目的论指导下的《低俗小说》字幕研究 英语学专业

1、 题 目 目的论指导下的低俗小说字幕研究 AcknowledgementsIt is a special privilege for me to have the chance to appreciate everyone for their help with my paper.  My thanks go first to Zhang Yuhuan, my supervisor, who spared no effort to get rid of the heavy office work, res

2、earched tasks and provided substantive guidance for my thesis. In the process of writing this paper, she provided detailed advice and continuous help, both academic and generous.Secondly, I am grateful to the teachers in our department for their introduction and guidance, which have given me a great

3、 hand.Finally, I wish to thank my family and my dear classmates. Every time when I  was confronted with difficulties, my classmates would come to me, exchanging their tho

4、ughts with me to widen my vision. And every time when I feel tired of writing, my beloved family would give me positive energy to let me continue.   Conten

5、ts1. Introduction22. Subtitle Translation22.1. Definition of Subtitling22.2 Features of Subtitles32.2.1 Instantaneity 32.2.2 Plain in language42.2.3 Lively in style43.Skopostheorie43.1 Definition of Skopostheorie43.2 Rules of Skopostheorie53.2.1 Skopos Rule53.2.2 Coherence Rule53.2.3 Fidelity Rule54

6、.The Application of Skopostheories Translation Strategy in the Subtitle Translation of Pulp Fiction64.1 Introduction to the Movie64.2 Specific Application64.2.1 Domestication and Free Translation64.2.2 Foreignization and Literal Translation95.Conclusion10References11A Study of E-C Subtitle Translati

7、on of Pulp Fiction under the Guidance of SkopostheorieAbstract: In modern society, movies and TV plays ways of cultural communication are attracting more and more attention from all walks of life. However, traditional translation methods and theories have been unable to meet the requirements of mode

8、rn subtitle translation. In the 70s of the last century, Vermeer, a German scholar, believed that the supreme rule of translation should be “he rule of purpose”. In other words, it is different for the way of translation, at the same time, its purpose expressed in it is also not the same. This theor

9、y provides a new platform for subtitles research, and also promotes the whole translation research. The first part of this paper briefly introduces the domestic and foreign scholar research on Skopostheorie. The second part focuses on the characteristics of subtitle translation. The third part elabo

10、rates the three norms of Skopostheorie. Finally, the paper gives an analysis of the subtitle translation of Pulp Fiction according to specific translation strategies.Key words: subtitle translation; Skopostheorie; translation strategy; Pulp Fiction摘 要：现代社会，影视作品作为一种文化交流方式，正日益受到社会各界的重视和欢迎。但是传统的翻译方法和理论

11、已经无法适应现代字幕翻译的要求。上世纪70年代，德国学者费米尔所认同的是“目的法则”， 并对该法则给予很高的重视。换句话说，翻译可以有很多种形式，根据其目的的变化采取不同的翻译策略。这个理论的提出为电影字幕的研究提供了新的平台，同时也对整个翻译研究起到了推进作用。本文的第一部分简单介绍了国内外学者对翻译目的论的研究情况。第二部分介绍了电影字幕翻译的特点。第三部分阐述了目的论三原则。最后，结合具体的翻译策略对低俗小说的字幕进行了研究。关键词：字幕翻译；翻译轮；翻译方法；低俗小说1. IntroductionAs for the modern people, more and more of th

12、em like watching films. And they especially enjoy going to the cinema with their best friend of their family members. As a result, film as a new kind of culture, it becomes more and more popular in todays world. It has a long history since the end of the 19th century. With the rapid of economy and t

13、he improvement of the quality of life, people are affordable to see it. Therefore, it will be involved with the good understanding of it once we see the film that is different from the culture of our country. Thus, translation can be a good bridge to make it better for us to understand it. And it ha

14、s played an active effect for the communication among different countries. In terms of the source subtitles, it is the reflection of the character and feature of the roles as well as the main idea of the film. With the increasing cultural exchange, the field of film industry is also influenced by it

15、. Of course, it is positive and good for its development. And whats the problem is that the translation of subtitle. How can we deal with it correctly is becoming more and more important, which also has a great demand in the modern world. In this paper, I mainly takes the translation strategy of Sko

16、pos as the research object to discuss the translation of subtitle. In this paper, it pays much attention on the analysis of subtitle translation from English to Chinese by choosing a very famous film called Pulp Fiction. What the author analyzes is the translation strategy under the guidance of Skop

17、ostheorie.2. Subtitle TranslationSubtitle translation generally refers to the text processed in the later stage of film and television works, usually appearing below the screen. It is a kind of literary translation, but it is also distinct from other literary translations (Gottlieb, Henrik, 1996: 92

18、). It will be divided in two parts to talk about subtitle translation.2.1 Definition of subtitlesSubtitles can be defined as the process of providing synchronized subtitles for movie and TV conversations. Subtitles can be either interlingual or intralingual or closed (李运兴, 2001:24). As a matter of f

19、act, what subtitles means is the meaning of film or TV dialogues, which is short in form, and appears with the dialogue of people at the same time. It has 35 characters in average, which is put at the bottom of the pictures, it can make us know what they want to express clearly (Gottlieb, 2004: 244-

20、248). As a physical part of the audiovisual product, the Chinese subtitles are presented simultaneously with it. There is another term we should mention when referring to subtitles, that is “captions”. They are different from each other, for “captions”, it is the main reflection of the article, whil

21、e subtitles is the dialogue in detail. It has many functions of “captions”, for example, it can identify names, places or dates which is in line with the story line (Karamitroglou, 2000: 124). For example, in the original screen, it can be noticed that there are words on the magazine and signs on th

22、e wall and road, etc, which might block the target-audiences understanding. However, due to the time and space limitations, they are paid less and less attention, as a result, the translation of subtitle is insufficient, and it is often replaced by “caption” instead. It needs to leave in a few secon

23、ds of subtitle turning on the screen for audience to read and understand it. They can make the audience have a good time for watching it, so they can not become the focus for the viewers (钱绍昌, 2000: 33). Good subtitles should remain subordinate to other visual and oral stimuli. Besides dealing with

24、the basis ways of subtitle translation, what the translators need to do is to deal with some short written texts, superimposed on the bottom of the screen. 2.2 Features of SubtitlesAs for subtitles, it is very important for people to understand the film correctly, it is the reflection of the charact

25、er in the movie. Therefore, the translation of it cannot be the same as other text, which has the distinctive features including instantaneity, plainness in language and liveliness in style.2.2.1 InstantaneityWe can see that the subtitle appearing on the screen is very quickly, and the translation o

26、f it is very different from other text. Just for its simplicity and instantaneity, it requires the correct translation of it to make the audience accept it naturally without strangeness. What Basil Hatim and Iran Mason emphasized was that the subtitles on the screen should be limited in two lines in

27、 terms of its space, it usually should not be over 33 characters in each line, and the maximum of it should not be over 40 characters in some special situations. (Basil Hatim and Iran Mason, 2001: 196) As for the time, the subtitles appeared on the screen should not over two to seven seconds. Theref

28、ore, it will require the translator to have a good understanding of the source subtitle so that he or she can make the audiences have a good understanding of both the picture and the subtitles within a short time. Sometime, we may meet the situation that the translated text is longer than the origin

29、al one, so we cannot put it properly on the screen. And it is not allowed to appear in the translation of subtitle, because, in the habit of audience, they prefer the short and concise version to enjoy the beauty of the movie.2.2.2 Plainness in languageIt is not difficult for us common people who li

30、ke seeing movie to find that the language of it is usually plain, which is just the reflection of our daily life. We should be clear that the art of film is aimed at the ordinary people instead of the people with high ability of language. Once the subtitle of one language is translated to another on

31、e, it should keep the plainness of it to make our ordinary people accept it without difficulties.In addition, it is always instantaneous for the appearance of subtitles. The complicated or genteel translation of it may lead to the problem of enjoyment. As a result, the audience will not have a good

32、time for watching it. In a word, the translation of it should follow closely the development of the plot. (方梦之, 毛忠明, 2005: 64).2.2.3 Liveliness in styleAs for the translation of film language, we can know that it is always different from serious translation of literature, it usually comes from our d

33、aily life. But the important thing is how can we make it attractive for audience. In other words, it requires the active style of translation. What we should do is to make the plot active, and its translation excellent. A good translation of it can them enjoy the journey of watching it. As a result,

34、 it can leave a deep impression on the heart of audience. Therefore, the subtitle translation of the film is successful. 3. Skopostheorie The skopostheorie holds that translation must meet the demand of the target readers, which can make them have no any difficulties to enjoy the film. Its translati

35、on purpose has a decisive role in the whole process, what the author applies determines the result.3.1 Definition of SkopostheorieFor Skopostheorie, it is a translation strategy used in it. It has a good understanding of the target audience, it turns the culture from other countries to fit for our o

36、wn ones. And Hans Vermeer and Katharina Reiss who created it were also the proposers of it. They held the idea that translation and interpretation must first fit for the text read by the needed one. What Skopostheorie emphasizes is that translation is the process of a goal or purpose of the target t

37、ext. A target text in the process of translation can be produced in a fixed expression to meet the demands of target readers. (刘必庆, 1999: 254). In skopostheorie, the position of the source state is lower than its position in equivalence theory. It can provide some source information for translators

38、to make the translated text fit for the local people. 3.2 Rules of SkopostheorieAs for the rules of Skopostheorie in translation, it includes skopos rule, coherence rule and fidelity rule.3.2.1 Skopos RuleIn terms of skopos, it is a Greek word, and the meaning of it refers to a “goal” or “purpose”.

39、The most important thing for translation is in line with its purpose, which determines the way and process of translation. The main point of Skopos theory can be explained as "the translation process determines the translation purpose."Vermeer also repeatedly stressed that teleology is a u

40、niversal principle of translation. It has a great influence for translation and the target language.3.2.2 Coherence RuleWhat the rule of coherence refers to is that “the target text must be interpreted as being consistent with the target text recipient”. It can be said that, the translation of the t

41、arget text must be in line with the given context and knowledge are consistent for the target text recipient.The rule of coherence is just the part of translation that pursues faith, while the source text is not very important. (贾文波, 2008: 167). This is just an information provider for the translato

42、r, and the translator picks out what he thinks is meaningful in the receivers situation.3.2.3 Fidelity RuleBeing put forward by Nord, she found two major defects in Teleology: first, many people from different countries have their own culture and their own translation style because of the difference

43、s in cultural patterns. In addition, if the purpose of the target principle is just not fit for the source text for its translation is not what the author agrees, it will make the translation bad and lose the truth of it. As a result, principle of fidelity was put forward by Nord for the purpose of

44、making the integration of the different culture. What Nord proposed was that the translator must have moral obligation to the recipient of the translation and had to explain to them what they had done and why they did so (Nord, Christiane, 2001: 207). It can be seen one aspect of the truth rule. In

45、other words, for the translated text, it must try its best to keep the truth of the source language so that it can keep the original meaning.4. The Application of Skopostheories Theory in the Subtitle Translation of Pulp FictionIn this thesis, the film of Pulp Fiction is taken as the research object

46、 to study for the subtitle translation. And in many translation rules, skopos rule is the first principle that any translator should follow. Any translation is produced and served by a given purpose, and both the coherence rule and the fidelity rule belong to the skopos rule (Nida, Eugene A. & T

47、aber, Charles R 2001: 29-33). From the theory of skopos, what the author does is to choose the two fixed translation guidelines and corresponding translation methods, that is domestication and the translation in a free way; alienation and direct translation.The following part will analyze the movie

48、subtitles in view of the two translation methods. English subtitles and Chinese translations both come from www. yyets. com.4.1 Introduction to the MovieAs for the film of Pulp Fiction, it was an American film about crime directed by Quentin Tarantino in 1994. It is widely regarded as the most influ

49、ential film in the United States in the 1990s. The reason why the Pulp Fiction can cause the world to stir up and achieve such a high achievement is that its image style and exquisite narrative structure completely break the traditional film narration and reflect postmodernism everywhere. The film c

50、ompletely subverted the narrative mode of traditional film and opened up a new way of narrative structure (卿梅, 2005: 3). Its subtitles, like its name, are full of violence, drugs, vulgar dirty words and underworld jargon. Some of the little-known American culture and slang are hidden. The study of i

51、ts subtitles can appreciate the other side of American culture, and it is also the wider use of Skopostheorie.The story begins with a small restaurant. A young couple is in a small restaurant to have their breakfast. What they agreed to do is to rob the profitable customers as well as the business j

52、ust like they had robbed them in the past. At the moment they started, the scene was interrupted we can see the scrolled title credits. In the three main story lines that identify black screen subtitles, it is a seven sequences of narrative things.4.2 Specific ApplicationIn this part, the writer wil

53、l introduce four classic translation strategies and give some examples.4.2.1 Domestication and Free TranslationWhat domestication refers to is using the familiar expression to translate the original language, in other words, it is to make the expressions used by target language readers to convey the

54、 original text (Fawcett, P, 1997: 113). As for this translation method, it requires the readers to get close to the target readers and make the understand the translation easily. What the translator needs to do is to have a good understanding of the target language. When it comes to free translation

55、, it is to preserve the original content and not maintaining the original form of translation (刘重德, 1994: 172). Domestication is the guideline and free translation is the specific method.Example 1: WOLF: It is absolutely necessary to strip off those bloody rags. Then, toss them into Jims garbage bag

56、.JULES: Stop doing something stupid like leaving this shit out front for Otto the Garbage man. Do you understand me?WOLF: Take it easy. We can take it together. Jim, the soap.沃尔夫：必须把血衣换掉，然后把它们扔到Jim的垃圾袋里。朱尔斯：不要蠢到把这些留给垃圾车来处理。你懂吗？沃尔夫：不要担心，我们会把这一起带走。Jim, 肥皂。From the study of Western culture, what we can

57、 know is that many western countries have disposal systems that is complete mechanized garbage in todays world. That is to say they have a good way to deal with garbage by trunks. But China at that time did not have the system to deal with garbage, as a result, those garbage must be removed by men.

58、So, in order to fit the situation in China, wed change the expression of it to better use “不要蠢到把这些留给垃圾车来处理”. The choice of translation strategy requires the combination of the target language culture environment and the source language culture environment. Through the analysis above, this part is mo

59、re suitable for the strategy of domestication.Example 2:PUMPKIN: Its these old fucking Jews whove owned the store for fifteen fucking generations if its not the gooks. You can see the Grandpa Irving sitting behind the counter, and he is having a fucking Magnum in his hand.小南瓜: 如果不是亚洲人，那便是开了十五代杂货铺的犹太人。你会看到一个手里拿枪坐在柜台后面的老家伙。As for “Grandpa Irving”, it usually means the old people who are several ethnic groups, and they have some small stores, but its location is very dangerous. They are clearly aware of their situation, as a result, they all have