” who designs dream scenarios, Lu Xiaolu (Li Xiaolu), the “caterer of whims”; and Ma Qing (ZhengKai), the “spiritual anesthetist”. For all their elaborate titles, however, they’re essentially members of a high-concept company, which provides regular —wealthy —clients with a taste of the lives they have always wanted. In a series of separate segments, the team comes to the aid of a chauffeur (Fan Wei) who yearns for a taste of power, a “vulgar” film director (Li Chengru) who wants to become a high-culture artist, and a middle-class woman (Song Dandan) who dreams of becoming a billionaire. Either as a therapeutic experience or something of a moral test, there are elements of satire and farce in each segment. Much of that is thanks to novelist Wang Shuo, who wrote the screenplay. The last 15 minutes of the film take a 180-degree turn and become almost a public service announcement — an odd andunexpected ending to a consistently surprising comedy.“This research focuses on the words this film characters used. The Personal Tailor consists of lots of Chinese culture elements, including some idioms, Proverbs and Chinese Two-Part Allegorical Saying. These elements are difficult to translate. But translators have done a great job on these content processing. They not only make the audiences understand the film easily, but also achieve the intention of cross-culture communication. They let the traditional culture spread to the foreign audiences, but there are very few translation processing is undeserved, and this is also the difficulty of subtitle translation.3.1.2 A Brief Introduction on Subtitle Skopos of Personal TailorSubtitling is not as easy as the other translation kinds to be translated. In addition to the limitations of time and space, it can be determined by the skopos of the translators. Before dealing with subtitling, translators should completely consider the best way of translation, which can be influenced by several aspects, such as the intention of the directors, the expectation of target audiences and the aesthetic aspect of the language. In this part，some introduction about the three affecting aspects will be discussed. According to Skopos Theories, every translation has its purpose. Only if the acceptance and appreciation achieved, the subtitle is a proper one, no matter what methods and skills the translators used in this process.First thing we want to talk about is the intentions of director. Directors produce the films with certain intentions. Taking the Personal Tailor as an。
论译者身份对译者行为的影响——以《囧妈》字幕翻译为例
蔡佳立1，喻旭东2（1.无锡太湖学院 外国语学院，江苏 无锡 214000；2.上海大学 外国语学院，上海 200000）摘 要：“译者行为批评”理论是兼备本土意识和国际视野的中国翻译批评理论。
通过对其中的翻译行为、译者行为和译者身份概念与西方翻译研究中的相关讨论进行比较，爬梳对概念的不同理解背后所存在的预设差异，可更好地解读“译者行为批评”的理论内涵。
在使用“求真-务实”连续统模式对译者行为进行评价时，若译者具有多重职业身份，则应将译者在翻译事件之外的身份背景纳入考量；而且在条件允许的前提下，译者行为批评还应允许译者出场和发声，以求评价的合理与公正。
关键词：译者行为；译者身份；译者角色；求真-务实中图分类号：H059 文献标识码：A 文章编号：1673-2014(2021)01-0051-05收稿日期：2020-12-20基金项目：2019年江苏省教育厅高校哲学社会科学研究基金课题“多模态应用翻译能力培养研究”（2019SJA0802）；2020年江苏省社科应用研究精品工程外语类课题“商务文本译后编辑能力培养研究”（20SWC -38）作者简介：蔡佳立（1983- ），女，江苏无锡人，硕士，副教授，主要研究方向为翻译理论与实践； 喻旭东（1982- ），男，江苏盐城人，博士，副教授，主要研究方向为翻译理论与实践。
一、引言美国学者韦努蒂呼吁译者在翻译的作品中应该显身，[1]同样，翻译研究也应该突破原文中心、作者中心和读者中心，将译者作为研究的焦点之一。
事实上，在翻译研究出现了社会学转向后，译者研究已经与产品研究和过程研究并列成为社会翻译学的三大分支。
译者研究涵盖社会、文化和认知等领域，涉及译者地位、译者网络；译者伦理、意识形态；译者思维、态度情绪等话题。
[2]早有译者主体性、译者能力，现有译者历史、译者行为等，这些都是译者研究的核心概念。
在与译者行为有关的研究中，我国学者周领顺教授提出的“译者行为批评”理论近年已经成为显学。
“伪娘”现象：一场身体的颠覆性文化狂欢
“伪娘”现象：一场身体的颠覆性文化狂欢
张天潘
【期刊名称】《社会学家茶座》
【年(卷),期】2011(000)001
【摘要】一、“易性竞争”下的“伪娘”现象从一开始，我就对“伪娘”进行了密切的跟踪与观察。
“伪娘”是一个外来名词，原来主要是指在日本动画、漫画、游戏界的名词，通常指的是具有女性美貌的正常男性角色，且变装后常常带有很强的萌属性，也即有一种可爱、让人喜欢甚至喷血的美少女的感觉，有的可能更胜过一般女性角色。
【总页数】6页(P30-35)
【作者】张天潘
【作者单位】《华商晨报》
【正文语种】中文
【中图分类】I0
【相关文献】
1.从“伪娘”现象来看“伪译”的存在价值--以迪斯尼电影Mulan的字幕翻译为例 [J], 杨春花
2.伪娘:一个后现代审美文化文本——对伪娘现象的症候式解读 [J], 孙婷婷
3.身体表演的性别身份——“伪娘”现象的文化解读 [J], 李进超
4.一场“伪狂欢”盛宴——表演选秀型节目的结构及隐喻 [J], 董华峰;霍丽姗
5.一场集体追忆的精神狂欢仪式——《我是歌手》的狂欢化现象 [J], 丁洁
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从目的论视角探讨电影《花木兰》的字幕翻译
从目的论视角探讨电影《花木兰》的字幕翻译电影《花木兰》是一部根据中国古代传说改编的影片，讲述了一位勇敢的女子代父从军，为国家和家庭战斗的故事。
作为一种跨文化媒介，电影的字幕翻译在传播和交流中发挥着重要作用。
本文将，分析译者应该遵循的目的以及可能面临的问题。
首先，字幕翻译的主要目的是跨越语言和文化的鸿沟，让观众能够理解并享受电影的情节和对话。
因此，译者需要将原文本中的语义和情感准确传达给目标受众。
在翻译《花木兰》这样的文化题材时，译者面对一系列的挑战。
首先，这个故事是中国文化的代表之一，译者需要将其传达给全球观众，而不仅仅是中国观众。
其次，电影中涉及到许多中国特有的元素和文化内涵，译者需要在保留原汁原味的同时，在目标语言文化中找到等效的表达。
其次，字幕翻译还需要考虑受众的背景和理解能力。
观众来自不同的文化和语言背景，他们对电影的理解和接受程度也会有所不同。
因此，译者需要根据观众的需求和期望来进行翻译。
在翻译过程中，译者可能会遇到一些难以解释或理解的文化障碍。
为了突破这些障碍，他们可以使用目标语言和文化中的比喻、暗示或类似的文化符号来传达电影中的意义。
在翻译《花木兰》的过程中，译者还需要考虑字幕的长度和速度。
字幕应该简洁明了，以便观众能够在有限的时间内阅读和理解。
同时，字幕的长度也需要与发音和台词的节奏相匹配，以保持整个观影体验的连贯性和流畅性。
这要求译者在翻译过程中必须细致入微，既要保持对原文本的忠实，又要适应电影的特殊要求。
此外，字幕翻译还需要考虑观众的审美和文化差异。
观众对于电影的欣赏和接受程度受到他们所在文化的审美观念和价值观的影响。
因此，译者需要在翻译过程中运用自己的判断力和审美观念，将原文本中的情感和美感转化为适合目标受众的表达方式。
总的来说，电影《花木兰》的字幕翻译需要在保持对原文本的忠实和完整性的同时，使观众能够理解和体验电影的情节和情感。
译者需要考虑目标受众的背景和需求，突破文化障碍，保持字幕的简洁流畅，并根据观众的审美观念和文化差异进行调整。
浅析归化异化视角下电影字幕英译汉翻译——以《了不起的麦瑟尔夫人》为例
29海外文摘OVERSEAS DIGEST 海外文摘2020年第19期总第822期No.19,2020Total of 8220引言当今，人们处于一个互联网时代，国外的电视剧尤其是美剧受到国内观众的追捧。
美剧无论是在语言风格还是其所传达的文化等其他方面都与国内电视剧有所差异，要想使国内观众能够真正看懂其中的内涵，字幕翻译起了一个至关重要的作用。
本文以“归化”与“异化”为基础，结合字幕翻译的特征，探讨《了不起的麦瑟尔夫人》的字幕翻译方法及精彩之处。
1字幕翻译电影字幕翻译是翻译学研究的一项领域，它是将外语影片中口头对话以文字形式转化为目标语言，一般置于屏幕下方，并随原声的结束消失。
电影字幕大多是电影制作完成后所加。
字幕翻译，追根溯源，发展于西方国家。
欧洲影视翻译的兴起和迅速发展，与其特殊的文化历史发展、语言的多样性以及各领域之间的专业交流密切相关。
由于西方国家之间的影视文化交流互动十分频繁，使得其各个国家和地区的电影业也迅速发展。
经过长期的发展，大多数欧洲国家已经形成了电影电视介绍的配音或字幕制作的习惯。
中国的字幕翻译研究始于1949年从苏联引进的第一部译制电影《马-特罗索夫》。
1949年以来，中国的影视字幕翻译已经有70多年的历史，在这70多年里，中国影视字幕翻译取得了很大的进步和变化。
国际知名字幕翻译专家海泽尔·摩根认为：影片质量的好坏不取决于字幕，但是低质量的字幕会将毁了一部优秀影片[1]。
影视语言具有即时性、大众性、综合性、瞬时性和无注性等特征[2]。
即时性即电视剧字幕一句话不会停留太久，不会留给观众过多的思考时间，因此选对翻译策略，能够让读者在有限的时间内充分理解每一句话的意思十分重要。
大众性说明在字幕翻译过程中，翻译为目的语的语言要简洁明了，能够使一般的大众接受，这就要求在字幕翻译过程中要尽量口语化，运用不同的翻译策略翻译为通俗易懂的语言。
在翻译字幕时，要考虑到国家间的文化差异，因此在字幕翻译过程中，译者应当注意文化负载词的翻译，实现原文与译文的一致性，从而促进国家间的文化交流，也体现了字幕翻译的价值。
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从“伪娘”现象来看“伪译”的存在价值--以迪斯尼电影Mulan的字幕翻译为例杨春花【摘要】翻译研究离不开对“伪译”现象的探讨。
分析“伪娘”的必备条件、“伪娘”的实际有助于进一步认识“伪译”的本质。
“伪译”与重写不同，“伪译”在主观上是一种翻译活动，而重写却是一种创作活动；“伪译”也不同于改编，改编在主观上对源语文本进行了改写，而“伪译”往往是由于某些客观因素而不得不对源语文本进行创造性翻译，从而偏离了源语文本。
“伪译”是对源语文本的创造性翻译虽然在语义上有悖于原文，但却做到了功能上的对等，在某种程度上为译文作者实现其翻译目的或为目的语文化输入新的活力、引进新的文学形式等方面做出了积极贡献。
电影Mulan的中文字幕虽然具有“伪译”的性质，但却让中国观众获得了与外国观众类似的观感和体验，因此，“伪译”和“伪娘”一样有其存在的社会价值。
【期刊名称】《洛阳师范学院学报》【年(卷),期】2013(000)003【总页数】3页(P107-109)【关键词】伪译;伪娘;Mulan;字幕翻译【作者】杨春花【作者单位】西华师范大学外国语学院，四川南充 637002【正文语种】中文【中图分类】H315.9“伪娘”通常指的是有着女性美貌，却身为男性的正常人。
“伪娘”往往被错认为少女。
“伪”即不真实，假的，而“娘”多用于对少女或女子的称呼。
目前，“伪娘”一词迅速在网络上爆红，吸引了部分男子以男扮女装为时尚。
在中国古代，男扮女装的表演形式常常出现在戏剧之中，扮演女子的男子被称为“男旦”或“假面娘子”。
其实，这种现象不仅存在于戏曲界、娱乐界，还存在于翻译界。
在翻译界，有“伪译”一说，究其本质与“伪娘”有着一定的相似性。
目前，翻译界广为接受的“伪译”或“伪翻译”的概念是由图里于1980年提出的。
他认为“伪译”是指一部作品被当作从源语“翻译”过来的，然而事实上并没有与之对应的源语文本，因此也就没有实际“翻译操作过程”，更不会有所谓的各种翻译关系发生。
另一位学者拉多于1971年也提出了“伪译”的概念。
他认为“伪译”是指那些背离原文太远因而无法与之相提并论的译作。
因此，他认为改编以及各种文体重写、撰写游记等都可以归类为“伪翻译”。
［1］就相似性而言，“伪娘”的含义更接近于拉多提出的“伪译”概念。
本文拟以迪斯尼电影Mulan的字幕翻译为例，从“伪娘”的必要条件来探讨“伪译”的基本特征。
一、“伪娘”的必备条件与“伪译”具有的翻译特征“伪娘”的必备条件首先是要具有天生的女性外观，而不是通过整容手术得到的。
“伪娘”不仅长相貌似女性，还必须在身形上有如同女性的优雅。
当然，“伪娘”可以通过化妆增加自己女性的魅力。
如果仅从外观上来说，很难把他当作男性。
即便“伪娘”身着男装时，最多也只是“看起来非常像女孩的男孩”，或是“女扮男装的人”。
相应地，判断一部译作是否具有“伪译”性质，首先是看该文本是否有对应的源语文本，是否涉及两种不同的语言，是否由译者进行了实际的语际转换工作。
换而言之，“伪译”首先应该具有翻译的外观，即“伪译”不仅涉及了实际的双语转换工作和发生了相应的翻译关系，还要遵循一定的翻译原则。
当然，“伪译”也可以像“伪娘”一样通过化妆增加自己女性的魅力，即可以为了某种翻译目的(如为了译文能被广为接受)而偏离源语文本。
换言之，“伪译”以创造性翻译为主，忠实性翻译为辅。
因此，“伪译”处于“翻译”与“创作”的灰色地带，即“伪译”是“看起来非常像创作的翻译”。
迪斯尼电影Mulan于1998年在美国公映，夺得了“全美电影票房排行榜”的冠军。
虽然电影Mu-lan取材于中国花木兰替父从军的故事，但其电影台词却是英文的。
电影配音由迪士尼配音公司完成，而字幕翻译工作是由迪斯尼国际译制公司中国公司完成的。
电影Mulan中的花木兰是由好莱坞影星温明娜配音，而中文则是由许晴配音。
笔者将电影Mulan的中英文字幕对比之后发现，中文字幕虽然符合花木兰所生活的年代的语用特点，但却大大偏离了源语英文台词的所指。
虽然电影Mulan的字幕翻译涉及英汉两种语言的转换，译制公司也遵循了一定的翻译原则，但为了使其中文字幕能为广大中国观众所熟悉和接受，译制公司在翻译过程中加入了主观的创造，从而使中文字幕没有完全忠实于英文台词所指。
从这个意义上来说，电影Mulan的字幕翻译虽然具有翻译的基本特征，但仍属于“伪译”的范畴。
二、“伪娘”的实际与“伪译”的实质首先，“伪娘”和人妖不同，人妖在心理上承认自己是女人，而“伪娘”在主观上对于自己是男性的事实是肯定的;其次，“伪娘”也不同于CD(crossdress)，CD大多数喜欢变装，而“伪娘”对女装没有特殊喜好。
换言之，“伪娘”只是在外观上酷似女性，而其心理上仍然是正常男性。
相应地，“伪译”首先与重写不同，“伪译”在主观上是一种翻译活动，而重写却是一种创作活动;其次，“伪译”也不同于改编，改编在主观上对源语文本进行了改写，而“伪译”往往是由于某些客观因素而不得不对源语文本进行创造性翻译，从而偏离了源语文本。
就电影Mulan的字幕翻译而言，其中文字幕对源语文本英文台词的创造性翻译主要体现在以下方面。
在语言层面上，中文字幕体现了南北朝时期的语用特点。
根据北朝民歌《木兰辞》记载，花木兰是北魏人，生活在中国南北朝时期。
南北朝时期属于我国封建社会的大分裂时期，是中国封建社会历史上大动荡、大分裂持续最久的时期。
因此，当时的人们所使用的语言是具有封建主义色彩的古文，体现了封建主义文化的特点。
例如，在影片一开始，一名负责守卫的士兵正在长城上巡逻，突然发现敌人来袭，惊呼道:Guard:We’re under attack!Light the signal!守卫:我们遭到攻击，快点烟火信号。
在我国古代，“烽火”被用以传递边疆军事情报。
此通信方法始于商周，延至明清。
因此，在长城上修建有多个烽火台，成为长城防御体系的一个重要组成部分。
发现敌人白天侵犯时就燃烟，而夜间则点火。
当单于领导的匈奴人企图夜袭长城时，守卫士兵的第一反应就是要将军情传递出去，以便及时做好防范。
中文字幕增译了“烟火”一词，不仅使原文的意思更明白具体，也体现了中国封建社会战争时期传递军情的独特方式，把观众一下带回了花木兰所生活的那个年代。
中国的封建社会等级森严，强调帝王的意志高于一切，所有人都要效忠于当时的统治者，不服从就是大逆不道，乱臣贼子。
所以，当匈奴来犯，现有兵力不足以抵挡时，皇帝颁下了向全国各地征召壮丁的谕令。
在影片中，有以下几段君臣之间的对话充分体现了封建社会的等级制度。
General Li:Your Majesty，the Huns have crossed our Northern border.李将军:启禀皇上，匈奴越过北方边界了。
General Li:Shun-yu is leading them.We’ll set up defenses aro und your palace immediately.李将军:我们会立刻进京，保卫皇上的。
Emperor:No!Send your troops to protect my people，Chi Fu.皇上:不，叫你的军队去保护朕的子民，赐福。
Chi Fu:Yes，your Highness.赐福:臣在。
Emperor:Deliver conscription notices throughout all the provinces.皇上:立刻通令全国各地征召壮丁。
Chi Fu:Citizens，I bring you a proclamation from the Imperial City:the Huns have invaded China!赐福:乡亲们，我从京城带来皇上的谕令，匈奴侵犯中原。
Chi Fu:By order of the Emperor，one man from every family must serve in the Imperial Army.The Xiao Family.The Yi Family.赐福:皇上亲下诏书，每个家庭要选出一名壮丁加入军队。
萧家接旨。
易家接旨。
Chi Fu:The Fa Family.赐福:花家接旨。
Fa Zhou:I am ready to sever the Emperor.花弧:草民已准备好为国效劳。
从以上几段对话中，我们可以看出封建社会的等级森严不仅体现在制度上，还体现在人们的日常语言上。
当李将军向皇上汇报军情时，中文字幕增译了“启禀”一词，体现了君臣之礼。
在中国的封建社会，统治者被尊称为“皇上”，自称为“朕”，而为其效劳的朝廷官员则自称为“臣”。
平民百姓对上谦称为“草民”以示尊重，互称为“乡亲”。
皇上下的命令被尊称为“诏书”或“谕令”，而接受命令的行为称为“接旨”。
当朝廷需要征召新兵时，新兵被称为“壮丁”。
为了体现南北朝时期的语用特点，中文字幕增译了以上具有封建主义色彩的词语，使人物的语言更符合当时的历史背景。
在文化层面上，中文字幕再现了封建社会的伦理法则。
字幕翻译不仅仅涉及两种语言之间的转换，还涉及两种文化之间的交流。
因此，电影Mulan的中文字幕不仅体现了南北朝时期的语用特点，还再现了封建社会的主要伦理法则。
在木兰参加相亲的过程中，媒婆要求木兰背诵妇女应遵守的最高训诫，原英文台词如下:Matchmaker:Recite the final admonition.妇有四德的内容是些什么?Mulan:Fulfill your duties calmly and ref-…spectfully.Reflect before you snack act.This shall bring your honor and glory.Huh.妇有四德，就是妇德是谦虚，妇言是少说话，妇容是和悦，妇功意思是服从。
对比原英文台词和中文字幕的涵义，两者之间千差万别。
原句中的“final admonition”意指最高训诫，与中国的“四德”毫无关系。
在中国封建社会，妇女的地位低于男性，“三从四德”是专门为妇女设立的道德标准。
“三从”是指未嫁从父、既嫁从夫、夫死从子，而“四德”是指妇德、妇言、妇容、妇功。
对“三从四德”的英文解释为:the three obediences:obey her father before marriage，her husband when married，and her sons in widowhood and the four virtues:morality，proper speech，modest manner and diligent work.笔者将以上关于“四德”的英文解释与原文英文台词相比较，发现两者的所指也是不同的。