从目的论角度谈英文电影片名的翻译-精选文档
从目的论角度谈中国电影片名的英译
Value Engineering 0引言电影是目前最有影响力的大众文化和媒体之一，它已经成为我们现代生活的重要组成部分。
由于其独特的风格，语言和丰富的文化内涵，电影比其他艺术形式更能直接地推进文化交流。
随着国际文化交流的日益频繁，中国与海外之间的联系也日益紧密，特别是在经济，文化方面。
越来越多的英语电影已进入中国市场，与此同时，我国电影事业也一直致力于向国际市场拓展。
电影的片名就如同商标，在影片的传播中起着重要的作用。
片名的翻译一方面可以帮助观众初步了解影片内容，另一方面可以起到吸引观众，提高票房的作用，因此，电影片名的翻译是十分重要的。
片名的翻译要考虑到很多因素：内容，体裁，风格，文化等等，要将各种因素协调于片名的翻译中不是一件容易的事情。
本文从目的论角度探讨中国电影片名的翻译，倡导以观众为取向，提出电影片名英译的相关策略。
1翻译的目的论目的论是功能翻译理论的核心，最初是由德国功能派翻译理论家汉斯·威密尔（Hans Vermeer ）提出。
威密尔认为翻译必须遵循一系列原则，目的原则居于首位，其次是连贯原则和忠实原则。
连贯原则指的是译文必须内部连贯，应考虑接受者的背景和文化，便于译文读者理解。
忠实原则指的是译文必须与原文存在某种对应关系。
忠实原则从属于连贯原则，而连贯原则和忠实原则都从属于目的原则。
目的原则指的是翻译活动应以目的为指向，调整翻译策略，具体情况具体分析，也就是说，翻译的目的决定翻译的策略。
目的论的核心就是：翻译策略由译文的预期目的决定。
翻译目的论突破了传统的结构主义等值翻译观，提出了翻译的本质不仅是语言方面的转化，而是建立在语言形式上的不同文化之间的交流。
该理论拓宽了翻译理论研究的领域。
目的论从译者的新视角来阐释翻译活动，赋予了译者较大的权利，体现了译者的主体地位。
从目的论的角度出发，译者在翻译时应根据翻译的目的，再结合译文读者的背景和文化知识，灵活选择翻译方法，不必拘泥于与原文对等。
从目的论角度浅谈电影英语字幕翻译
I. IntroductionFilm production has been developing in leaps and bounds ever since and gradually boom as one of the most profitable industries of the world nowadays. As a dominant role in the world, film industries sell their film products all over the world. The Hollywood film industry----the engine of the world film industry is definitely the best evidence．According to the statistics，in the 1930s and 1940s，Hollywood films produced nearly 75% of the film market share in china. Never before have we seen so many foreign films flooding the domestic market and never before have we seen so many Chinese films going abroad. These films were generally dubbed into Chinese because few Chinese audiences understood English at that time. Therefore, film subtitle translation can not present real meanings to the viewers except for the translation of some inter-titles.The significances of the present research are reflected in the following aspects. Since the thesis attempts to combine both film subtitle translation and skopos theory together, it might be conductive to the enrichment of both fields, beneficial to the practice of film subtitle translation as well as the promotion of our understanding of general translation theory.II. Definition of film subtitlingA. SubtitleAccording to George-Michael Luyken(1991), “subtitles are condensed written translations of original dialogue which appears as line of text, usually positioned towards the foot of the screen, subtitles appear and disappear to coincide in time with corresponding portion of the original dialogue and are almost always added to the screen image at a later date as a post-production activity”(335).B. Definition of film subtitlingFilm subtitle is “a printed statement or fragment of dialogue appearing on the screen between the scenes of a silent motion picture or appearing as a translation at the bottom of the screen during the scenes of a motion picture or television show in a foreign language” (Merriam 1175). In short，film subtitles are supplements，in the sense that they supply information unavailable from the phonetic dialogue and visualpicture.Film subtitles are different from “displays” or “captions”. “Displays” are “fragments of text recorded by the camera-letters, newspapers, headlines, banners etc” (Gottlieb l01-121). “Captions” (or “top titles”) are pieces of “textual information usually inserted by the program maker to identify names，places or dates relevant to the story line”(Luyken). This distinction is maintained here and “subtitles”do not include displays or captions, unless otherwise stated.Film subtitle can be both “intralingual”(and “vertical”), when the target language is the same as the source language, and “intralingual” (or “diagonal”), when the target language is different from the source language (Gottlieb 249-258). “Film subtitle”in this thesis is used to refer to interlingual film subtitle, unless otherwise stated．Film subtitle can be “open”, when the target text constitutes a physical part of the translated film and is transmitted together with the film sound and image，or “closed”, when the target text is stored in a digital/teletext format which is transmitted in as well as accessed via a separately coded channel at the discretion of the viewers(Gottlieb 247). In this thesis, “film subtitle”, refers to open film subtitle, unless otherwise stated.III. A brief introduction to skopostheorieA. The process of skoposSkopos is the Greek word for “aim” or “purpose” and was induced into translation theory in the 1970s by Hans J. Vermeer as a technical term for the purpose of a translation and of the action of translating skopos focuses on the purpose of the translation, which determines the translation methods and strategies that are to be employed in order to produce a functionally adequate result, the target text (TT), called the translatum by Vermeer (20-23). Therefore，in skopos theory，knowing why an source text (ST) is to be translated and what the function of the TT will be are crucial for the translator.In the 1970s there appeared a school in translation studies in Germany functionalism. Katharina Reiss firstly pointed out in his work Translation Criticism (2004). The representatives are Katharina Reiss, Hans J. Vermeer and Christiane Nord. They hold that translation is a kind of action with a purpose. This theory is first presented by Reiss and Vermeer in their book Grundlegung einer allgemeinen Translationstheorie (1984) (General Foundations of Translation Theory).Since 1978, German translation theorist H. J. Venneer, who breaks through thetraditional equivalence-based the theory that centers on source text，creates the skopostheories with the translation purpose or function of a translation as a general principle on the basis of theory of action(23-24). It is generally agreed now that translation is a type of human action. According to Vermeer, human action is intentional and purposeful behavior that takes place in a given situation, which modifies the situation at the same time (205-210). Skopos argues that the shape of target text should above all be determined by the function or “Skopos”that it is intended to fulfill in the target context.Vermeer believes that the purpose of a target text determines the translation strategies. In his opinion, the purpose of a target text, which is so important, is great extent decided by target readers, cultural background. In Hans J Vemeer’s Skopos and Commission in Translational Action(1989),Vemmer puts the Skopostheorie in this way：“Any form of translation action, including therefore translation itself, maybe conceived as an action, as the name implies. Any action has an aim, a purpose. The word Skopos, then, is a technical term for the aim or purpose of a translation.” In her book Translating as a Purposeful Activity: Functionalist Approaches Explained (2001), Christiane Nord defines the skopostheorie that “Skopos is a Greek word for purpose”(13-14). According to skopostheorie (the theory that applies the notion of Skopos to translation), the prime principle determining any translation process is the purpose (skopos) of the overall translational action. This fits in with intentionality being part of the very definition of any action.B. Three rules of the SkopostheorieSkopos theory involves three rules, i. e. skopos rule, coherence rule and fidelity rule, which will be discussed as follows.1. Skopos ruleVermeer postulates that as a general rule it must be the intended purpose of the target text that determines translation methods and strategies. From this postulate, he derives the skopos rule: Human action(and its subcategory：translation) is determined by its purpose(Skopos), and therefore it is a function of its purpose(Baker 236).Vermeer explains the Skopos rule in the following way,“Each text is produced for a given purpose and sho uld serve this purpose. The skopos rule thus reads as follows: translate／interpret／speak／write in a way that enables your text／translation to function in the situation in which it is used and withthe people who want to use it and precisely in the way they want it to function” (29).It is also pointed out that most translational actions allow a variety of skopos, which may be related to each other in a hierarchical order, and the translator should be able to justify their choice of a particular skopos in a given translational situation in translation, ., the skopos must be decided separately in each specific case．Skopos rule helps the translator solve the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, and so on. Nord points out that the skopos of a particular translation task may require a “free” or a “faithful” translation, or anything between these two extremes, depending on the purpose for which the translation is needed. (29).2. The coherence ruleTwo further general rules are the coherence rule and the fidelity rule. The coherence rule stipulates that the target text must be sufficiently coherent to allow the intended users to comprehend it, given their assumed background knowledge and situational circumstances.The coherence rule, or in Vermeer’s terms, the standard of “intra-textual coherence” means “the receiver should be able to understand it: it should make sense in the communicative situation and culture in which it is received”(Nord 32). The coherence rule specifies that “a t ranslation should be acceptable in a sense that it is coherent with the receivers’ situation” (Nord 32).That is to say, the translator’s task is to produce a text that is at least likely to be meaningful to target-culture receivers, namely, to be coherent with the receivers’situation and thus to be understood by the receivers. Only when the receivers understand it as being sufficiently coherent with their situation, can this communicative interaction be regarded as successful.3. The fidelity ruleHowever, just being coherent with the target situation is not enough. A translation is an offer of information about a preceding offer of information; therefore there is a relationship between the translation and the source text. Vermeer calls this relationship “inter-textual coherence or “fidelity”. This is postulated as a further principle, referred to as the “fidelity rule” (Nord 32)“Inter-textual coherence should exist between source and target text, while the form it takes depends both on t he translator’s interpretation of the source text and on the translation skopos” (Nord 1-32). For example, one possible kind of inter-textualcoherence could be a maximally faithful imitation of the source text.We know that the source text is intended for the source culture receivers instead of translation，therefore when it is translated for the different target-culture recipients, maybe the function of the target text or the purpose of the translation is different from that of the source text. In this case，the “fidelity rule” should give way to the skopos rule. However, the translator should aim for any possible compatibility between the skopos and inter-textual coherence.The three basic rules of the skopostheorie are designed to govern the translator’s activities in the whole translation process. In most cases, due to the reason that the skopos of the translation is frequently likely to deviate from the intention of the corresponding source language text, a translation cannot satisfy the three rules at the same time．IV. Film subtitle translation of If You Are the One from the perspective of skopostheorieIn subtitle translation of If You Are the One, in particular, its skopos is determined by the intention of its director as the initiator and the expectation of the English speaking viewers as the receivers of the English subtitles; its shape is determined by its skopos and the subtitler. This part is to analyze how the factors mentioned above determine the skopos and shape of translated subtitles in If You Are the One, and how strategies are employed to fulfill its skopos.A. Brief review of the film If You Are the OneThe film for 2008, If You Are the One, stars Feng’s longtime collaborator, Ge You, as a man in his 40s, newly rich, looking to settle down and start a family. Having made an instant fortune through his sale of the Conflict Resolution Terminal 2008, middle-aged entrepreneur Qin Fen (Ge You) turns his attention to finding a wife. Using all online personals service, he auditions potential spouses, but few make a lasting impression. Qin Fen’s stalwart personality is partly to blame；he’s intent on finding a suitable match，and is willing to walk away from even an absolute goddess if there’s a hint of incompatibility. So it goes with comely flight attendant Smiley Liang (Shu Qi), who Qin Fen initially recognizes as a poor match. Regardless, the two commiserate over drinks, where the melancholy Smiley reveals that she’s dating amarried man (Alex Fong). The two parts intends never to meet again, with each returning to their own pursuit of love.But as fate and the screenwriters would have it, Qin Fen and Smiley meet again on all airline flight，with Smiley working, Qin Fen traveling, and Smiley’s boyfriend and wife also present. The coincidence draws Qin Fen and Smiley back together, propelling them on the road to friendship and perhaps more, with occasional stops at fine luxury entertainment locations, where they sip expensive drinks while verbally sparring over their views on love. Qin Fen aims for a home run with his potential mate, while Smiley seems willing to settle if she can’t have her idealized，unattainable love. In response, Qin Fen tries to convince her otherwise while attempting not to appear as he’s trying to. It’s the story of one man’s tough love, except with a picturesque tour of fabulous locations that only people with money can visit. Somewhere in there, Qin Fen’s loyalty and stalwart affection is supposed to comfort Smiley’s wounded heart or something like that.B. An analysis of subtitle translation of If You Are the One based on skoposIn subtitle translation of If You Are the One, in particular, its skopos is determined by the intention of its director Feng Xiaogang as the initiator and the expectation of the English-speaking viewers as the receivers of the English subtitles; its shape is determined by its skopos and the subtitler. This part is to analyze how the factors mentioned above determine the skopos and shape of translated subtitles in If You Are the One and how the strategies are employed to fulfill its skopos.1. Feng Xiaogang’s intentionFeng never denies his wish to defeat the Hollywood films at the box office by adapting Hollywood’s game rules (Rosen 336).Feng discloses that the Associate President of Columbia Pictures, once said to him, “Your films have never been shown in overseas countries and thus you are not known to the viewers outside your country．Big Shot’s Funeral serves as an advertisement to publicize you and I hope it can provide the foundation for your second and third film in the overseas market” (Feng 187). From Mr. Geris’s wish, we can also find F eng’s ambition to gain the market share in foreign countries. And the film If You Are the One has proved to be well received in the North American market.Feng recalls in his book that on a seminar about the making of Big Shot’s Funeral，some people asked him whether the production strategy of the film should beconsidered as Hollywood’s cultural invasion into Chinese film industry. He replies that “it is a win-win deal and a two-edged sword” and that this kind of cooperation is cost-efficient because it “still makes Chinese films，but faces the global market” (Feng 187). As for Feng Xiaogang, the way to revive domestic market and march into international market is to cooperate with foreign film production companies and internationalize domestic film success.From above，we can see that the director’s intention is to bridge the gap between Chinese and foreign cultures and gain market share in foreign countries，which is the major part of translation brief.2.Skopos analysisTo define the skopos, we should verify the translation brief. Although it is said that a brief should be given by the clients, more often than not, it is not the case. Then a translator should have the ability to verify it by himself. The translation brief of the present case could be specified as follows：a. The intended text functions: the main function of the TT is referential. If You Are the One is more a commercial movie than art，the intended text function is first of all referential, to provide information about what is going on the screen. Then it may come the expressive function to relay the sender’s attitude and feelings. The translator must weigh against different functions and decide on the main one. In the present case，it is the referential function that wins the upper hand. Translator has to make a choice according to the skopos of the translation of film subtitle. Feng’s film subtitle translation aims to win the target market so that translator has to produce clear and concise subtitled film dialogues bridging the cultural gaps and make the narrative easily accessible for the audience.Thus, the target audience will find it easier to accept and understand the translated subtitles. Here are some examples.(1)秦奋：不算老实但天生胆小I'm no angel杀人不犯法我也下不去手Just too cowardly to do wrongThe west and east have different religious beliefs. In Christianity, Angel is a good spirit who is kind, lovely and innocent. Here, Qin Fen describes himself as a man who is not well-behaved．So he is not like an angel.(2)别猫哭耗子了Spare me the alligator tearsIn China, there is a proverb“猫哭耗子假慈悲”. This means the cat pretends to be sympathetic to the death of the mouse because she can have it as a meal. In western culture, people think that while having meals, usually an animal, an alligator will shed tears. So alligator tears implies disguised sympathy.(3)有的人是情人眼里才是西施Beauty is in the eyes of the beholder不过分的说, 仇人眼里你都是西施But no exaggeration, even to a foe，you’d be beautifulThe above underlined words or proverbs are all culture-loaded. Domestication is adopted to make the western audience fully understand the film.b. The addressees:It is self-evident that the TT addressees in subtitle translation are the foreign audience, probably adults, who share a different culture background and who are lay of Chinese. To be specific, they are common people who watch it for entertainment and film festival juries who view it with a discerning eye, eg.秦奋：那咱俩要是结婚了So，if we get married非得倒插门我去你们那儿吗I have to go to live with your family?In China, in most cases，after marriage, the wife lives with the husband’s family. “倒插门”means the husband lives with wife’s family. In this sentence, it is deleted since it expresses the same meaning as “我去你们那儿”.c. The time and place of text reception: The time and space of reception is less controversial，which vary in different cases. In this case, the time is up to now from 2008 when it was released to the public and the place is at the very beginning cinema and later on amounts to a wide range of places thanks to the development of technologies such as DVD.So far, the skopos of the translation can be defined as to supplement the film by providing the optimal information for the audience in written form within a limited time and space.V. Film subtitle translation of Curse of the Golden Flower from the perspective of skopostheorieIn this part, the subtitle translation of Curse of the Golden Flower is analyzedwith the background of the skopos theory.A. Background of Curse of the Golden FlowerCurse of the Golden Flower is derived from the story Thunderstorm, one of the best-known masterpieces by the most famous Chinese playwright Cao Yu. But the adaptation doesn’t stay too faithful to the original. The film is a historical drama directed by Zhang Yimou who also co-wrote the screenplay in Chinese. The screen version is established in the 10th century during the short-1ived Late Tang Dynasty, about a thousand years ago.For today’s viewers，it is a story about court intrigues and deceptions. Moreover there are several pivotal factors within the plot, among which, traditional Chinese medicine is the foremost one since the Emperor in the film is gradually poisoning his wife, the Empress, by adding a deadly fungus to her medicine. Zhang Yimou the director gives his explanation of the arrangement that “as for the Emperor’s personality, well, he’d love to stay in the royal pharmacy all the time. He’s a drug freak. That’s how his character is developed and expanded upon. He’s just so into the drug”.B. An analysis of subtitle translation of Curse of the Golden Flower based onskoposThe title of the movie，which is literally translated as “The Whole City is Clothed in Golden Armor”, is the last line taken from a Tang Dynasty poem---Do not Endow with Chrysanthemum Behind written by Huang Chao who rose in rebellion in 875 and died 9 years later.After changing the title several times, the screenwriters as well as the director finally settle on the poem for the reason that it indicates the rebellion taken by the Prince against the Emperor in the movie. The Chinese audience may easily understand the cultural connotation while the English-speaking audience who are not familiar with the background of the poem, due to the great disparity in terms of cultural background, may not comprehend the implicit aspects of the title without the explanatory message or footnote. Consequently, this kind of culturally loaded expressions will put a lot of processing efforts on the target audience. In addition, with the constraints of time and space, if they focus on the reading of the subtitle, they will lose some of the visual and audio information．To solve this problem, the subtitler discards the Chinese title and adapts a new one with the image of the golden flower taken as a symbol to reveal the palace intrigue and the machination of power play to the target audience. The golden flower is designed to function as the symbol of rebellion, which is the same as the title. Hence its images appearing in the film once and again will, in another form, retrieve the loss of the culturally loaded information caused by the substitution since film is a multidimensional art involving visual images, sound, colors and so on. Let’s see some examples:(1)辰时的药煎好了Your Majesty’s medicine for the hour is ready(2)执令官统领后宫羽林军The Imperial Guards protect our private palacesIt is no easy job to translate cultural elements in subtitle translating. The underlined parts of the source text are omitted in the target text since these cultural elements do not deliver adequate information and there is no time to explain all details. Their function can be retrieved by the image and the subtitler is careful enough not to omit information that could at a later stage be essential for the understanding of the story.According to adequacy and equivalence theory, the translator can not offer the same amount and kind of information as the source-text producer. What the translator does is to offer another kind of information in another form (Reiss & Vermeer 123). Located in a broader ecological culture, the subtitling succeeds in producing a communicative interaction in the target text. We may find another example in this film：(3)当年你只是一个小小的都尉At that time，you were only a lowly captain.“都尉”here refers to the low-ranking officer in Tang Dynasty. If a simple transliteration as “Duwei”is adopted, it is completely meaningless to the English-speaking audience and fails to achieve intra-textual coherence. Whether to translate the complete meaning of “Duwei”, on the other hand, makes no difference to the comprehension of the plot for the source text producer just means that the Emperor mounts the throne from the bottom. Therefore the subtitler, by chunking it up, translates it into “a lowly captain” to establish inter-textual coherence as well as intra-textual coherence in the target text.(4)儿臣为了母后从此不再服药You will never drink the poison again.In the film, what the Empress drinks is a kind of Chinese medicine containing the ingredient that will cause a person to lose his or her entire mental faculty. According to traditional Chinese medicine, any medicine has 30% poison ingredients. Therefore some ingredients are useful as well as poisonous. Their curative value is restricted to certain diseases and certain dosage based on the theory of using poison to cure poison. These ingredients belong to the category of medicine despite of their toxicity. By chunking down the medicine into poison, the subtitler defines the meaning in the narrowest sense and makes the implicit information explicit to accomplish intra-textual coherence in the target text．VI. ConclusionA. ContributionSkopostheorie provides translators with a whole new perspective into translation action. This paper conducts a systematic analysis of crucial factors that influence the strategies of subtitle translation, in which skopostheorie is adopted to guide the descriptive and explanatory analysis.On the basis of the above analysis, this paper gets some enlightenment of skopostheorie on subtitle translation. The enlightenment of “intra-textual coherence”on subtitle translating is that the target receiver should be able to understand the translated version of subtitle. And the translated version should make sense in the communicative situation and culture in which it is received. The subtitler should always keep the target viewers in mind. After exploring the main components of skopostheorie and analyzing the specific constraints in film subtitle translation, the author tries to find out some enlightenment of skopostheorie on subtitle translation. In order to find out the enlightenment, this paper analyzes Feng Xiaogang’s film in light of skopostheorie. The film If You Are the One proves to be successful in its target market. Therefore, this paper tries to find out influencing factors that affect the subtitler’s choice of strategies.The author gives focus to the skopos of subtitle translation, the more influencing role of the film director in subtitle translation and the importance of target audience. With reference to skopostheorie，subtitle translating is a purposeful activity and thepurpose of the whole translational action is the prime principle that determines the translation process. The basic purpose or skopos of subtitle translation is to aid the viewers with a translated film dialogue, to provide them with the most relevant information in the most effective way within its specific constraints，to help them in understanding what’s happening on the screen with ease.B. LimitationsOwing to the limitations of time and space，the source data collected for the thesis is limited. Meanwhile because of the knowledge limitations this paper can not deeply analyzes the translation of Chinese film subtitles into English ones from the perspective of skopostheorie. It is the author’s sincere wish that if possible, in the future, further research can be done on comparative study on Chinese-English translation and English-Chinese translalion of film subtitles.Work CitedBaker, Mona. Routledge Encyclopeata of Translation Studies. Shanghai：Shanghai Foreign Language Education Press(2004)：Baker,Christiane, Nord. Translating as a Purposeful Activity: Functional Approaches Explained.Shanghai: Shanghai Foreign Language Education Press, 2001.Feng, X. G[冯小刚]我把青春献给你武汉：长江文艺出版社2003: 187Gottlieb, H. Teaching Translation and Interpreting. Amsterdam: John Benjamins Publishing Company, 1998Gottlieb, H. Media Translation. Amsterdam／Philadelphia: John Benjamins Publishing Company, 2001Gottlieb, H. Subtitfing: Diagonal translation In C. Dollerup et al. (eds), Perspectives Studies in Translatology. Copenhagen: University of Cpenhagen, 1994 l01-121．Gottlieb, H. Anglicisms and TV Subtitles in an Anglified World: [A] Gambier Yves, 249-258 Gottlieb, H.Subtitling-a new university discipline in Teaching Translating and Interpreting. (eds) Dollerup, Cay＆A. . Amsterdam: John Benjamin. 1998: 247Katharina, Reiss. Translation Criticism: The Potentials＆Limitations. Shanghai: Shanghai Foreign Language Education Press, 2004.Katharina, Reiss and Hans J. Vermeer. Grundlegung einer allgemeinen Translationstheorie.Tubingen：Niemeyer, 1984,Michael. Overcoming Language Barriers in Television. [M] Manchester: European Institute forthe Media 1991.Luyken,George-Michael. Overcoming Language Barriers in Television. [M] Manchester: European Institute for the Media 1991.Merriam-Webster. Merriam Webster's Collegiate Dictionary. 1997：1175Rosen，S．(2002)．狼来了：好莱坞与中国电影市场,. 全球化与中国影视的命运336-360. (S.Y Sun, Trans.). Shanghai: Shanghai Foreign Language Education Press. 1994-2000 Vermeer, Hans J. Skopos and Commission in Translational Action in Chesterman(ed). 1989, 20-233.。
功能目的论视角下的英语影视片名汉译
ｌ 影视片 名的功 能及 特点
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影视作品通常可分为纪录片、科教片及故事片 。其中 故事片又可分为惊险类、幻想类 、喜剧类及抒 隋类 （ 贺莺 ， ２ ０ ０ １ ） 。不管是哪种类别的影片 ，其片名都是商标和广 告， 具有三项功能： 信息功能、审美功能及祈使功能。 首先 是信息功 能。片名必须浓 缩主题 ，最大 限度 地 提 供 影 片 的 相 关信 息 ，如 影 片 类 别 、所 涉 及 的 主 人 公 或 主要 事件 或故事 发生 的地 点等重 要信 息。如 Ｗａ ｒ Ｈｏ ｒ ｓ ｅ （ ２ ０ １ ２ ）译为 《 战马 》 ，观 众一 目了然 ，影 片为战 争片 ， 故事 围绕战马展开 。 其次 是审美功 能。不 同类 别的片名有 其各 自不 同的 审美功能 。如惊 险类片名要突出其惊险刺激 ； 影片 Ｓ ｐ ｅ ｅ ｄ 译为 《 生死时速》 ，通过 “ 生死 ”二字的对比，给 人留下
目 片名 翻译的目 的 与原则
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功能派翻译理论 的核心 为功 能 目的论 。汉斯・ 费米尔 （ Ｈ ａ ｎ ｓ Ｖ ｅ ｒ ｍｅ ｅ ｒ ）提 出 了 目的 论 （ ｓ ｋ ｏ ｐ ｏ ｓ ｔ ｈ ｅ ｏ ｒ ｙ ） ，将 翻 译 研 究从原文 中心论 的束缚 中摆脱 出来 。 “ Ｓ ｋ ｏ ｐ ｏ ｓ ”一 词来 自
（ 张南峰 ， ２ ０ ０ ４ ： １ ２ ０ ） 。
惊 心动魄 的印象 。而抒情 类片名则通 过生动 的形 象、优 美 的措辞给 观众带来 美的体验 。如 Ｗ ａ ｌ ｋ ｉ ｎ ｔ ｈ ｅ Ｃ ｌ ｏ ｕ ｄ （ １ ９ ９ ５ ）译为 《 云中漫步 》 ，片名如 梦如幻 的意境 ，令观 众遐想 无限 ，产生 一探 究竟 的好 奇 。最后 是祈使 功能 ， 其 目的是 召唤观众观看影 片 ，提升票 房收入 ，从而 达到 影 片的商业 目的 。只有 具备前两种功 能的片名才 能成功 地 实现 第三 种 功 能 。 在 这三种功 能的约束 下， 电影片 名被赋予 了独 特的 特 点 ，既言简意赅地体 现主题 ，同时又体现各种影 片类 别的特 点，富有美感 ，最后是符合观 众对影视作 品的期 待而吸引观 众。
(全英文论文)从目的论角度看英语电影片名的翻译
本科生毕业设计（论文）封面（ 2015 届）论文（设计）题目作者学院、专业班级指导教师（职称）论文字数论文完成时间大学教务处制英语原创毕业论文参考选题(200个)一、论文说明本写作团队致力于英语毕业论文写作与辅导服务，精通前沿理论研究、仿真编程、数据图表制作，专业本科论文3000起，具体可以联系qq 805990749。
下列所写题目均可写作。
部分题目已经写好原创。
二、原创论文参考题目1、(英语毕业论文)春晚流行语的社会语言学和修辞学研究（开题报告+论）2、(英语毕业论文)从奈达的动态对等理论比较研究《德伯家的苔丝》的两个中文译本（开题报告+论文+文献综述）3、(英语毕业论文)浅析《汤姆叔叔的小屋》中黑奴的命运4、(英语毕业论文)归化和异化策略在《红楼梦》文化负载词翻译中的应用（开题报告+论文+文献综述）5、(英语毕业论文)人性的苏醒—《香蕉鱼的好日子》主题研究6、(英语毕业论文)A Study of Cultural Differences Reflected in Chinese and English Proverbs（开题报告+论文+文献综述）7、(英语毕业论文)《喜宴》中反映出的中西文化差异8、(英语毕业论文)平行文本比较模式指导下的公司简介翻译（开题报告+论文+文献综述+外文翻译）9、(英语毕业论文)主位推进模式在语篇翻译中的应用（开题报告+论文）10、(英语毕业论文)诸神形象折射中西方价值观不同（开题报告+论文+文献综述）11、(英语毕业论文)从合作原则和礼貌原则的角度分析赵丽蓉的小品（开题报告+论文）12、(英语毕业论文)Communicative Functions of Silence in Conversations13、(英语毕业论文)从女性主义分析《红字》与《傲慢与偏见》14、(英语毕业论文)英语谚语重复修辞格的翻译15、(英语毕业论文)从《百舌鸟之死》探析美国种族冲突16、(英语毕业论文)英语词汇在日常生活中对现代汉语词汇的影响17、(英语毕业论文)高中英语“后进生”产生的原因以及补差方法研究18、(英语毕业论文)英汉习语翻译中文化意象的转换（开题报告+论文+文献综述）19、(英语毕业论文)Judy’s Double Character in Daddy-Long-Legs20、(英语毕业论文)浅析《乞力马扎罗的雪》的现代主义特征（开题报告+论文+文献综述）21、(英语毕业论文)从《厄舍古屋的倒塌》看爱伦坡写作的哥特式风格（开题报告+论文）22、(英语毕业论文)从动态对等角度分析中国旅游景点名称英译——以中国庐山网为例23、(英语毕业论文)“金玉良缘”与“幸福终点”——浅析中西婚姻差异24、(英语毕业论文)The Application of Cooperative Learning in High 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论文：英语电影片名的翻译
毕业论文题目英语电影片名的翻译TITLE the Translation of English Film Titles 专业姓名学号指导老师中文摘要经过一个多世纪的发展，电影如今已经成为了一种常见的娱乐方式。
而随着全球化的发展，人们有了更多的机会来欣赏制作精良、精彩纷呈的外国电影。
为了使中国观众明白整部电影的内容，就需要将电影翻译成中文，这其中就包括了电影片名的翻译。
作为影片不可或缺的一部分，电影片名有其独特的语言特色和民族文化内涵，是电影艺术性和票房商业性的集中体现。
电影片名翻译属于实用英语翻译的范畴。
一部电影片名的功能就是要吸引观众走进影院去观赏这部电影，这也同样是翻译电影片名的目的。
本文以起源于德国的功能派翻译理论为基础，对电影片名翻译的现象作出了解释，并分析了在目的论指导下，音译、直译、意译及改译几种翻译策略在英语电影片名汉译中的应用。
关健词: 电影片名翻译，功能翻译，目的论，翻译策略IAbstractHaving developed for over a century, film has become one of the most popular ways of entertainment for people. People have much more chances to appreciate the elaborate and excell ent films. In order to enable the Chinese audience to understand the film's content, thewhole film should be translated, including its title. As an indispensable part of a film, the title has its unique linguistic feature and culture connotation.Film title translation belongs to general English-Chinese translation. Its function is to push the audience to go to the cinema after seeing the title, which is also the skopos of film title translation.In this thesis, the author makes an analysis of the film title translation from the functional perspective. And the application of translation strategies, namely, transliteration, literal translation, liberal translation and adaption, is also analyzed with rich examples under the guidance of the functionalist approach.Keywords: film title translation; functionalist approach; Skopos theory; translation strategiesII中文文摘电影是一种集艺术性和商业性于一体的艺术形式，是最具有影响力的媒体之一。
从目的论角度分析电影《绿皮书》字幕翻译中的归化与异化
从目的论角度分析电影《绿皮书》字幕翻译中的归化与异化从目的论角度分析电影《绿皮书》字幕翻译中的归化与异化近年来，伴随着中国电影市场的不断扩大和全球化的推进，外语电影的翻译显得尤为重要。
作为一种特殊的翻译形式，字幕翻译在电影中扮演着重要的角色。
《绿皮书》是一部深受观众喜爱的电影，讲述了一位黑人钢琴家和一名白人司机在种族歧视盛行的1960年代美国南部展开的一段特殊的旅程。
本文将从目的论的角度出发，分析《绿皮书》字幕翻译中的归化与异化现象。
在字幕翻译中，归化和异化是两种常见的翻译策略。
归化即将对外文化的翻译与本国文化相融合，使得翻译结果更加符合本国观众的认知和习惯。
而异化则保留原文的独特性和文化特色，尊重原文的表达方式和文化背景。
在电影《绿皮书》的字幕翻译中，我们可以观察到这两种翻译策略的运用。
首先，通过归化的翻译策略，电影《绿皮书》的字幕翻译加入了对中国观众的背景说明和解释，使得观众更容易理解故事背后的文化背景和情感。
例如，片中主人公使用了一种疑似典型的南方口音，翻译时通过在字幕中插入“南部口音”字样，使得观众们更容易理解他们的对话背景。
同样，对于片中使用的大量种族关键词，翻译时在字幕中使用括号注释其具体含义，如“吉普赛人（Gypsy）”，“黑鬼（Negro）”等。
这种归化的翻译策略，有助于观众更直观地理解文化差异，并减少观影过程中的困惑和误解。
然而，在字幕翻译中，我们也能够观察到异化的翻译策略的运用。
异化的翻译策略保持原文的特色和风格，更好地传达原文的思想和情感。
在《绿皮书》中，主人公的口语表达时常出现非标准用法和口头语，这些特点为角色赋予了独特的魅力和个性。
而在字幕翻译中，这种非标准用法和口头语被较为保留地翻译，如“你挺机灵啊，巧立名目”（You are quick. Name your price.）等。
这样的异化翻译策略使得观众进一步了解角色的形象，并更好地感受到他们之间的亲情和友谊。
除了以上两种翻译策略，字幕翻译中还运用了其他策略来平衡归化和异化之间的关系。
从目的论角度讨论英语电影片名翻译
最新英语专业全英原创毕业论文，都是近期写作1 中西神话中的创世神话2 译前准备对交替传译效果的影响3 论《老人与海》中圣地亚哥性格的双重性4 从“老人与海”译本比较研究看理解在翻译中的重要性5 从构式视野下对英语图式习语的解读6 中西社交礼仪差异的历史文化原因探析7 中介语石化现象成因及应对策略8 融合与碰撞：李安家庭系列体现的中美文化差异9 文档所公布均英语专业全英原创毕业论文。
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从弗洛伊德的精神分析理论浅析《道林格雷的画像》中的主要人物112 从语义翻译与交际翻译看《红楼梦》中诗词的汉译英113 Passion & Religion — A Comparison between The Scarlet Letter and The Thorn Birds114 汉语句型习惯对英文写作的负迁移作用115 论《天路历程》的批判精神116 动物词在中英文化中的喻义及其翻译117 A Linguistic Analysis o f Barack Obama’s Inauguration Speech118 论密西西比河对马克吐温和《哈克贝利费恩历险记》的影响119 论“看，易，写”方法在旅游翻译中的应用120 从小说人物分析简•奥斯汀的情感智慧121 论自然主义在《野性的呼唤》中的体现122 等效理论框架下的中国菜肴英译研究123 弗吉尼亚•伍尔夫《海浪》的叙事技巧分析124 从跨文化传播角度论中国饮食文化资料的英译125 公示语的功能、语言特点及翻译126 《道连·格雷的画像》中意识与潜意识的对抗与结合127 An Analysis of Feminism in The Scarlet Letter128 从古至今的吸血鬼文化129 中世纪的典雅爱情：本质、渊源和影响130 从弗吉尼亚伍尔夫到多丽丝莱辛：论女性主义的发展——对比两位作家笔下塑造的女性形象131 商标翻译及商标翻译中的文化禁忌132 An Analysis of David’ s Dual Personality in David Copperfield133 中美商务英语信函的对比研究134 The Use of Symbols in A Farewell to Arms135 The Exploration of Black Female Characters in Toni Morrison’s Novels136 英语中源于希腊罗马神话主要神祇姓名词汇的认知探索137 从文化差异角度研究英文新闻标题翻译的策略138 论爱伦坡小说中的哥特式风格139 On the Female Initiation Theme in Little Women140 浅谈中美文化差异对商务谈判的影响141 论《儿子与情人》中保罗的爱情悲剧142 《呼唤》中倒装句汉译策略研究143 浅析广告发展现状及其未来发展趋势144 The Application of Corpus in Teaching English Writing145 A Comparison of the English Color Terms146 《荆棘鸟》中女性主义及女性意识觉醒的解读147 目的论视角下新闻标题汉译英研究148 英语X-ful词的形态与认知构建149 《到灯塔去》中的两性主义—抵达人类和谐的完美道路150 《三国演义》中带数字的词语翻译研究151 中英植物习语中的文化差异分析152 从女性主义视角看《蝴蝶梦》153 如果不复仇——论呼啸山庄中的爱与恨154 以学生为主体的教学在初中英语写作教学中的应用155 高中英语互动式课堂教学模式研究156 分析露丝的觉醒《接骨师之女》157 英语X-ful词的形态与认知构建158 从关联理论角度看英语广告语的修辞159 On Misreading in Reading Comprehension from the Perspective of Discourse Analysis160 从跨文化角度论谚语中的比喻与翻译161 论约翰•多恩诗歌中的张力162 中西方饮食文化比较研究163 英语委婉语的语用分析164 论反语的语用功能165 中英花卉隐喻下的情感叙事对比研究166 网上英语聊天的会话结构特征167 叶芝：无望的爱情，多变的风格168 英汉思维方式差异对英译汉结构处理的影响169 从成长小说角度解读《马丁•伊登》170 Pragmatic Failures in Translation of C-E Advertisements171 从跨文化交际层面谈口译译者能力的提高172 交际法在中学英语词汇教学的应用173 在幻想中回归童年──评析《爱丽丝漫游奇境记》174 《贵妇的画像》的过渡性特征的分析研究175 探究哈利波特的英雄成长之路176 The differences on advertising translations under the Chinese and Western cultures 177 不做房间里的天使——解读《爱玛》中的女性主体意识178 影响中学生英语学习的心理因素分析179 《高级英语》中某些修辞手法赏析180 从十字军东征看中世纪宗教冲突181 从校园流行语看中美学生思维方式的差异182 从文化差异角度看英汉习语的翻译183 从中西婚礼文化看中西方文化差异184 《动物庄园》中的黑色幽默分析185186 《野性的呼唤》中的自然主义187 试析《假如明天来临》的叙事艺术188 从《海狼》看杰克•伦敦的女性观189 The Loneliness in Far From the Madding Crowd190 论《外婆的家什》中的象征意义191 从文化差异角度谈国际商务谈判中的语言技巧192 A Study of Hawthorne’s Criticism on Puritanism in The Scarlet Letter193 王尔德唯美主义对现代消费文化的启示－－以《道林格雷的画像》为例194 Scarlett O'Hara and Feminism195 英语介词的翻译196 合作原则在动画中的应用197 海明威“冰山原理”在《永别了，武器》中的应用及对写作的指导意义198 中医在英语世界的翻译与传播：过去与现在199 英文电影字幕翻译的原则和技巧。
从目的论角度看电影片名的翻译
关 于 目的 论 翻译 目的论是功能派翻 译的重要 理论。以 Ｒ ｅ ｉ ｓ ｓ 、Ｖ ｅ ｒ ｍｅ ｅ ｒ 、Ｎｏ ｒ ｄ等 为 代 表的功 能主 义翻译理 论强调翻译是 有 明确的 目的和 意图 的交 际活动，应 从翻译 的 目的出发进行翻译 ，从而为 翻 译理论 的研究提供了一个新 的视角 。 （ 王 琳 ，２ ０ ０ ８ ） 目的论认为 ，所 有翻译应 遵循ｊ 个法则：ｌ 、目的法 则。是 目的论 的首 要法 则。 该法则认为整个翻译过程 ， 包 括翻 译方法和翻 译策略 的选择 ，都是 由翻 译 行 为 所 需 要 达 到 的 目的决 定 的 。 ２ 、连贯性法则 。指的是译文必须符合 语 内连贯 的标准 。所谓语 内连 贯是指 译 文必须能让接 收者理解 ，并在 目的 语文 化以及使用 译文的交际环 境中有 意 义 。３ 、忠 实 性法 则 。指 原 、译 文 之 间应 该 存 在 语 际 连 贯 一 致 。语 际 连 贯 类似 于通常所说 的忠实于原文 ，而忠 实 的程 度和形式 则由译文 目的和 译者 对 原文的理解 决定。 以上三条法 则的 关 系如下 ：忠实 性法则服从于 连贯性 法 则，而这两者 皆服从于 目的法则 。 （ Ｎｏ ｒ ｄ ，２ ０ ０ １ ： ２ ８ ． ３ ５ ） 目的论从译 文 目的来考察翻 译过 程 、 翻 译 策 略 等 问题 ，这 无 疑 是 “ 对 传 统等值理论 的突破 ，为译者 提供 了 新 的翻译视角”（ 陈小慰 ，２ Ｏ ｏ ｏ ） ，它把 目光转 向 了翻译活动 中其他相 关因素 的研 究，提 出了翻译策略可调 整的新 的动 态灵活的翻 译模 式 在翻 译的过 程 中，译者被赋 予了更 多的权力 。 多 数情况下 ， 译者会担当发起者的角色， 根据 委托人 的要 求或其他 需要 推断译
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从目的论角度谈英文电影片名的翻译
随着中国对外开放进程的加快及中外文化交流的日益广泛， 英文电
影正越来越多地涌入中国大陆市场。 作为英文译制片不可 或缺的部分，
中文译名架起了一座把电影和观众初步联系在一起 的桥梁。电影片名的
翻译已成为翻译领域一个越来越重要的组成 部分。关于电影片名的翻译
及其研究， 普遍都以传统的“对等” 翻译理论作为指导思想。 这样
做， 虽然将翻译从形式的枷锁中解 放了出来， 但是， 它并没有使电影
片名的翻译摆脱“对等”的束 缚，也不能解释为什么有的影片译名违反
对等标准但经实践检验 十分成功， 因而难以有效地指导翻译实践。 本
文将从功能派翻译 理论中的目的论角度及片名翻译的案例，分析英文影
片名的翻 译。
功能派翻译理论的形成大致经历四个阶段。第一阶段，
Katharina Reiss
提出了功能派理论的雏形，她认为译者应该优 先考虑
译文的功能特征而不是对等原则。第二阶段是由
Hans
J.Vermeer 在 Katharina Reiss
的基础上创立了翻译目的论，即
Skopos theory
，他根据行为学的理论提出“翻译是一种人类行 为，而
任何行为都有目的性”， 翻译所要遵循的首要原则是“目 的法则”。第
三阶段， Justa Holz-Manttari 进一步发展了功能 派翻译理论，视翻
译为“为取得某一特定目的而进行的复杂活 动”，译者根据自己的特定
文化知识阐释“他者”。第四阶段， 功能派的主要倡导者
Christiane
Nord
在目的论的翻译法则中加 入了忠诚原则，进一步完善了理论。在电
影片名的翻译过程中， 采用目的论的方法， 使电影名的翻译摆脱了“对
等”的束缚， 降 低了原电影片名在翻译过程中的指导与支配地位， 更
有利于译者 在翻译过程中发挥自身的能动性， 发挥目的语的优势， 更
准确地 译文。
电影作为各国文化交流的重要组成部分， 同时它具备的高度 商业
性， 从某种意义上来说， 进口影片的受欢迎程度与译名有一 定的联
系。贺莺提出在电影片名的翻译的过程中要考虑四大价 值：信息价值、
文化价值、审美价值和商业价值。信息功能是指 片名要在一定程度上概
括影片的内容，使观众能了解影片的主 旨。文化功能是指片名所承载的
文化信息， 片名的翻译过程中要 充分地考虑文化背景、 民族文化的特
点以避免跨文化交际而产生 的误导和误解。 审美功能是指赋予片名语言
和艺术的美感， 音意 俱美、 达意传神的影片名能给观众以美好的艺术
享受。 商业功能 是指在片名的翻译过程中要考虑其商业性， 如果译者
能充分地把 握原片名和译语的文化特征和审美情趣， 创造出激发观众审
美愉 悦进而产生观看的译名， 就有助于提升一部电影的商业价值， 带
动其他电影商业功能的实现。 从以上几个方面来看， 在电影片名 的翻
译过程中应该充分考虑片名所承载的各项价值功能， 力求使 译名在观众
中产生预期的效果， 实现影片名翻译的预期目的和功 能。
以目的论为指导， 我们在电影片名翻译的过程中， 考虑到以 上四
大价值，可采用不同的翻译方法，如音译、直译、意译等方 法达到理想
的效果。
音译法。在一些如以地名、 人名命名的影片可以采用音译法，
这样可保留原文的韵律节奏和异域特色，如Chicago《芝加哥》，
为世界知名小说拍成的影片名翻译的过程中采用音译法更能让 观众感到
熟悉及具有亲切感，如 Jane Eyre《简？爱》，Tess《苔
丝》， Romeoand Juliet 《罗密欧与朱丽叶》等。当然，并不是 所有
这类型的影片都必须采用音译法， 有些片名如果直接音译就 不能获得理
想的效果，如 Thelma and Louise ，如果根据音译法 则可翻译为《塞
尔玛与路易斯》，这样翻译的话很有可能会使此 影片石沉大海，最后该
影片被翻译成了《末路狂花》，取得了当 年千万美元的票房收入。
直译法。 直译法是指在符合译文语言规范的前提下， 既保持 原文
的内容，又不改变其修辞或措辞特征（如形象、比喻、民族 或地方特色
等） 的译文为直译。 在影片名的翻译过程中如果是主 题明确的片名就
可采用直译法， 这样能让观众一目了然地了解此 影片。如
A
Streetcar NamecDesire《欲望号街车》，RomarHoliday
罗马假日》， Schindler 's List 《辛德勒的名单》，
Million
Dollar Baby《百万美元宝贝》，Womeiin Love
《恋爱中的女人》，
Dance with Wolves 《与狼共舞》， My Fair Lady
《窈窕淑女》，
Slumdog Millionaire 《贫民窟的百万富翁》， The Pursuit of
Happiness
《当幸福来敲门》等。
意译法。意译法，即保持原文的内容，但不能同时兼顾其修 辞特
点， 不得不改变说法的译文为意译。 意译并不等于随心所欲 地偏离原
文， 意译只是用不同的译文形式， 表达与原文相同的内 容。如
Cinderella 《灰姑娘》， Top Gun 《壮志凌云》 Catch Me
If You Can被翻译成了《猫鼠游戏》及《逍遥法外》， Sleepless
Titanic 《泰坦尼克号》， Patton
《巴顿将军》等；特别在一些
in Seattle 《西雅图不眠夜》， Cloud Atlas 《云图》， Life of
Pi
《少年派的奇幻漂流》等。
而 Madison County Bridge 《廊桥遗梦》， Ghost 《人鬼情 未
了》，Bathing Beauty《出水芙蓉》，Forrest Gump〈〈阿甘正
传》,Gonewith the Wind《乱世佳人》
,
The Pursuit of Happiness
当幸福来敲门》 等与影片内容相符的译名， 更是深受观众的喜
爱。电影是一门文化与商业兼备的艺术， 因此在影片名翻译的过 程中需
要考虑各个方面的因素。好的译名能给人留下深刻的印 象，使影片锦上
添花，但不好的译名能使明珠蒙尘。目的论突破 了传统翻译理论， 提出
了翻译行为并不是单纯的语际转换， 而是 一种有目的的行为活动，还是
一种有目的的跨文化的交际活动， 从而进一步丰富了翻译理论， 并为影
视翻译实践开辟了一个新视 角。