奈达功能对等理论下字幕翻译的探究.docx

奈达功能对等理论下字幕翻译的探究.docx

《奈达功能对等理论下字幕翻译的探究.docx》由会员分享，可在线阅读，更多相关《奈达功能对等理论下字幕翻译的探究.docx（16页珍藏版）》请在冰豆网上搜索。

奈达功能对等理论下字幕翻译的探究

摘要

外国影视进入中国且大受欢迎，但是字幕翻译并没有得到重视，作者试图通过奈达功能对等理论对字幕翻译进行分析研究。

传统的翻译理论把翻译的重点放在语言的表现形式上，而奈达则认为翻译的重点应当是读者对译文的反应。

         由于字幕翻译受到时间和空间的限制，根据奈达的功能对等理论，在翻译字幕的过程中，译者要在有限的时间和空间内最大程度地传达出原文的意思，找到与原文最自然且最切近的对等语。

作者以《吸血鬼日记》为例来分析在奈达的功能对等理论指导下如何将缩减法、归化、增译等方法运用在字幕翻译中达到对等效果。

关键词：

功能对等理论;字幕翻译;《吸血鬼日记》;读者反应

Abstract

ForeigntelevisionprogramshavebeenintroducedtoChinaandenjoygreatpopularity,butsubtitletranslationhasnotbeentakenseriously.TheauthorattemptstoanalyzesubtitletranslationthroughtheNida’sfunctionalequivalencetheory.Traditionaltranslationtheoryputsemphasisonlanguageperformanceforms,butNidathinksthattranslationshouldlaystressonthereader’sresponsetothetranslation.Duetothefactthatthesubtitletranslationwaslimitedbytimeandspace,accordingtoNida’sfunctionalequivalencetheory,intheprocessofsubtitletranslation,thetranslatorshouldconveytheoriginalmeaningwithinthelimitedtimeandspaceandfindthemostnaturalandclosestequivalence.SettingTheVampireDiariesasanexample,undertheguidanceofNida’sfunctionalequivalencetheory,theauthortriestoanalyzehowtousetranslationstrategies,suchasreduction,clarification,domesticationandsoontoachieveequivalenceeffect.

KeyWords:

FunctionalEquivalenceTheory;Subtitletranslation;TheVampireDiaries;Readers’response

Contents

摘 要  i

Abstract  ii

Introduction  1

1AnOverviewofSubitleandFunctionalEquivalenceTheory  3

1.1DefinitonandFunctionofSubtitle  3

1.2FeaturesofSubtitleTranslation  4

1.3FunctionalEquivalenceTheory  5

2TheApplicationofFunctionalEquivalenceTheorytoE-CSubtitleTranslation  9

2.1ThePossibilityoftheApplicationofFunctionalEquivalence  9

2.2TheNecessityoftheApplicationofFunctionalEquivalence  10

3AnalysisoftheSubtitleTranslationofTheVampireDiaries  13

3.1EquivalenceTypesUsedintheTelevisionSeries  13

3.1.1SyntacticEquivalence  13

3.1.2StylisticEquivalence  14

3.2TranslationStrategiesAdoptedtoAchieveEquivalenceEffect  15

3.2.1Reduction  15

3.2.2Clarification  18

3.2.3Domestication  20

Conclusion  23

Bibliography  24

Acknowledgements  26

Introduction

Withtheconstantdevelopmentofmaterialandculturallifelevelinrecentyears,therequirementofmentallifepeopleaskedforishigherandhigher.Therefore,asakindoftypicalentertainmentmedium,televisionprogramsattractalargenumberofpeople’sattention.Atthistime,agreatmanyofforeigntelevisionseries,especiallyAmericantelevisionseries,havebeenintroducedtoChinaandenjoygreatpopularityamongChineseaudiences.Thoughdubbedtelevisionprogramsareeasytounderstand,withtheconstantpursuitofaesthetic,moreandmoreaudiencesprefertowatchtheoriginalsoundprograms,listentotheforeignlanguagesandfeeltheforeignculture.Sothesubtitletranslationemergesandisattachedimportancewithadrivingtendency.

Televisionseriesarenotonlyamediumofentertainmentbutalsoamediumofcross-culturalcommunication.WiththeentryoftheseprogramstoChina,peoplecouldappreciatetheprogramsandenjoythedifferentlivingstyles,customs,cultureandreligionofothercountriesatthesametime.However,thereceptors’understandingandfeelingsofthetelevisionserieshaveagreatimpactontheappreciationoftheforeignprograms.Thus,thecorrectnessandfitnessofsubtitletranslationismorenecessary.Thoughsubtitletranslationhasbeenadoptedinforeigntelevisionprogramsformanyyears,yetthereisnotarelativelymaturetheorytoguideinthisfield.

Inthisthesis,theauthorwilltrytoanalyzeEnglish-Chinesesubtitletranslationoftelevisionseries,settingTheVampireDiariesasanexample,throughNida’sfunctionalequivalenceasatheoreticalfoundation,andseekstrategiestoachieveequivalenteffectfromthetwoaspects:

syntacticequivalenceandstylisticequivalence.

Inthefirstchapter,theauthorwillintroducethedefinitionofsubtitleanditsfunction,andthefeaturesofsubtitletranslation.Meanwhile,detailedsubstanceofNida’sfunctionalequivalencewillbegivenforreaderstohaveabetterunderstandingaboutthistheory.

ThesecondchapterputstheemphasisonthefeasibilityandnecessityofapplicationofNida’sfunctionalequivalencetheorytothesubtitletranslation.Throughanalyzingthefeaturesofthesubtitle,theauthortriestoexplainthereasonandthenecessityofutilizationofthefunctionalequivalencetheorytosubtitletranslation.

Chapterthreeisthecasestudy.TheauthorwilltakethehotAmericantelevisionseriesTheVampireDiariesasanexampletoanalyzehowfunctionalequivalencetheoryguidessubtitletranslationandwhatstrategieshavebeenemployedtoachievefunctionalequivalenceeffect.

Thisthesisconcludesthatfunctionalequivalencecanbeanewaspecttoguidesubtitletranslatorinthepracticeofsubtitletranslation.

1.AnOverviewofSubtitleandFunctionalEquivalenceTheory

1.1DefinitionandFunctionofSubtitle

Subtitleisaprintedstatementorfragmentofdialogueappearingonthescreenbetweenthescenesofasilentmotionpictureorappearingasatranslationatthebottomofthescreenduringthescenesofamotionpictureortelevisionshowinaforeignlanguage.Tomostpeople,subtitlesare“thewordprintedorsuperimposedonafilminaforeignlanguagetotranslatewhatisbeingsaidonthesoundtrack”.Asaresult,subtitlesaresupplementsthatsupplyinformationunavailablefromthephoneticdialoguesandvisualpictures.

Traditionally,subtitleshavetwomainroles:

oneistohelptheaudiencefurtherunderstandtheplotofthemovie,suchasthenameofthepeopleorplaces,thescoreofamatch,awrittennoteandtheheadlineofanewspaper;theotherroleistohelpapersonwithadefectinhearingorwithdifficultyinunderstandingdialoguesbetweencharacterstobetterappreciatethemovie.

Onehand,televisionprogramshavegainedworldwidepopularityandtheyhavebecomeahugeimpactonmodernculturalcommunication.Ontheotherhand,theadvancedmoderntechnology,especiallywiththearrivalofthedigitalage,servesastrongandtechnologicalbaseforpracticalsubtitlingoperation,thusfunctionofsubtitlesalsochange.

Byandlarge,abasicfunctionofsubtitlesistoofferadequateinformationaboutwhatisgoingalongonthescreen,carryingoutasmoothcommunicationbetweentheprogramsandthetargetviewers.Hence,thetranslationmainlyaimstoachievetheeffectsamongthetargetaudienceandtrytoofferthemsimilarexperienceasthesourcelanguageaudiencewouldhavewhentheywatchthetelevisionprograms.Thetargetaudiencecanobtainadequateinformationfortheappreciationofthetelevisionprogramwithminimumefforts.

1.2FeaturesofSubtitleTranslation

Subtitletranslationdiffersfromthetranslationofthewrittentext.RaphaelNirhasalreadyreferredtosubtitletranslationasa“doubleconversion”fromonelanguagetoanotherandfromonemediumtoanother.Sowhenpracticeofsubtitletranslation,therearesomeconstraintstoworkunderbecauseofitsdistinctivefeatures.

1.2.1SynchronizationandTransience

Inordertoensurethecoordinationofthesound,subtitlesandscreenswhenappreciatingthetelevisionprograms,subtitlesaregenerallyinsertedsimultaneouslywiththeonsetofthespeech.Assubtitlesappearwiththesound,sothetimeofsubtitlesavailablefordisplayistightcontrolbytheutterance.Formaterialintelevisionprogramsispresentedinacontinuousway,thesubtitlescanbeonlypresentedinaveryshorttime.

Thetimeofpresentationofsubtitlesisliedwiththefollowingpoints:

1）thedurationoftheutteranceintheoriginalversion

2）thereadingspeedoftheaudience（thedurationofsubtitlesshouldmeetthereadingspeedoftheaverageaudience）

3）thevisualinformationwhichgivenonthescreenshouldbeperceivedclearlybytheaudience

4）theeditingstyleadoptedinthefilm

Asthesefeaturesofsubtitletranslation,timeconstraintsshouldbefacewith.AccordingtotheEncyclopediaofLanguageandLinguistics,“Asingle-linesubtitlemayappearonscreenforastwoseconds,atwo-linesubtitleforuptosevenseconds.”Ifthetimeistoolittle,thereaderwillnotbeabletodigestthesubtitlefully;ifthetimeistoolong,automaticrereadingofthesubtitlecanresult.Nomatterhowlongthetimedecidedtocontrol,theprincipleof“subtitle-speechsynchronization”shouldbestickto.

1.2.2PopularityandConfluence

Asmentionedabove,subtitlesappearwiththeutteranceoftheoriginalversion,sothesubtitlesshouldconveyalltheinformationwiththelimitedspacewhichcanonlypresenttwolineswithamaximumofabout35charactersforeach.Asaresult,throughthesubtitletranslation,audienceshouldhaveaclearideaaboutwhattheprogramsexpressandcometounderstandthemainthrust.Thatistosaythetargetaudiencecouldhavetheanalogousfeeloftheoriginalaudienceaftersubtitletranslation.

Thelanguage,musicandimagesofthetelevisionseriesinteractandcomplementeachother.Theactor’sbodylanguage,suchasnodding,shakinghishead,gestures,facialexpressions,etcisalsoapartofthelanguageofprograms.Besides,thelanguagestyleshouldbesuitabletoitsownculturalbackground.Forexample,today,the21stcentury,thefilmandtelevisionprogramsbecomeanimportantrecreationalactivityforpeopletorelaxandenjoythepleasures.Inthiscase,whiletranslatingthemeaningoftheoriginaltext,timecharacteristicsshouldbeadded,suchas,buzzwords,pun,humor,etc.

1.3FunctionalEquivalenceTheory

Astoequivalence