（英语语言文学专业论文）从改写理论的角度分析迪斯尼电影《花木兰》的配音翻译.pdf

ii 内容摘要 乐府木兰诗在中国脍炙人口，家喻户晓。它塑造的花木兰形象得到了千百年 来广大人民的喜爱，它的故事被改编为各种体裁的艺术作品。1998 年，取材自木 兰诗的迪斯尼动画片花木兰上映后，获得了不同文化，不同年龄观众群体的普 遍接受，在全球范围内取得了巨大的商业成功，从而在国内外掀起了一股木兰热。当 这个在西方语境下被改写的中国故事回归本土的时候， 也同样逃脱不了再次被改写的 命运。 本文以翻译学文化操控学派的主要代表人物andre lefevere的改写理论为框架， 以动画片花木兰的配音翻译为案例，分析在中国的社会文化背景下，探讨花木兰 配音翻译中出现的改写现象。 勒菲弗尔把任何形式的对文学原作进行的加工和调整都称为改写，包括翻译，撰 史，编选专集，编辑等等。在所有的改写形式中，翻译是最显著的一种。他将翻译活 动放到政治，意识形态，经济和文化背景中，深入探讨了意识形态，诗学以及赞助人 对译者在翻译原本的选择和翻译策略的选择上所产生的影响。 配音翻译由于受到许多 技术条件的限制 （如口型， 声画同步等等） 而通常被当作单纯受技术因素限制的产物。 然而作为一种特殊的文学翻译，它同样受到各种社会文化因素的操控。 本文采用描述性的研究方法，对花木兰的中英文配音版本进行对比分析，把 影响配音翻译的各种社会文化因素考虑进来，分析意识形态，诗学以及赞助人对其中 文译本的影响。 通过分析得出，目的语文化的意识形态、目的语文化的主流诗学、赞助人等因素 共同发挥作用，促成了翻译过程中对花木兰的改写。因此，配音翻译不仅仅是受 技术因素限制的产物，更多的是受社会文化因素限制的产物。 在全球化的今天，虽然有越来越多的中国电影进入国际市场，但中国电影业在各 方面还是存在着巨大差距。通过借鉴迪斯尼的成功经验，本文希望译者在翻译过程中 全面考虑到各种社会文化因素，通过提供精彩的配音翻译，为开创我国电影业更为辉 煌的局面作出贡献。 关键词：配音翻译； 花木兰 ；意识形态；诗学；赞助人 iii abstract in china, the ballad of mulan enjoys great popularity and it is known to almost all. mulan is the heroine in the story and the image she portrays has earned love from the public for nearly two thousand years. the story of mulan has been adapted into various works of art. in 1998, disney s animated film mulan which takes material from the chinese poem the ballad of mulan in the northern dynasty was released. it is widely accepted by audiences of different ages and from different cultures and has gained great success around the world. therefore, mulan f ever is raised both at home and abroad. however, when this story, rewritten for a western audience, returns to its native country, it still cannot escape the destiny of being revised once again. taking andre lefevere s rewriting theory as a framework and dubbing translation of disney s mulan as a case, this thesis intends to explore the rewritings in the dubbing translation of disney s mulan in the chinese social and cultural context. lefevere views rewriting as various adjustments and modifications to original literary works, including translation, historiography, anthology and editing, etc. translation is the most obvious type among various rewritings. he studies translation by putting translation into political, ideology, economic and cultural backgrounds, and explores the influence on the choice of the original and translation strategies of the translator in light of the constraints of ideology, poetics and patronage. generally, dubbing translation is viewed as a product that is purely constrained by technical factors owing to it being restricted by various technical factors, such as shape of the mouth and lip- synchronization, etc. however, as a special kind of literary translation, it is also influenced by various social and cultural factors. this paper is a descriptive study. it compares the chinese dubbing version with the english dubbing version of mulan, and analyzes the influence of ideology, poetics and patronage on the chinese version by taking various social and cultural factors into account. through careful contrast and analysis of the dubbing of disney s mulan, this paper comes to the following conclusion: the ideology of target culture, the poetics of target culture and patronage precipitate the rewriting of the translation of mulan. therefore, dubbing translation is restricted not only, to a very great degree, by technical factors, but also by social and cultural factors. in the context of globalization, more and more chinese movies come on to the world iv market, but there still exists an enormous gap from many perspectives, compared to advanced countries. by borrowing from the successful disney s experience, this paper hopes to remind the translator of various social and cultural factors during the process of translation. to provide excellent dubbing translation will make a contribution to the prosperity of the chinese movie industry. key words: dubbing translation; mulan; ideology; poetics; patronage i 三峡大学学位论文原创性声明 本人郑重声明：所呈交的学位论文，是本人在导师的指导下，独立进行研究 工作所取得的成果，除文中已经注明引用的内容外，本论文不含任何其他个人或 集体已经发表或撰写过的作品成果。对本文的研究做出重要贡献的个人和集体均 已在文中以明确方式标明，本人完全意识到本声明的法律后果由本人承担。 学位论文作者签名： 日 期： 1 chapter 1 introduction 1.1 research background the ballad of mulan 木兰诗 , “ one of the most remarkable masterpieces in chinese classical folk songs, is regarded, with the bride of jiao zhongqing 孔雀东南飞 , as the ( two jewels 双璧) in the history of chinese poems” (游国恩,1971:263). this beautiful and legendary ballad successfully portrays the image of a heroine who, disguising herself as a man, joins the army in place of her aged father and finally returns home with great honour after 12 years, yet refuses to be rewarded. due to its sprightly and rustic language style, simple- hearted and fresh portrayal of the heroine, and positive and healthy spirit, the ballad of mulan has obtained lofty position and fame, and has a far- reaching influence on chinese literature and culture and thus has been passed down from generation to generation for nearly two thousand years. mulan is a traditional heroine who embodies many chinese values and virtues and even stands for a national ethos. her bravery, wisdom and dedication attract and inspire the chinese at home and abroad to identify with the same history, national identity and the same ethnic root. this legend is interpreted again and again by tv or movie producers at different times because of its feature of plasticity. the film versions of this story are: hua mulan (1927, silent film in black and white, mainland china); hua mulan (1956, opera film in black and white, mainland china); and lady general hua mulan (1964, story film in color, hongkong ). mulan, disney s 36th animated film, was released in 1998 and introduced into china in 1999. adapted from the ballad of mulan, the film acquired great success in the global market. it was the first time that disney adopted a chinese subject and that cast a chinese character in the leading role. however, when the americanized mulan came back to h er native land china, it aroused controversy among the chinese audience even if the film possessed catching humour and beautiful sound and pictures. some people are satisfied with the film from a sense of pride; they regard it as a “ sign that chinese culture is spread around the world” (毕耕，2000). on the other hand, many people hold different opinions, claiming that it is a kind of “ distortion of chinese culture and a dismemberment of chinese history” (张人杰，1999；封艳梅， 2007). the primary reason is that the film has an intense chinese flavor on the surface, but when it comes to inner content, it is a film full of western cultural values since it is narrated and interpreted from a western perspective and 2 western values. mulan in the disney film is no longer the image that exists in their minds. she is a girl chasing of self- realization, instead of a girl of self- sacrifice that is typically portrayed in chinese confucianism. however, the film is still popular among most chinese people. besides its striking sound and pictures, its wonderful dubbing is another obvious reason for its popularity. on account of this controversy, this thesis will focus on the dubbing translation of this film in the chinese social and cultural context. after comparison and analysis, we will find that there are some rewritings that have occurred in the dubbing of the translation because of various controlling factors. as ascheid points out: “ in the international market, the film original thus functions as a transnational decultured product, it becomes the raw material that is to be re- inscribed into the different cultural contexts of the consumer nations through the use of dubbing” (1997:40). dubbing translation, one of the major forms of audiovisual translation, is “ the replacement of the original speech by a voice track which attempts to follow as closely as possible the timing, phrasing, and lip movements of the original dialogue” (luyken, 1991:31). therefore, dubbing translators must consider various technical constraints when they translate. lip- synchronization is regarded as the most important and difficult one. for the purpose of clarity and lucidity, this paper will focus on its social- cultural aspect, that is, how social- cultural factors influence dubbing translation. for this reason technical constraints are not taken into account in my analysis. the notion of rewriting was first introduced into translation by andre lefevere in his influential book: translation, rewriting and the manipulation of literary fame (1992). rewritings include translation, criticism, anthologisation, historiography, and the production of reference books. “ translation is regarded as a particular mode of rewriting” (hermans, 2004:127). lefevere states: “ translation is, of course, a rewriting of an original text. all rewritings, whatever their intention, reflect a certain ideology and a poetics and as such manipulate literature to function in a given society in a given way” (2004a:preface). lefevere explores the implications of translation in a much broader cultural and historical frame. his idea can be summarized as follows: translation, like other forms of rewriting, takes place under various constraints, the most important controlling factors among which are ideology, poetics and patronage. “ translations are not made in a vacuum” (lefevere, 2004b:14), and this includes dubbing translations. based on lefevere s rewriting theory, this paper will examine the ideology, poetics and patronage exerted on dubbing translation of disney s mulan. 3 with the growth of the chinese movie industry, more and more chinese movies started to come on to the global market, so it is quite necessary to do some research in this field. i believe the familiarity with various influencing factors would help the translator facilitate the passage of chinese movies into another language and culture. thus, by offering excellent dubbing translation support, we can promote the export of original china animation works. so, it is hoped that this paper will serve to arouse the awareness of people who are anxious to spread chinese culture around the world. 1.2 research questions this paper aims to answer the following main research questions: 1. why is it possible for dubbing to be rewritten and how is the dubbing translation rewritten? 2. to what extent and in what way does rewriting occur in the dubbing translation of mulan? 1.3 methodology this thesis is qualitative research and the study is descriptive by nature. it gives a description and explanation about the rewritings in the translation of film dubbing from english to chinese. the analysis is strictly product- oriented and aims to study the influential social - cultural factors. technical constraints (lip synchronization, tone, etc.), therefore, are not taken into account in the thesis. andre lefevere s rewriting theory will be the theoretical basis for analyzing the rewritings in the dubbing of disney s mulan. finally, both the chinese dubbing version and the english version have been transcribed from a copyrighted dvd. there are two chinese dubbing versions, one version is dubbed by mainland china and the other version is dubbed by taiwan. v arious examples in this paper will be taken from the mainland version since i live on the mainland and am more familiar with the social and cultural context. 4 1.4 structure of the thesis this thesis is composed of five chapters. chapter one gives a brief introduction, describing the research background and the significance of the research. in addition, a qualitative method is adopted, research questions are raised and the structure of the thesis is provided. chapter two provides a literature review of the previous research on the ballad of mulan, disney s mulan and the translation of disney s mulan both at home and abroad. chapter three primarily deals with dubbing translation from the perspective of rewriting theory, including some basic information about dubbing translation, the theoretical framework adopted in this paper, i.e. rewriting theory, and its applicability to dubbing translation. the applicability will be discussed from two angles, namely, the censorship of films and the nature of dubbing translation. my argument is that dubbing translation of mulan can best be understood through the concept of rewriting. chapter four examines the rewriting in the dubbing translation of disney s mulan. first of all, mulan in traditional chinese culture and the rewriting that appeared in disney s mulan are presented. then rewriting in the dubbing translation of disney s mulan in the chinese social and cultural context is thoroughly studied from the perspectives of ideology, poetics and patronage. chapter five is the conclusion. the whole study demonstrates the applicability of rewriting theory to the dubbing translation of mulan, and summarizes its major findings. 5 chapter 2 literature review 2.1 the ballad of mulan the ballad of mulan is familiar to every chinese person. however, research about it can hardly be found abroad, since it was created in chinese culture, and it is a product of chinese culture. so domestic research on this poem is provided here in detail. the ballad of mulan appears in ancient china, and there has existed abundant research conducted by scholars at different times from different perspectives. it is extremely difficult for me to cover the whole period and present a complete picture, so the focus of the paper will be laid on those collected chinese journal articles published since 1990. according to each article s focus, they are categorized as follows: 1) articles focusing on the background information; these articles mainly do some textual research about the author, the time of creation, mulan s hometown, etc. see e.g. 王文 倩，聂永华(2007); 邹光椿(2005); 贺玉萍(2004); 任芬(1996); 王增文(1994). 2) interpretations at the textual level, see e.g. 陆嘉明(2006); 罗执廷(2003); 孙涣英 (2001a)；孙涣英(2001b). 3) articles focusing on artistic features, see e.g. 区嘉(1994); 冯为民(1994). 4) articles focusing on connotation, see e.g. 王锐(2006). 5) articles focusing on the cultural spirit, see e.g. 蓝士英(2007); 邬永辉(2006); 朱颖 原(2003). 6) articles focusing on the image of mulan, see e.g. 罗艳秋(2007); 赵晓洁，蒙丽静 (2007); 温新成(2005); 白国东(2002); 聂彩玲(2002). 7) interpretations from the feminist perspective, see e.g. 李祥林(2007); 李书生(2003); 李祥林(1999a); 李祥林(1999b). all the research done by scholars is fruitful and these achievements have established a rich and abundant foundation for later synthetic research. the ballad of mulan is something like a treasure house; new thought and spirit will be unearthed ceaselessly in the future and therefore, it will serve human beings in a very positive and appealing way. 6 2.2 disney s mulan concerning overseas research on disney s mulan, there was one book published in 1998, which was entitled the art of mulan and was composed by jeff kurtti, one of the creators of mulan. the art of mulan is a discussion about the process of film creation. the first chapter includes a translation of the ancient chinese ballad that tells of a young girl who, disguised as a soldier, joins the army to save her country from the aggressive huns. it also contains short biographies of the team that would make the film and how they were brought together for this project. part two narrates their three- week journey through china where they visited historical sites and made important decisions about how to accurately portray mulans world. part three is an investigation of the production itself: story line, animation, colors, effects, digital techniques, and the all- important casting of animators. part four describes the experience of creating the film for some of the individuals of the team. some articles are primarily some reviews about the artistic quality, the entertainment value and the authenticity of this film, such as “ disney s mulan: a more modern heroine” (1998) by andy klein, kyle suggs “ review of mulan” (1998) and dan jardine s “ review of mulan” (1998), etc. in domestic academic circles, the most influential person is chen taowen (joseph chan), a hong kong scholar, who published an article in 1999 entitled “ disnefying and globalizing the chinese legend mulan: a story of transculturation” (1999). he researches the americanization and globalization of mulan s image from the perspective of cross- cultural communication and puts forward the concept of transculturation, which has great value for reference. another scholar liu lai followed him and published an article in 2001. some other chinese academic articles are collected and categorized as follows: 1) general information about the film, including its plot, process of creation, etc. see e.g. 刘莫非奥(2005); 汪滢(1998). 2) interpretations from a cultural perspective, see e.g. 齐欣(2008); 李晓庆(2007); 王倩 (2006); 高莉(2006); 倪梅(2006); 贾东亮，李琳(2005). 3) articles focusing on the image of mulan, see e.g. 封艳梅(2007); 郑轶彦(2007); 李 书影(2006); 何忠顺(1999). 4) interpretations from a narratological perspective, see e.g. 李婉(2007); 吴青青(2005). 7 5) interpretations from an orientalism perspective, see e.g. 刘慧敏(2007); 王亚红 (2007); 张莉(2007); 周琳玉(2006a); 周琳玉(2006b). 6) interpretations from a feminist perspective, see e.g. 鞠贵芹(2007); 夏小燕(2000); 夏小燕(1999). 7) interpretations under the context of globalization, see e.g. 张海珊(2005); 王璐(2005); 秦志希，瞿晶(2002). 2.3 translation of disney s mulan regarding the research on the translation of mulan, there are some academic articles and papers. they are as follows: 1) audiovisual translation as a norm- governed activity: a case study of mulan (2008), zhan hongmei（湛红梅） s paper takes