英语专业毕业论文-语境视角下的影视字幕翻译—以Nikita为例.doc

毕业设计（论文）Title：A Study on Subtitle Translation from the Perspective of Context TheoryA Case Study of Nikita题目：语境视角下的影视字幕翻译以Nikita为例学生姓名： 专 业：英 语学 号：指导老师： 二零一一年六月Abstract With the development of media, globalization and the development of peoples life, an increasing number of cultural factors have risen in peoples life. People have many entertainment activities. Movies and TV series have played a new and much more significant role in our daily life. Movies and TV series as a carrier of human culture have made a great contribution to culture exchange and language learning.As movies and TV series play an increasing role in culture communication, subtitle translations have been paid more attention to. The subtitling of foreign movies and TV series is gaining more importance in both the practice of translation and intercultural communication. Considering the special features and technical constraints relating to subtitled movies and TV series, this thesis tries to find the useful suggestions from the perspective of context proposed by Mr. Hu Zhuanglin in 1994. Taking the TV series Nikita as a case study, this thesis attempts to explore more useful strategies of subtitle translation. Nowadays films and TV series about spies are very popular around the world, especially in China. Nikita adopts this new material; other reasons are its plots, fight sequences and its cast. These are the reasons attract me a lot, Nikita make waves in many countries, such as America, England, Canada, France, Greece and so on. Mr. Hu Zhuanglins context theory is fully investigated on the basis of detailed analysis of different cultural context, situational context and linguistic context of Chinese and English in relation to subtitle translation. According to analyzing these three contexts used in Nikitas subtitle translation to explores more useful strategies of subtitle translation.Key words: Subtitle Translation；Context；Nikita摘要 随着多媒体，全球化和人们生活的提高，人们越来越追求精神生活的享受。人们有很多的娱乐活动，在这些娱乐活动中，作为文化传播与交流的载体，电影和电视连续剧有着不可取代的地位，在文化交流和语言学习方面做出了巨大的贡献。 随着影视在文化交流方面的重要作用。影视字幕的翻译也越来越受到关注，把国外影视作品字幕翻译成中文,对翻译和文化间的交流而言，无疑都是重要重大的。但是由于影视字幕本身的一些特点和翻译技术的限制，很多翻译作品都不尽人意。本论文选用当代最流行的影视材料谍战片，选取在德国，美国，英国，法国等国家引起轰动的电视剧Nikita为例子。再结合胡壮麟先生1994年归结的语境理论，试图发现和提出一些对翻译更为有用的策略和方法。本论文运用胡壮麟先生的三种语境理论对Nikita字幕做了详细分析，尝试找出影视这一特殊文化载体的一种翻译方式以及在翻译中应该关注的元素，探讨电影字幕翻译的语境适应的应用策略。关键字：字幕翻译；语境；NikitaCONTENTSChapter 1 Introduction.11.1 The General Description of the Thesis11.2 Research Background11.3 Significance of the Thesis21.4 The Structure of the Thesis3Chapter 2 Review of Subtitle Translation.42.1 Definition of Subtitle42.2 Classifications of Subtitle52.3 Functions of Subtitles52.4 Constraints of Subtitle Translation62.4.1 Space Limitation62.4.2 Time Limitations6Chapter 3 Theories Applied in This Thesis.83.1 The Definition of context83.2 The Importance of Context in Subtitle Translation83.3 Mr.Hu Zhuanglins Three Classifications of Context93.3.1Cutural Context93.3.2 Situational Context103.3.3 Linguistic Context11Chapter 4 A Case StudyNikita.134.1 The General Introduction to the Movie134.2 Detailed Context Analysis on Nikita134.2.1 Cultural Context of the TV Series144.2.2 Situational Context of the TV Series154.2.3 Linguistic Context of the TV Series164.3 Detailed Analysis on Translation Methods for Nikitas Subtitles174.3.1 Literal translation174.3.2 Free translation184.3.3 Condensation194.3.4 Paraphrasing204.3.5 Addition204.4 Another Two Strategies of Subtitle Translation214.4.1 Domestication214.4.2 Foreignization21Chapter 5 Conclusion.225.1 Findings225.2 Limitations of the Present Research225.3 Further Research of Subtitle Translation23References.24东华理工大学毕业设计（论文） Chapter 1 IntroductionA Study in Subtitle Translation from the Perspective of Context TheoryA Case Study of Nikita Chapter 1 Introduction1.1 The General Description of the ThesisThe thesis aims to discuss how to translate the subtitles of English films and TV series from the point of context theory. With the development of peoples life, an increasing number of cultural factors have risen in peoples life. People have many entertainment activities. Such as: international movies, TV series and other TV programs. After the opening Reform in 1987, China adopts more and more original foreign movies. It makes people easy to watch foreign movies. As a matter of fact, a lot of translators who are responsible for translating the movies and TV series from English to Chinese have made a great contribution to subtitle translation. But because of some reasons, the translation is not satisfactory, which sometimes makes people misunderstanding. More and more people pay attention on this problem and try to find a better way to solve this problem. This also gives me inspiration. We can not understand foreign films and TV series in American or British way. We just understand them in our Chinese way, infected by our life customs and life style, with the differences of cultural background; it makes us very easy to misunderstand the real meaning of them. We can not understand the meaning of a word, a phrase, or a sentence without understanding the situation and the background it exists. Thus, when translating the subtitles, the context should be considered, the word, the phrase, or sentences exist in. In this way, people can get a better understanding of the movies and get more entertainment. And the most important is the communication between China and foreign countries. This thesis tries to find some useful strategies to guide the translation of English movies and TV series into Chinese.1.2 Research BackgroundAt present, in the age of globalization, more and more foreign films are brought into our country. Facing the high pressure of daily life, films and TV series can bring people much entertainment. People laugh at interesting image, meditate in thought-provoking story and are frightened by thrilling plot. No matter what kind of experience it is, the audiences can relax and enjoy a lot by watching the films and TV series. Furthermore, the entry of foreign films makes it possible for Chinese audiences to know about the culture, custom, ideology, and living style of other countries. To some extent, films have turned out to be a medium of entertainment as well as a medium of communication. Whats more, watching the films sometimes can be a workable way to learn English. Some English lovers or English majors watch the films to learn the language, thus improving their spoken English and listening ability. At present most of foreign films come from English speaking countries, and the United States in particular. It is believed that the Oscar best film finds its way into film market in China and into our everyday life. People take great interest in it and they use the internet, VCD (Video Compact Disc), DVD (Digital Video Disc) and cinema to appreciate the films. In China, learning English is common, but the majorities of Chinese people just know a little English, they can not understand the original English movies and TV series directly. And with the differences of culture, people are very easy to misunderstand the meanings. So its also very urgent and necessary to translate English subtitles into Chinese. The subtitle translation has drawn peoples greater attention in recent years, and many translators are working on the movie subtitle translation. Therefore, this thesis focuses exclusively on subtitled films. On the other hand, the task of translating film subtitles is often urgent for a translator. One may spend much time in translating literary work. In contrast, a film translator must finish the assignment in a rather short time because the film must be put on in due time. Thus, a film translator doesnt have enough time to revise and polish his translation. 1.3 Significance of the Thesis In China, films, as a influential and directive approach, has been paid more attention to. The flooding of English films and TV series appears in Chinese daily life, which does well to people, but the subtitle translation is lagging behind, so it has been paid more attention to. Theoretical studies on subtitles translation seem urgent for China.Subtitle translating, is a visual supplementary for audience, which helps them understand the film and enjoy original foreign filmic characteristics. It is information age now. More Chinese people have improved their English proficiency and they are able to appreciate the English films with the help of Chinese version of English subtitles. In modern times, communication between Chinese and foreigners and an effective means of learning English for Chinese people. It can be said that western movies are like a large mirror by which the whole world of western countries, including social customs, government policies, politic tendency, economic development, culture, arts, education system, advanced technologies, etc. can be learned about. Movies are not only the form of entertainment, but also a powerful tool in cultural communication.1.4 The Structure of the ThesisThis thesis consists of five chapters. Chapter one is Introduction. Chapter two is Literature Review, which mainly provides a view of researches have already conducted in this field. Chapter three introduces translation theories used in this thesis and discusses the contexts we should pay attention to in translating subtitles. Chapter four is the core of the whole paper, it is the case study of Nikita, principles and strategies are proposed in this chapter. Chapter five is the conclusion of the whole thesis.22东华理工大学毕业设计（论文） Chapter 2 Review of Subtitle TranslationChapter 2 Review of Subtitle TranslationIn this chapter, this thesis will review the subtitle translation, its definition, classification, functions and characteristics, main constrains on subtitle translation.2.1 Definition of SubtitleAccording to New Oxford Dictionary of English, Subtitle is explained as “captions displayed at the bottom of a cinema or television screen that translate or transcribe the dialogue or narrative”.And quite a few scholars have given definitions to subtitling. According to Jacobson, subtitling is “interpretation of verbal signs by means of some other language.”(Jacobson, 1959:233).Birgit Nedergaard-Larsen defines subtitling as” a special type of language transfer: a written, condensed translation of a predominantly spoken original” (Nedergaard-Larsen, 1993:212). In Dictionary of Translation Studies, Shuttle worth and Cowie describe subtitling as “the process of providing synchronized captions for film and television dialogue” (Shuttleworth&Cowie, 2004:161). Henrik Gottlieb, a leading authority on subtitling, says that it is a unique form of translation. His definition may be the most exhaustive one: subtitling is a written, additive, immediate, synchronous and polymedia translation.1. Being of a writtenas opposed to a spoken-nature, subtitling differs from all other types of screen translation.2. The label additive indicates that in subtitling, verbal material is added to the original, maintaining the SL discourse.3. The label immediate refers to the fact that in filmic media all discourse is presented in a flowing manner, beyond the control of the listener-viewer-reader.4. The label synchronous refers to the fact that the original film (at least its non-verbal part) and the translated dialog are presented simultaneouslyunlike simultaneous interpreting.5. The term polymedial states the fact that at least two parallel channels are used to convey the total message of the original (Gottlieb, 1992:162).“Essentially, dubbing relates to the acoustic channel as it involves the replacement of source acoustic verbal signs, while subtitling effects changes relating to the visual channel, retaining the source acoustic verbal signs but adding target language visual verbal signs as well. In short, dubbing is a process of acoustic replacement while subtitling is a process of visual supplementation” (OConnell, 1998:66).Theoretically, subtitles translation is a process of reproduction of film from the” multimodal text” to a written text, namely, a well-finished film itself is a source text, and the target text is” the same” film with subtitles (Remael, 2001:16).2.2 Classifications of SubtitleGenerally speaking, subtitles can be traditionally classified into two categories: interlingual subtitles and intralingual- subtitles (Baker, 2004:224)Intralingual subtitling is translation within one cultural language, and interlingual subtitling is translation between two cultural languages. Intralingual subtitling is a subtitling of domestic programs for the deaf and hard of hearing; In interlingual subtitling, the subtitler crosses over from interpreting the spoken foreign-language dialog to presenting a written domestic-language translation on the screen (Gottlieb, 1992).2.3 Functions of Subtitles Mostly an actor or actress in a film can speak his or her native language with high standard, but sometimes the film may need him or her to speak a dialect for a regional flavor to make the film more realistic, then subtitles are needed to make the audience understand what is being talked about on the screen. Besides, when we are enjoying a foreign film or television program, foreign languages form a language barrier for us. Apart form dubbing and voice-over translation; subtitling is also commonly used to overcome the problem. Nowadays many people, especially young learners of English as a foreign language would like to watch the subtitled films rather than the dubbed ones in order to improve their English by listening to the authentic lines of the native speakers while enjoying the film. Subtitling ensures the deaf and the hearing-impaired to appreciate programs, films and TV series.So subtitles have the following functions: first of all, they help the viewers conquer the linguistic barriers by transcribing or translating the indistinguishable sound track into recognizable visual words; secondly, they can help hearing-impaired people watch” the film text; thirdly, they provide an interesting way of learning a foreign language. In a word, film subtitle translation provides the necessary information we can not get from the audio dialogue and makes it possible for us to comprehend the original film text.2.4 Constraints of Subtitle Translation2.4.1 Space Limitation No matter how big the size of the film screen, subtitles can only occupy the space of at most two lines at the lower part where the image is of less importance. Due to the difference of word formation, English subtitles usually occupy more space than Chinese ones in terms of utterance length.” Subtitled text should be centered on its allocated lines” for the convenience of viewing.(Karamitroglou,1998). Qu Jianlong (1991:337) proposes that there should be a maximum of two lines for English and one line for Chinese. Generally speaking, one-line subtitle is much easier for viewers to follow than two-lines. But when one long single-line subtitle contains greatly condensed and much implied information, it is better to divide it into two lines, in which the length of each line should be as equal as possible.2.4.2 Time LimitationsThe duration of subtitles on the screen, which directly impairs the viewers comprehension of the movie, is determined by four factors. The first is the duration of the utterance in the original version; the second is the reading speed of the viewers, the third is the speed of viewers understanding visual information on the screen; the last one is the editing form adopted in the movie.According to Karamitoglou, the reading speed of the “average” viewers(aged between 14-65,from an upper-middle socio-educational class)for a text of average complexity(a combination of formal and informal language)has been proven to range 150-180 words per minute,i.e.,between 2.5-3 words per second. That is to say, a full two-line subtitle containing 14-16 words should remain on the screen for about 5 1/2 seconds. But another 1/2 second should be included due to the fact that” our brain needs about 1/4-1/2 of a second to start processing the subtitles it has traced”. For a full single-line subtitle of 7-8 words, the necessary maximum duration time would be 31/2 seconds; and for a single word subtitle, however simple it is, the minimum duration is 1 1/2 seconds. In all the above-mentioned situations, the duration time should not be added in order to avoid the automatic rereading of the subtitles, especially by faster readers. In cases where the text is lexically and syntactically easy to process or the fast pace of the film action dictates a reduction in the duration of the subtitles, the duration time could be calculated and shortened down to the maximum of the reading time(3 subtitled words per second or 1/3 of second per subtitled word)(Karamitoglou,1998). As for the lead-in time, Karamitoglou proposes” subtitles should not be inserted simultaneously with the initiations of the utterance but 1/4 second later, since tests have indicated that the brain needs 1/4 of a second to process the advent of spoken linguistic material and guide the eye towards the bottom of the screen anticipating the subtitle.”(Karamitoglou,1998).However, the leading-in time can not be longer than 1/2 of a second, or the viewers will be waiting for the subtitle a