(英文)目的论视角下中国史诗电影字幕中文化负载词的翻译-以《霸王别姬》为例

梧州学院本科毕业论文Translationofculture-loadedwordsinSubtitlesofChineseepicfilmsundertheguidanceofSkoposTheory--TakeFarewellMyConcubineasanexample目的论视角下中国史诗电影字幕中文化负载词的翻译——以《霸王别姬》为例院部:外国语学院专业:班级:作者:学号:指导老师:完成时间:Translationofculture-loadedwordsinSubtitlesofChineseepicfilmsundertheguidanceofSkoposTheory--TakeFarewellMyConcubineasanexampleByAuthor’sNameAThesisSubmittedtoCollegeofForeignLanguagesofWuzhouUniversityinPartialFulfillmentfortheRequirementsfortheDegreeofBachelorofArtsSupervisedbySupervisor’sNameMarch,2022梧州学院学位论文原创性声明本人郑重声明:所呈交的论文是本人在导师的指导下独立进行研究所取得的研究成果｡除了文中特别加以标注引用的内容外,本论文不包含任何其他个人或集体已经发表或撰写的成果作品｡对本文的研究所做出重要贡献的个人和集体,均已在文中以明确方式表明｡本人完全意识到本声明的后果由本人承担｡论文作者签名:日期:Translationofculture-loadedwordsinSubtitlesofChineseepicfilmsundertheguidanceofSkoposTheory--TakeFarewellMyConcubineasanexampleI.Introduction1.1ResearchBackgroundIn1993,ThefilmFarewellMyConcubine,directedbyChenKaige,isregardedasanimportantworkinThehistoryofChinesecinema.FamousAustralianwriterGabrielleGabelinactedasthesubtitletranslatorofthefilm,whichbroughtthefilmrichintraditionalChinesedramatotheworldstageandwontheaudience'srecognition.Thestoryof"FarewellmyConcubine"wasfirstrecordedinluJia'sbook"ChuhanSpringandAutumnAnnals"intheearlyHanDynasty.WiththedevelopmentofChineseopera,itwasgraduallyadaptedtothestageofopera.In1922,thesingledramaFarewellMyConcubinestarringMeiLanfangandYangXiaolou,themasterofmartialarts,premieredinZhiyunInstitute,whicharousedgreatresponseintheoperaindustryatthattime.Subsequently,manylocaloperassuchasYiyangopera,SichuanOperaandCantoneseoperabegantoperformthisdrama.Uptonow,thestirringlovebetweenxiangYu,kingoftheWesternChuState,andHisbelovedconcubineYuJiisstilloneofthemostclassicandbrilliantlegendsinChina,addingathickandheavycolortothehistoryofChineseopera.Basedonthis,thefilmFarewellMyConcubinedescribesthelifeoftwoPekingOperamastersincombinationwiththebackgroundofTheTimes.ItsrichPekingOperaculturehasincreasedthedifficultyoftranslationwork,asanAustralianwriterhowtocreatethisworkagain?BasedonherloveforChineseculture,GabriellehasbeentoChinaformanytimestolearnChineseanddramaculture.ShehastranslatedmorethantenfilmsandTVworksandmadeindeliblecontributionstothedevelopmentofChinesefilmindustryintheinternationalstage.However,theEnglishtranslationofThefilmFarewellMyConcubine,asoneofJia'searlytranslationworks,isnotperfectduetotheconstraintsofsomeobjectiveconditionsandtheshortcomingsofherownlearningandtranslationexperienceaccumulation.1.2ResearchSignificanceThesignificantdifferencesintherulesofstructureandusagebetweenEnglishandChineseareamajorproblemforfilmsubtitletranslators."Therulesoflanguageuseareactuallyvariousfactorsoftheculturetowhichthelanguagebelongs."Asaproductofthedevelopmentofhumansociety,moviesmustcarryspecificculturalinformationandideology,andplayanirreplaceableroleinspreadingChinesetraditionalcultureandpromotingculturalexchangesbetweenChinaandtheWest.Culturalfactorscanbeseeneverywhereinfilmdialogues,andsubtitletranslationisnotonlyatranslationofwords,butalsoatranslationofculture.ThisthesisfocusesonhowtocorrectlyhandlethetranslationofculturalelementsinChinesefilmsubtitlessothatthetargetaudiencecanunderstandandacceptthem.GuidedbySkopostheorie,thispapertakestheEnglishsubtitlesofFarewellMyConcubine,therepresentativeworkofthefifthgenerationdirectorChenKaige,asanexampletoanalyzethetranslationofculture-loadedwordsinsubtitletranslationandexplorethetranslationstrategiesofculture-loadedwordsinsubtitletranslation.Therefore,theauthorthinksthatSkopostheorieisapplicabletosubtitletranslation,UndertheguidanceofSkopostheorie,theculturalfactorsinfilmsubtitlesshouldbecombinedwithdomestication,foreignizationandinterpretation,soastoavoidthelossofculturalinformationinthesourcelanguagecausedbyexcessivedomesticationortheobstructionofexcessiveforeignizationtotheaudienceofthetargetlanguage.Atthesametime,foridiomsandallusionsunfamiliartothereadersofthetargetlanguage,theinterpretationmethodshouldbeadoptedtodirectlytranslatetheirmeanings.Atthesametime,theauthorhopesthatthetranslationcircleswillpaymoreattentiontosubtitletranslationandestablishamoreperfecttheoreticalsystemofsubtitletranslation.OnlyinthiswaycanChinesefilmstrulygoglobal.1.3ResearchProblemsandMethods1.3.1ResearchissuesBasedonSkopostheorieandthecharacteristicsoffilmandtelevisionlanguage,thispapertakestheEnglishsubtitlesofFarewellMyConcubine,therepresentativeworkofthefifthgenerationdirectorChenKaige,asanexampletoanalyzethetranslationofculture-loadedwordsinsubtitletranslationandexplorethetranslationstrategiesofculture-loadedwordsinsubtitletranslation1.3.2Researchmethodology(1)Literatureresearchmethod:Theso-calledliteratureresearchmethodisamainmethodforallkindsofresearch.Duringtheinvestigationandanalysisoftheliterature,wecanknowtheprogressofthemainproblemsstudiedandfindoutwhethertherearesituationsthatcanbeexpanded.Throughinvestigationandresearch,wecansumuphowtocutintotheresearchcontent,soastoensurethesmoothprogressofourresearch.Inthecourseofinvestigationandresearch,thispapercomparesthecurrentresearchsituationofthistopicandrelatedtopicsfullybyinquiringlibrarymaterials,periodicalsonChineseperiodicalsonlineanddownloadingexcellentmaster'sanddoctoraltheses,inordertogetrelativelynewresearchmaterials;Thenanalyzeandstudythearticlesorpapersrelatedtotheargument,andfindtheresearchmethodssuitableforthispaper.(2)Inductivecollationmethod:Theso-calledinductivecollationmethodmainlyreferstothecollationofwrittendataanddigitaldata.Datacollationisanimportantbasisfordataresearch,anecessarysteptoimprovethequalityandusevalueofinvestigationdata,andanobjectiverequirementfordatapreservation.Theprinciplesofdatacollationareauthenticity,qualification,accuracy,completeness,systematicness,unity,concisenessandnovelty.(3)Themethodofcombiningtheorywithexperience.Throughthenormativetheoreticalanalysisofthepointofview,andthenthroughthedatatothetheoreticalanalysisofthepointofviewofempiricalanalysis,onthisbasis,theconclusionsandpolicyrecommendationsofthispaper.1.4ThesisContent.Underthebackgroundofglobalization,theworldpresentsadiversifiedculturalpattern,whichisreflectedinthefilmindustry,andmoreandmoreChinesefilmsbegintobecomefamousinternationally.However,itisstilldifficultforChinesefilmstoentertheinternationalfilmmarket,andoneoftheobstaclesistheobstacleofChineseandWesternlanguagesandcultures.ThesignificantdifferencesintherulesofstructureandusagebetweenEnglishandChineseareamajorproblemforfilmsubtitletranslators."Therulesoflanguageuseareactuallyvariousfactorsoftheculturetowhichthelanguagebelongs."Asaproductofthedevelopmentofhumansociety,moviesmustcarryspecificculturalinformationandideology,andplayanirreplaceableroleinspreadingChinesetraditionalcultureandpromotingculturalexchangesbetweenChinaandtheWest.Culturalfactorscanbeseeneverywhereinfilmdialogues,andsubtitletranslationisnotonlyatranslationofwords,butalsoatranslationofculture.ThisthesisfocusesonhowtocorrectlyhandlethetranslationofculturalelementsinChinesefilmsubtitlessothatthetargetaudiencecanunderstandandacceptthem.BasedonSkopostheorieandthecharacteristicsoffilmandtelevisionlanguage,thispapertakestheEnglishsubtitlesofFarewellMyConcubine,therepresentativeworkofthefifthgenerationdirectorChenKaige,asanexampletoanalyzethetranslationofculture-loadedwordsinsubtitletranslationandexplorethetranslationstrategiesofculture-loadedwordsinsubtitletranslationII.LiteraturereviewTranslationitselfisacomplexprocess,forthereasonthat,whiletranslating,thelanguagecommunity,syntaxstructure,andculturaldifferencesofthereaderswhocomefromtargetlanguageshouldbeconsideredcarefully.Subtitletranslationisrestrainedbyitsmedia,timeandspace,soitiscomparativelycomplicated.Subtitleonlyappearsfewsecondsonthescreen,soinordertohelptheaudiencestounderstanditinashorttime,thetranslatedsubtitleshouldbeclearandsimple.However,thesubtitleisnotallowedtobethefocusoftheTVprogram,itisaimedtohelpaudiencescomprehendandappreciateit.AgoodsubtitletranslationishelpfultotheunderstandingandappreciationoftheTVprograms.2.1ClassificationofSubtitleTranslationAsGottlibsays,“Linguistically,twotypesofsubtitlingcanbedistinguished,oneisintralingualsubtitlingandtheotherisinterlingualsubtitling.Intralingualsubtitlingisvertical,inthesensethatitinvolvestakingspeechdowninwriting,changingmodebutnotlanguage.Interlingualsubtitlingisdiagonal,inthesensethatthesubtitletranslatorcrossesoverfromspeechinonelanguagetowritinginanother,thuschangingmodeandlanguage.”(Gottlieb,1992)Therearedifferentclassificationsduetodifferentangles.Accordingtotheviewoflinguistics,therearetwotypesofsubtitles:intralingualsubtitlesandinterlingualsubtitles(TanZaixi,2006:219).Intralingualsubtitlesmeantochangeutterancetotexts,itisthechangeoftalkingwaysorthemode,notthelanguage;however,interlingualsubtitlesareatranslationprocessduringwhichthetranslatortranslatesthesourcelanguageintothetargetlanguagetaggedatthebottomofthescreenwithoriginalunchangedsoundandmode.ChineseprofessorMaZhengqidistinguishedaudiovisualtranslationintotranslationwithcommentsandtranslationwithsubtitles.Thatisdubbingandsubtitling.2.2RestrainingFactorsofSubtitleTranslationWhenitcomestoliterarytranslationorsubtitletranslation,therearecertainconstrainingfactorsthatrestrainthetranslators.“Eachtranslationtypehasitsspecificsetofconstraints.Thesemaybecausedbyahostofdifferentagentsinthecommunicativeprocessfromproductionoftheoriginaltoreceptionofthetranslatedversion”(Gottlieb,1994:164).Nidastated“ifapoetryorsongtranslatorisconstrainedbythelimitationofthecommunicationmedium,thenthetranslatorformotionpicturewillbesubjectedtorestrictionsmoresevere.”(Nida,2004:177)ChinesescholarXiaPingheldthat“translationisfundamentallyadecisionmakingprocessunderconstraints,whichaffectthequalityoftranslationpracticesandthequalityofendproductsalwaysdictatestherealizationofanidealtranslation”(XiaPing,2002:210-211).Itiseasytoseethatrestrainingfactorsexisteverywhere.Intranslation,therestraintsmaketranslationadifficultworkfortranslators.Therestrainingfactorsforsubtitletranslationarevarious,“Dependingonthemediumonwhichthemessagebecomescoded,eitherauralorvisual,andoperatingwiththerestrictiveconceptof‘synchrony’,understoodas‘theagreementbetweensignalsemittedforthepurposeofcommunicatingthesamemessage’,theyestablishedataxonomyconsistingof5typesofsynchrony,closelyrelatedtotheaxiomsoftime,space,content,phonetics,andcharacter.”(Mayoral,KellyandGallardo,1988:359)Thesethreescholarsholdthepointthatsynchronyoftime,space,content,phonetics,andcharacteristherestrainingfactorsforsubtitletranslation.In2001,BasilHatimandTanMasonput(1997:78-79)purposedfourkindofrestraintsaboutsubtitling.2.2.1TimerestraintTemporalconstraintsbasicallystemfromtheneedforsynchronicitybetweensubtitlesandoralspeeches,andthereadingspeedofviewers(DeLinde&Kay,1999:6).Timerestraintisalsocalledtheconstraintofreadingspeed(orduration).Peoplecanrereadthemisunderstoodpartinprintingmaterialswhichwecouldnotunderstandatverybeginning.Butpeopleisnotableto“reread”thesubtitles,usuallythetranslatedtextappearsatthefootofthescreenwhilethedialogueornarrationinthesourcelanguageisplayed,ifsomeinformationwasmissed,thesubtitleandthedialoguecan’tbereplayed,especiallyinthepublic.Ifthesubtitleiskeptonthescreenforalongtime,theaudiencewillpausewiththeplotintheprocessofappreciatingthemovie.Ifthetimeistooshort,itwillmaketheaudiencesbegintoguesstheplotbecausetheycan’tfollowthestepofthemovie.AccordingtoTheEncyclopediaofLanguageandLinguistics,asingle-linesubtitlemayappearonscreenforaslittleastwo-linesubtitleforuptosevenseconds(AshenR.E,1994).Therefore,thesubtitlingtranslatorshouldtaketimeorreadingspeedasthekeyconsiderationintheirtranslationwork.Theirresponsibilitiesaretoensurethetranslatedsubtitlekeepsinaappropriatetimeappearingonthescreen,thetimedurationwillmaketheaudiencehaveenoughtimetoreadthesubtitleandthesubtitleisunderstandableandacceptablefortheaudience;atthesametime,thisactionhasnoeffectfortheappreciationoftheplot.Inordertosatisfythisneed,thesubtitletranslatorshouldmodulatethesentencestructures;dosomereductiontothesubtitles,changingfrompassiveandnegativesentencestoactiveandaffirmativesentences,fromlongsentencestoshortones,andfromcomplexsentencestosimpleones.2.2.2SpacerestraintIn1992,Gottliebstatesthatspaceconstraintsmainlystemfromthesizeofthescreenandtheminimumletter-sizelegibletoaverageaudiences(Gottlieb,1992:164).Spacereferstothenumberoflinguisticsignthescreencancontain(LiYunxing,2001).Thephysicalsizeofthemedium,aTVorcinemascreenislimited,andinordertoavoidunacceptablyimpingingonthepictureofthescreen,therecanonlybeamaximumoftwolinesoftextoflimitedlengthineachsubtitle.Thespacewhichthesubtitleoccupywillaffectthewholescreenappreciation,toomuchsubtitleonthescreennotonlyoccupiesmuchmorespace,butalsowillbringthedamagetothepictureeffectofthevideoofitsown,andatthesametime,itwillinfluencetheaudiences’understandingofthefilmandevenreducetheirenjoymentofthemovie.Consideringtheviewer'sreadingspeed,somesubtitletranslatorsgivethesuggestionthatthereshouldbeonlyonelineofChinesesubtitleeachtime,andthenumberofChinesecharactersshouldbenomorethan13orl4(DongWeimin,2011).Whentalkingaboutotherrestrainfactorsthatinfluencesubtitletranslation,culturecanbeconsideredasoneofthem.Subtitleisthemediumofamoviewhichcanbeconsideredasaculturecarrierofthesourcelanguage.What’smore,theculturefeaturesofthetargetlanguageshouldalsobeconsideredinthetranslationprocessofasubtitle.Thatistosay,subtitletranslationisconstrainedbyboththecultureofsourcelanguageandtargetlanguage.Bywatchingandappreciatingtheaudiovisualworks,theaudiencecanunderstanddifferentlives,habits,customs,conceptsandculturesfromdifferentcountrieswiththehelpofthesubtitles.III.IntroductiontoTeleology3.1SkoposTheoryoverviewSkopostheorieisusedbyHansJ.Vermeertonamehisgeneraltranslationtheory;inotherwords,it’satheorywhichisappliedasthenotionofskoposintranslation.Theword“Skopos’’isfromGreece,whichmeans“aim”or“purpose”.Skopostheorieclaimsthattranslationisanactivitywhichhasancertainaimorpurpose,andontheintendedaddresseeoraudienceofthetranslation,itisintroducedintotranslationtheorybyHansJ.Vermeerinthe1970s,whichisappliedasatechnicaltermforthepurposeofatranslationandoftheactionoftranslating(Munday2001).Theprimaryprincipleofthetheoryisthatanytranslationprocessisdeterminedbythepurpose(Skopos)oftheoveralltranslationaction.Vermeerproposed,quotingHubbell’stranslationofCicero’sDeinvention,“authenticreasonsforactionsalwayswillbeformulatedintermsofaimsorstatementsofgoals’’(1989:176).Thistermhasservedasageneralstartingpointforfunctionalistapproachtotranslation.Therefore,translationcanbetakenasapurposefulactivity.Skopostheorieemphasizesthattheshapeoftargettextshouldaboveallbedeterminedbythefunctionor‘‘Skopos’’thatisintendedtofulfillinthetargettext(Shuttleworth&Cowie,2004).AccordingtoSkopostheorie,everytranslationaimstoanintendedaudience,becausetotranslatemeans“tocreateatextinatargetsettingforatargetpurposeandtargetaddresseesintargetcircumstances”(Vermeer,1986:116-118).Translationistoproduceatargettextinthetargetsetbythetargetgoalandtargetaudienceintargetenvironment.Skopostheorietakestheinitiatorastheonewhosetoutthetranslationprocessanddeterminesitscoursebydefiningthecommunicativepurposeforwhichthetargettextisneeded(Nord,2001).Inotherwords,theinitiatorwantsatextforaspecialpurpose.Inanidealstate,theinitiatorwouldoffersufficientdetailsasmuchaspossiblethatwouldclarifywhichkindoftranslationiswantedandformthetranslationbrief.3.2Teleologicalprinciples3.2.1PurposePrincipleThepurposeprincipleranksfirstandisthesuperiortotheothertwoprincipleswhichhavebeenindilemmaforalongtime.SowecarlsaythatthebirthoftheSkoposTheoryisasolutiontothisphenomenon.Thepurposeprinciplesaysthatatranslatingactionisdecidedbyitspurpose.Inanotherword“Theendjustifiesthemeans”(Nord,2001:29).Vermeerholdsthatthewholetranslationprocessisdecidedbytheintendedpurposeofthetargettextandatranslatoriscommittedtothefulfillmentoftheintendedpurpose.Inthisway,intheprocessoftranslationatranslatorcallconcentrateaccordingtodifferentpurposes.JustasNordpointsout,“Aspecialtranslationtaskmayrequirea‘free’ora‘faithful’translation,oranythingbetweenthesetwoextremes,dependingonthepurposeforwhichthetranslationisneeded.”(Nord,2001:29)Therefore,atranslatorcallemploytheirdifferentproperwayintranslationtomeetdifferenttranslationpurpose.Translationisofdifferentpurposes,andtheSkoposTheoryCanmeetthisrequirement.3.2.2ConsistencyprincipleByVermeer,thecoherenceprinciple,alsonamed“intra—textualcoherence”,refersthat“thetextshouldbecomprehensibletoreceiversintargetlanguagecultureandbecoherentwiththecommunicativesituationinwhichthetargettextsistobeused’’(Vermeer,1984).Inanotherword,theway,usedbythetranslatortotranslatetheoriginaltext,mustbeaccordantwithwhatthereceivercanacceptandunderstandunderthecircumstanceoftheirownknowledgeandculturalbackground.Thecoherenceruleis"intratexturalcoherencespecifiesthatatranslationshouldbeacceptableinasensethatitiscoherentwiththereceiversituation"(ReissandVermeer,1984:113).Theconceptof"intratexturalcoherence"is“whatthetranslatorcandoandshoulddoistoproduceatextthatisatleastlikelytobemeaningfultotarget-culturereceivers.”(Nord,2001:32)Theconcept“coherentwith"refersto"synonymwithbeingpartofthereceivers'situation(Vermeer,1983:54).InSkoposTheory,Skoposruleisthefirstandforemostone,andcoherenceruleisfollowedbyfidelityrule."IftheSkoposdemandsachangeoffunction,thestandardwillnolongerbeintertextualcoherencewiththesourcetextbutadequacyorappropriatenesswithregardtotheSkopos."(ReissandVermeer,1984:39;Nord,2001:33)Therequirementofcoherenceruleisthatthetranslationshouldbereadableandacceptable,anditcanbereadandunderstoodbythereadersoraudiencefromthetargetlanguage.Onlywhenthereadersoraudienceunderstandthereadingwhichisbasedonreasonablecommunicativesituation,canthetranslationbecomeasuccessfulone.3.2.3PrincipleoffidelityThefidelityrule,alsonamed“inter-textualcoherence’’byVermeer,requiresthatthetargettextissupposedto‘‘bearsomekindofrelationshipwiththecorrespondingsourcetext'’(Nord,2001).Thatistosaythetargettextmustbeaccordantwiththeoriginaltexteitherinformorinfunction,namely,beloyaltothesourcetext.Buttheleveloffidelityisvarious,andthedifferentlevelsoffidelityresultfromdifferenttranslationpurposes.Therefore,thefidelityprincipleisinferiortocoherence,andatthesametime,boththefidelityprincipleandthecoherenceprinciplearesubordinatetothepurposeprincipleAswhatisstatedbyNord“Ifthepurposerequiresachangeoffunction,thestandardwillnolongerbeinter—textualcoherencewiththesourcetextbutadequacyorappropriateness､withregardtothepurpose.Andifthepurposedemandsintro-textualincoherence,thestandardofintro—textualcoherenceisnolongervalid”(Nord,2001)Asitismentionedabove,theSkoposTheory,asthemostimportanttheoryinthefieldofFunctionalistApproaches,isproposedbyCatharineRice.Atthesametime,asthetraditionalequivalence-orientedtheorieswereprovedtobeinappropriate,especiallyfornon—literarytranslations,somescholarsbegantoturntotheSkoposTheory.Inthelatterhalfofthetwemieth—century’withthegrowingneedsforthetranslation.TheSkoposTheoryisbroughtintosharprelie£AndtheprocessoftranslatingactioninlightoftheSkoposTheoryisasfollows:Thismodel,asitisillustrated,infact,callalsobeappliedtonon-literarycommunication,especiallyaudiovisualproducts.Andwecandrawoutfromtheillustrationthatspecificpurposeandculturefactorsshouldbefocusedoninth.eprocessoftranslation.Inthisthesistheculture-loadedwordsinsubtitleswillbeanalyzedinlightoftheSkoposTheory.IV.Characteristicsofculture-loadedwordsinepicfilms4.1LanguageFeaturesCultureisacomplexsocialphenomenon,whichisthesumtotalofanation'sknowledge,experience,value,rank,religionandconceptoftimeandspace.Ithasdistinctnationalandregionalcharacteristics,andisusedinafixedsociety.Everything.Languageisonlyapartofculture,anylanguageisareflectionofacertainculture,languageisthecarrierofculture,languageandcultureareinseparable.EnglishandChinesearebothlanguageswithalonghistory,yeteachbelongstoacompletelydifferentlanguagefamily.Thedifferencesbetweenthemarenotonlyreflectedintheformoflanguage(pronunciation,grammar),butalsoshowtherichculturalcharacteristicsofwords.Becausetheobjectivity,socialityandcultureoflanguageareforgedfrom--languageiscreatedandservesanationinitslong-termproductivelaborandsocialpractice.Therefore,theirvocabularyisboundtoreflectthesocialrealityoftheirownnation,andisrestrictedbytheirlivinghabits,waysofthinking,languagepsychology,normsofconduct,moralvalues,politicalconceptsandculturaltraditions,anddeeplystampedwiththebrandoftheirnation,regionandera.Therefore,EnglishandChinesewordsareboundtocarrytheirownspecificculturalconnotations.AndEnglishteachingfrompronunciation,vocabulary.Theexpressionmethodispermeatedwiththecolorofforeignculture.Especiallyforwords,somewordsalwayscontaincertainculturalconnotation,orcarryspecificculturalmeaninginacertainlanguagebackground.Thesewordswithrichculturalconnotationarecalledculture-loadedwords.Understandingandgraspingculture-loadedwordsisanimportantpartofinterculturalcommunicationandalsoasubjecttobestudiedinmodernEnglishteaching.However,theEnglishwordspine,bambooandplumdonotarousesuchassociationsinEnglishspeakers,nordotheyhavesimilaraccompanyingmeanings.Similarly,theEnglishblueroomliterallymeans"blueroom",whichactuallyreferstothereceptionroomintheWhiteHousewherethepresidentmeetshisrelativesandfriends,similartotheChinese"innerlivingroom".TheEnglishNationalTrustliterallymeans"NationalTrust".Infact,thisorganizationisresponsibleforthemaintenanceandmaintenanceofthecollectionsofexhibitsintheEnglishnationalmuseums,whichisequivalenttothe"nationalculturalrelicsprotectioncommission"inChina.Suchculturalwordsshowthatifwedonotunderstandtheculturalconnotationofthesewords,wecannotcorrectlygrasptheirtruemeaning.Inaddition,theveryexistenceandextinctionofthesewordscanprovideinformationabouttheprocessofculturaldevelopment.Forexample,therehavebeenattemptstofindoutwheretheearliestIndo-Europeanslivedbystudyingthewordsofsomeancientlanguages.Therefore,tolearnalanguagewell,weshouldnotonlymasteritslanguageform,butalsomasteritsculturalsignificance.Inparticular,acomparativestudyofculture-loadedwordswillhelppromoteforeignlanguageteaching,translationandcross-culturalcommunication.4.2CulturalCharacteristicsProfessorQianShaochangofShanghaiInternationalStudiesUniversityhasbeenengagedinfilmandtelevisiontranslationsince1984.Overtheyears,hehastranslatedmorethan600filmsandTVseriessuchasGrowingPainsandAFamilyofVanity.HehasrichexperienceinsubtitletranslationandisproficientinEnglishandChinesebilinguallanguageandculture.Hesummarizedthecharacteristicsoffilmandtelevisionlanguageintothefollowingfivepoints:listening,comprehensiveness,instantaneous,popularityandindifference.MaZhengqisummedupthreeessentialcharacteristicsoffilmandtelevisionlanguagefromthecommunicationmodeoflanguageitself:unityofsoundandspeech,audio-visualartandinformationcommunicationfunction.ZhangChunbai,anotherrepresentative,pointedoutthattheimmediacyandpopularityoflanguagearethebasiccharacteristicsoffilmandTVdramalanguage.Unlikewrittenwords,filmlanguagecanbereadwiththeeyes--audienceslistentodialoguewiththeirears,appreciatepictureswiththeireyes,andexperiencetheplotdevelopmentofcharacterswithmusicandvarioussoundeffectstogenerateemotionalresonance.Inaddition,thefilmdialogueisfleeting,thefilmaudienceisverywide,involvingmenandwomenofdifferentculturallevels,soitmustbeeasytounderstand,elegantandpopular,easytobeacceptedbythepublic.T