论文(英语电影).docx

/p-337774496751.html/p-143666104881.html/view/8f9e058702d276a200292eb6.html直译意译创译TheGodfather教父Waterloo Bridge (1940)魂断蓝桥甜心辣舞“Jessica AlbaStarWarsEpisodeV:EmpireStrikesBack星球大战之帝国反击战Gone with the Wind (1939)乱世佳人风云才女“I love Hilton sisters”ShawshankRedemption肖申克的救赎Random Harvest (1942)鸳梦重温谁领风骚”She Gets What She Wants”Jaws大白鲨Ghost (1990)人鬼情未了All About Eve 彗星美人GoodFellas好家伙Suspicion (1941) 深闺疑云海上钢琴师 The Legend of 1900ApocalypseNow现代启示录All About Eve (1950)彗星美人美丽坏宝贝“Pretty PersuasionSinginintheRain雨中曲It Happened One Night (1934)一夜风流这个杀手不太冷Leon尖峰时刻RushhourLord of the Ring(2001)魔戒指环王风雨哈佛路“Homeless to HarvardFightClub搏击俱乐部made in Dangenham 达格纳姆制造 我们需要性恋爱假期“The Holiday”OnceUponaTimeintheWest西部往事RaidersoftheLostArk夺宝奇兵返老还童“The Curious Case of Benjamin Button罗马假日 RomanHoliday幸福终点站“The Termina死神来了“Final.Destination闻香识女人ScentofaWomanDieHard虎胆龙威Livefreeordiehard惊声尖笑1-4“Scary Movie辛德勒的名单Schindlers List 儿女一箩筐 “Cheaper by the Dozen前任女友“Just friends”功夫熊猫 Kung Fu Panda七宗罪“Se7en职业特工队“Mission: Impossible”（不可能的任务）碟中谍泰坦尼克“Titanic”Over Her Dead Body我去世的吃醋女友真假公主“Anastasia”狮子王 The Lion King阿甘正传Forrest Gump 盗梦空间Inception音乐之声“Sound of Music刀锋战士“Blade美女与野兽 “Beauty and beast”三傻大闹宝莱坞three idiots冰河世纪“Ice age怪物史莱克“Shrek小鸡快跑“Chicken Run”我的朋友是明星“Popstar查理和巧克力工厂Charlie and the Chocolate Factory歌舞青春“High school musical蜘蛛侠 “Spider man魔法灰姑娘“Ella Enchanted”沙漠之花 desert flower暴力街区“Banlieue13”变形金刚“Transformers生死时速 Speed贱女孩“Mean Girls”人工智能 “Artificial intelligence劲歌飞扬“Raise Your Voice”穿PRADA的恶魔“The Devil Wears Prada”牛仔裤的夏天“The Sisterhood of the Traveling Pants公主日记“The Princess Diaries录取通知书“Accepted雪花飘落香杉树Snow Falling on Cedars阳光小美女“Little Miss Sunshine飞跃疯人院“One Flew Over the Cuckoo金刚“King Kong漂亮女人(风月俏佳人(pretty woman西雅图夜未眠“Sleepless In Seattle贫民窟的百万富翁“Slumdog Millionaire云中漫步 “A walk in the clouds朗读者“The reader美国黑帮“American Gangster误译：追求系列化，总动员、魔鬼 追求商业利益一名多译：缺乏翻译市场统一管理Mrs Doubtfire OutlineChapter 1: Introduction 1000 (1282)1.1 Overview of the Study1.2 Significance of the Research1.3 Structure of the ThesisChapter 2: Skopostheorie 2000 2.1 Formation of Skopostheorie2.2 Three Rules of Skopostheorie 2.2.1 Skopos Rule 2.2.2 Coherence Rule 2.2.3 Fidelity Rule2.2.4 Relationship among these rules2.3 Criterion of Skopostheorie: AdequacyChapter 3: Film Titles 10003.1 Naming Approaches of Film Titles3.1.1 Titled by Subjects3.1.2 Titled by Background 3.1.3 Titled by Polt3.1.4 Titled by Theme3.1.5 Titled by Clue3.2 Features of Film Titles 3.2.1 Linguistic Features 3.2.2 Aesthetic Features 3.2.3 Cultural Features 3.2.4 Commercial Features3.3 Functions of Film Titles 3.3.1 Informative Function 3.3.2 Expressive Function 3.3.3 Aesthetic Fuction 3.3.4 Vocative FuctionChapter 4: Translation of E-C Film Titles under Skopostheorie 15004.1 Approches and Methods 4.1.1Transliteration 4.1.2 Literal Translation 4.1.3 Free Translation 4.1.4 Re-creative Translation4.2 Realization of Adequacy 4.2.1 Adequacy in Wording 4.2.2 Adequacy in Aesthetics4.2.3 Adequacy in Culture4.2.4 Adequacy in Commercial Effect4.3 Existing Problems and Coping Strategies 4.3.1 Random Translation4.3.2 Mistranslation4.3.3 Absence in Translation 4.3.4 Coping Strategies Chapter 5:Conclusion 5005.1Perfection of Skopostheorie: Function plus LoyaltyChapter 1: Introduction1.1 Overview of the StudyWith the rapid growth of Chinas economy and upgrade of the consumption level, watching movies has become an important means of entertainment. In order to activate Chinas film market and promote the cooperation and communication with the western film industry as well as getting the highest global box office so as to realize the movies commercial value, western films pour into Chinese market in recent years. Being loyal to the home-made films, Chinese audience are also addicted to the fantastic Hollywood films. The film translation work seems to be very important. As the “eyes” of a film, film titles take vital work and their translation naturally become the focus in the film translation circles. Many scholars research E-C film title translation from different aspects and put forward effective translation methods and strategies. All their researches can be divided into several following aspects:1)Research on the linguistics of the film title translation Scholar Dong Limin (2009) contrasts and analyzes the the characteristics of the E-C film title translation under the guidance of Gutts Relevance Theoretic Translation Account(Gutt,2000), proposing four principles of optimal relevance to guide and evaluate the practice of film title translation. Scholar He Ying (2001) puts forward with using the functional equivalence theory to guide the film title translation, and points out that the translation should put the audience at the first place, making full use of the advantages of the target language to realize the functional equivalence between the original title and translated title. Wang Zhao and Jing Yongjie (2007) explore from the theory of adaptation, probing into the important role of the cultural context in the translation of film titles.2)Research on the aesthetics of the film title translation The process of translation is an aesthetic process, and many great translators get fantastic aesthetic experience from their own translation practice. (Liu and Zhang,2011). Scholar Zhu Guangqian put forward the term aesthetics of translation in the 1980s,considering that translation can not achieve without aesthetics. Bao Huinan (2001) points out that film title translation should both comply with the language standard and be imbued with artistic charm. On this foundation, Long Qianhong (2003) proposes that translators should study assisduously, so as to upgrade translation quality.A good translation of film title just likes the eye of dragon, which gives the film vigor and charm. A good translation also likes a piece of high-quality art work, making the audience enjoy the beauty of art.3) Research on the commercial value of the film title translation Scholars Wang Hui and Kuang Fangtao (2008) analyze the translation process in the light of the view of “Source, Process and Sink”. They propose that the translation of film titles should help create the commercial value. He Yuemin (1997) regards film title translation as a category of translation, which must follow general principles and methods of translation. The film title translation directly affect cultural communication and commercial value.4) Research on the cross-cultural communication of the film title translation Culture always changes with the time. Film exposes the time in a certain period and place. The socio-cultural context of each region has been explored with an attempt to find the factors resulting in this disunity in version. He Yuemin (1997) therefore, pointed out that cultural context shall be taken into consideration in film title translation. Xie Tianzhen (2003) said that a good film title translation should be faithful to the original language characteristics to ensure that the film title and the film conveys the same information. However, the American scholar Webstin believes creative betrayal is always inevitable. Therefore, a lot of wonderful film title translation make creative betrayal based on the culture and plot to realize the harmony between eastern culture and western culture.5) Research on the methods and strategies of the film title translation Scholars have proposed many methods and principles for film title translation but basically the same. Scholar Wu Yiling(2010) according to the degree of the dependence to the English original title, divides the film title translation methods into three categories: literal translation, free translation and re-creative translation, and states that transliteration should belong to literal translation. HuWei (2010) leaves transliteration alone and combines the film title translation with specific examples, dividing the film title translation into four categories: transliteration, literal translation, free translation and re-creative translation. Bao Huinan (2001) argues that the methods and principles of the film title translation and literary work title translation are basically the same. The film title translation can be mainly divided into four categories: literal translation, literal translation with notes, literal translation with free translation, free translation.It is worth mentioning these studies which analyze and explain film title translation based on different theories from new perspectives. Some apply functional equivalence proposed by Nida to make the target audience share their feelings with source audience. Some scholars take advantage of reception aesthetics to analyze aesthetic subject and their relationship in E-C film title translation. Some adopt adaptation to state the cultural context plays an important role in film title translation. These studies shed some light on English film title translation and offer the present research valuable materials.1.2 Significance of the ResearchBased on the achievements of previous studies, this paper choose to explore film title translation under skopostheorie for three reasons: firstly, most film title translation based on the theory of the traditional equivalence theory. But the equivalence theory itself has many defects. For instance, it limits the translation in format and meaning equivalence. But in fact, it is hard to be achieved in some cases. The film titles are the guidance for the audience. The habit and favor of audience directly influence the realization of the commercial value. Therefore, translators should give priority to the audience in the process of translation. Secondly, although the researches on the translation of film titles have made certain progresses in recent years, but not that deep in degree. Many studies focus on the methods and strategies of translation, but do not find out the corresponding or feasible theoretical basis to support the translation of film titles. Thirdly, the film title translation is a kind of pragmatic work with certain purpose. Due to the universality and diversity of audience, especially the difference of their cultural background, the film title translation needs to be popularized to attract more audience. (Bao, 2001)Skopostheorie, put forward by Hans Vermeer, is the core of the functionalist translation theory.Compared with the previous translation theories, it has a series of breakthroughs. It does not only focus on the linguistic level of translation, but also pay attention to the roles of the translator and culture in translation. ”The end justifies the means” is its most distinctive feature, which endows the translator with more creative ideas in translation.1.3 Structure of the Thesis The thesis is made up of five chapters. It first introduces the background information, present researches on this topic, the significance of the study and the organization of the thesis. In Chapter Two, the thesis talks about the formation, three basic rules of Skopostheorie and the relationships among these rules. This chapter also shows the elements which compose the translation brief, defining the culture and culture-specificity, adequacy and equivalence. Furthermore, it lists breakthroughs and limitations of Skopostheorie in real application. At last, it points out Skopostheorie developed by adding loyalty to it as an important complement. Chapter Three is an overview of English film titles from the aspects of naming approaches, features as well as functions. Then comes the most important part, Chapter Four, in this chapter, the thesis summarizes four approaches and methods applied in the translation of E-C Film Titles with the help of examples from different E-C film title translations in Mainland China, Hong Kong and Taiwan, pointing out the importance of adequacy in the aspects of wording, aesthetics, culture and commercial effect. Then it touches upon problems and coping strategies to deal with random translation and mistranslation. In the last chapter, Chapter Five, the thesis reviews some key points of the study and discusses the acceptability of Skopostheorie in China, predicting the bright future of E-C film title translation in China.Chapter 2: Skopostheorie2.1 Formation of SkopostheorieFunctional approaches to translation developed in Germany in the beginning of the 1970s. Here are four landmarks of the functionalist translation theory: Katharina Reiss and functionalist translation criticism, Hans J. Vermeers Skopostheorie and its extensions, Justa Holz-Manttaris theory of action and Christiane Nords function plus loyalty. The publication of Hans J. Vermeers “Framework for a General Translation Theory”(1987) seemed to offer a theoretical foundation for translation. The theory was later explained in more detail in a book co-authored with Katharina Reiss, who had prepared the ground for a functional approach in her work on translation criticism as early as 1971(ReissVermeer,1984). Using the Geek word skopos, meaning “purpose” or “aim”, Vermeer distinguished between three possible kinds of purpose in the field of translation: 1.the general purpose aimed at by the translator in the translation process, the communicative purpose aimed at by target text in the target situation and the purpose aimed at by a particular translation strategy or procedure.(Vermeer,1989)Nevertheless, the term skopos usually refers to the purpose of the target text. 2.2 Three Rules of Skopostheorie2.2.1 Skopos RuleThe top-ranking-rule for any translation is thus the “Skopos rule”, which says that a translational action is determined by its Skopos; that is, “the end justifies the means”. Vermeer explains the skopos rule in the following way:Each text is produced for a given purpose and should 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 with the people who want to use it and precisely in the way they want it to function. (Vermeer,1989)This rule is intended to solve the eternal dilemmas of free vs. faithful translation, dynamic vs. formal equivalence, good interpreters vs. slavish translators, and so on. It means 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. 2.2.2 Coherence Rule In Vermeers terms, the target text should conform to the standard of “intratextural coherence”. This means the receiver should be able to understand it; it should make sense in the communicative situational culture in which it is received. A communicative interaction can only be regarded as successful if the receivers interpret it as being sufficiently coherence with their situation. Accordingly, another important rule of Skopostheorie, the “coherence rule”, specifies that a translation should be acceptable in a sense that it is coherent with the receivers situation. Being “coherent with” is synonymous with being “part of” the receivers situation.(Vermeer,1978)2.2.3 Fidelity RuleSince a translation is an offer of information about a preceding offer of information, it is expected to bear some kind of relationship with the corresponding source text. Vermeer calls this relationship “intertextual coherence”or “fidelity”. This is postulated as a further principle, referred to as the “fidelity rile”.(Reiss and Vermeer,1984) Again, as in the case of the Skopos rule, the important point is that intertexual coherence should exist between source and target text, while the form it takes depends both on the translators interpretation of the source text and on the translation Skopos. One possible kind of intertextual coherence could be a maximally faithful imitation of the source text. 2.2.4 Relationship among these rulesCoherence rule(intratextual coherence)Fidelity rule(intertextual coherence)Figure2: Relationship among these rulesSkopos ruleIntertexual coherence is considered subordinate to intratextual coherence, and both are subordinate to the Skopos rule. That is to say, Skopos rule is the top-ranking-rule which leading the other two rules. Coherent rule is in the first class which lead by the Skopos rule while leading the fidelity rule. Fidelity rule is the bottom-ranking-rule which should follow the other two rules. If the Skopos requires a change of function, the standard will no longer be intertextural coherence with the source text but adequacy or appropriateness with regard to the Skopos. And if the Skopos demands intratextual incoherence (as in the theatre of the absurd), the standard of intratextual coherence is no longer valid. 2.3 of Skopostheorie2.3.3 AdequacyIn the translation process, the translators decisions are no longer guided by the linguistic and stylistic characteristics of the source text but by the constellation of participants and conditions of the communicative situation for which it is produced. Instead of equivalence between source and target texts, the aim is adequacy for the translation purpose.Like adaquatheit in German, adequacy describes a quality with regard to a par