功能对等理论视角下的字幕翻译分析-以《中华百工》为例

ANANALYSISOFTHESUBTITLETRANSLATIONFROMTHEPERSPECTIVEOFFUNCTIONALEQUVIALENCETHEORY—ACASESTUDYOFCHINESEARTSANDCRAFTS[Abstract]Thisstudy,framedwithinthefunctionalequivalencetheory,exploresstrategiesandqualityassessmentfordocumentarysubtitletranslation.Usingthesubtitletranslationofmicro-documentaryChineseArtsandCraftsasacasestudy,itanalyzestranslationmethodsunderconstraintsliketime,space,andculturaladaptation.Theaimistoverifythepracticalapplicationoffunctionalequivalencetheoryandtodevelopsystematictranslationstrategies.Drawingonfourdimensionsoffunctionalequivalencetheory—lexical,syntactic,textual,andstylisticequivalence,thethesisexaminesthesubtitletranslationofChineseArtsandCrafts,exploringhowtoimplementtheprinciplesandmethodsoffunctionalequivalence.Throughcaseanalysis,itisfoundthatcultural-specifictermsrequireadomesticationstrategytobalanceaccuracyandacceptability;undertimeconstraints,languageconcisenessandinformationequivalencecanbeachievedthroughcompressionandrewriting;culturalimageconversionshouldconsiderthecognitiveframeworkofthetargetaudience.Thefindingsdemonstratethatfunctionalequivalencetheoryeffectivelyguidessubtitletranslationtoachievecross-culturalcommunicationgoalsunderconstraints.Theresearchoutcomesnotonlyexpandtheapplicationparadigmoffunctionalequivalencetheorybutalsoprovidemethodologicalreferencesfortranslatingsimilarculturaldocumentariesandofferanewperspectiveforconstructingtranslationqualityassessmentsystems.[Keywords]ChineseArtsandCrafts;functionalequivalencetheory;subtitletranslation功能对等理论视角下的字幕翻译分析——以《中华百工》为例[摘要]本研究基于功能对等理论视角，探讨纪录片字幕翻译的策略与质量评估。研究以央视微纪录片《中华百工》字幕翻译为案例，分析其在时间、空间、文化适应等限制下的翻译方法，旨在验证功能对等理论在实践中的应用效果，并提炼系统性翻译策略。本文从功能对等理论中的四个角度出发研究纪录片《中华百工》的字幕翻译，探讨如何落实翻译的功能对等的原则与具体方法。同时，通过案例分析研究发现：文化专有名词需采用归化的翻译策略平衡准确性与可接受性；时间限制下需通过压缩、改写实现语言精简与信息等效文化意象转换需兼顾目标受众认知框架。最终证明，功能对等理论能有效指导字幕翻译在受限条件下实现跨文化传播目标。研究成果不仅拓展了功能对等理论的应用范式，还可为同类文化纪录片翻译提供方法论参考，并为翻译质量评估体系构建提供新视角。[关键词]《中华百工》；功能对等理论；字幕翻译ContentsTOC\o"1-3"\h\u19570Abstract i31072摘要 iii9397I.Introduction 1156661.1ResearchBackground 1162061.2SignificanceandPurposeoftheStudy 264471.3ResearchQuestions 3251191.4DataandMethodology 3240691.5LayoutoftheThesis 45861II.LiteratureReview 652442.1PreviousStudiesonSubtitlingTranslation 6228472.1.1Thedefinitionofsubtitling 6286202.1.2TheFeaturesofsubtitling 7259392.2StudiesonDocumentarySubtitlingTranslationAbroadandatHome 9251272.2.1StudiesinChina 10308822.2.2Studiesinforeigncountries 1124246III.TheoreticalFramework 12324163.1Nida'sFunctionalEquivalenceTheory 12318453.2TheApplicationofFunctionalEquivalenceTheory 13119643.3Four-DimensionalAnalyticalFrameworkofFunctionalEquivalenceTheory 132101IV.AFunctionalEquivalentApproachtotheSubtitleTranslationofChineseArtsandCrafts 1540964.1TranslationattheLexicalLevel 15191784.1.1Liberaltranslation 16139484.1.2Literaltranslation 1895464.2TranslationattheSyntacticLevel 19289334.2.1Omission 19325934.2.2Addition 2146434.2.3Division 22107544.3TranslationattheTextualLevel 2453964.3.1Addition 2442854.3.2Shift 25103254.4TranslationattheStylisticLevel 26159374.4.1Liberaltranslation 27125664.4.2Variationtranslation 286849V.Conclusion 30141925.1Findings 30132465.2Implications 31269915.3Limitations 329085References 334894Acknowledgments 35IntroductionThischapterprovidesanoverviewoftheresearch.Startingfromthebackgroundoftheresearch,itemphasizesthattranslationaimstoensureequivalentresponsesbetweentargetandsourcelanguagereaders,achievingfunctionalequivalence.Thisprinciplerequirestranslatedtextstoevokeunderstandinginthetargetculturecomparabletotheoriginal.Thistheoryhasimportantguidingsignificanceindocumentarysubtitletranslation.Thischapteralsooutlinestheresearchquestionsandbrieflyexplainsthestructureofthethesis.ResearchBackgroundWiththeadvancementofglobalizationandtheintensificationofcross-culturalinteractions,internationalculturaldisseminationhasdemonstratedremarkablegrowth.Asvitalmediumsforculturaltransmission,audiovisualproductions—particularlydocumentaries—playapivotalroleinfosteringmutualunderstandingamongdiversesocieties.Documentariesuniquelyintegrateauthenticity,narrativity,andartistry,playinganirreplaceableroleinenablingintergenerationaltransmission.Forinstance,ChinesedocumentarieslikeABiteofChinaandMastersintheForbiddenCityhavetransformedlocalizedculturalsymbolsintogloballyresonantnarrativesthroughhigh-qualitysubtitletranslation.Againstthisbackdrop,CCTV'smicro-documentaryChineseArtsandCrafts,focusingon35nationalICHprojects,exemplifiesthedualchallengesofsubtitletranslation:itmustdecodeculture-specificterminologieswhilereconstructingnarrativesalignedwithEnglish-speakingaudiences'cognitiveframeworks.ThispracticevalidatesEugeneNida'sFunctionalEquivalenceTheory,whichprioritizes"theclosestnaturalequivalence"overformalcorrespondencewhensystemiccognitivedisparitiesexistbetweensourceandtargetlanguages.TheselectionofChineseArtsandCraftsastheresearchsubjectstemsfromitstypicityinglobalculturaldissemination:asaflagshipprojectfornationalimage-building,itssubtitletranslationqualitydirectlyshapesinternationalaudiences'perceptionofChinesetraditionalcraftsmanship.ThroughthelensofFunctionalEquivalenceTheory,thisstudysystematicallydeconstructsitstranslationstrategies,offeringmethodologicalinsightsforresolvingthe"translatability"dilemmainculturalcommunication.SignificanceandPurposeoftheStudyThisthesischoosesthefunctionalequivalencetheoryofEugeneNidaasthetheoreticalbasis,analyzestheEnglishsubtitletranslationofthedocumentaryChineseArtsandCrafts,adoptstherelevanttheoreticalliteraturesearchmethodandthetextcomparisonandclosereadingmethod,anddiscusseshowtodealwithculturalandlanguagedifferencesinsubtitletranslation,soastoachievefunctionalequivalence.ThisthesissystematicallyanalyzessubtitletranslationinthedocumentaryChineseArtsandCraftsthroughthefunctionalequivalenceframework,encompassinglexical,syntactic,discourse,andstylisticdimensions.Byintegratingtheprinciplesofdynamicequivalenceandformalequivalence,thestudyexaminespracticalstrategiestooperationalizethesetheoreticalfoundationsinaudiovisualtranslation,withparticularemphasisoncontext-specificmethodologicalapproaches.Thefindingscontributetoestablishingaculturallyadaptivetranslationparadigmthatbalancessemanticfidelityandstylisticcoherenceincross-culturalcommunication.ThisthesisanalyzesthetranslationofChineseandEnglishsubtitledtexts,explorestheapplicationoffunctionalequivalencetheoryindocumentarysubtitletranslation,andevaluatestheapplicabilityandlimitationsofthistheoryintheactualtranslationprocessthroughthecasestudyofChineseArtsandCrafts.Intermsofapplicability:Fromtheperspectiveoffunctionalequivalencetheory,Englishsubtitletranslationofdocumentarieswithmoreappropriatesubtitlesinthesourcelanguageisdiscussed,aimingtoconveythemeaningcontainedinthesourcelanguageasmuchaspossible,soastoenhancetheaudience'sacceptanceoftraditionalculture-relateddocumentariesandbetterpromotetheinternationaldisseminationoftraditionalChineseculture.Limitations:Thisstudyaimstoidentifytheshortcomingsofexistingstudiesandputforwardsuggestionsforimprovement.Throughthisstudy,itisexpectedthattheapplicationoffunctionalequivalencetheoryinsubtitletranslationcanbedeeplyunderstood,andspecificsuggestionsforimprovementcanbeputforwardtoprovidetheoreticalsupportandpracticalguidanceforimprovingthesubtitletranslationqualityofthedocumentaryChineseArtsandCraftsandotherfilmandtelevisionworks.ResearchQuestionsThisthesisstudiestheapplicationoffunctionalequivalencetheoryindocumentarysubtitletranslationbytakingthemicro-documentaryfilmChineseArtsandCraftsasanexample.Therefore,thisstudyaimstoanswerthefollowingquestions:1.HowcanlexicalandsyntacticequivalenceinfunctionalequivalencetheoryberealizedintheEnglishtranslationofthedocumentaryChineseArtsandCrafts?2.HowcantextualandstylisticequivalencebeachievedintheEnglishtranslationofthedocumentaryChineseArtsandCraftsguidedbyfunctionalequivalencetheory?3.Howtofurtherimprovethesubtitletranslationofthedocumentarytoenhancethedeliveryeffect?DataandMethodologyThisthesisusesthefunctionalequivalencetheorytostudythesubtitletranslationofChineseArtsandCraftsdocumentaries.ChineseArtsandCraftsisoneofthe"ChinesecultureOverseassocialplatformCommunication"projectscommissionedbythePropagandaDepartmentoftheCentralTelevisionNetwork.ThedocumentaryChineseArtsandCraftswascompletedinJune2016andlaunchedonCCTV-9andnewmediaplatformsathomeandabroadinApril2017,withmorethanonemillionpageviewsabroad.ItfocusesonChina'sintangibleculturalheritageandaimstospreadexcellentChinesecultureandtellChinesestoriesthroughdocumentaries.Itscontentcoverstheprocessoftraditionalcraftsmanship,thespiritofartisansandthestoryofculturalinheritance.TheserieshasbeenmadeintoTVdocumentaries,publicserviceannouncements,onlinevideosandmultilingualversions,broadcastonChinaCentralTelevision(CCTV)andChinaCentralTelevision(CCTV),andpromotedonmainstreamplatformsoverseassuchasFacebookandTwitter.LayoutoftheThesisThisthesiscomprisessixchapters,adoptingaresearchframeworkthatintegratestheoreticalexplorationwithcasestudyanalysis.Thestructuralorganizationisasfollows:Thefirstchapterprovidesanoverviewoftheresearchbackgroundandsignificance,highlightingtheguidingvalueoftheSkopostheoryinsubtitletranslationfordocumentaries.Byraisingcorequestionssuchas"Howtoachieveculturalinformationequivalenceundertemporalandspatialconstraints,"thechapterestablishestheresearchframeworkandbrieflyoutlinesthestructureofthethesis.Thesecondchapterissystematicallyreviewstheevolutionoffunctionalequivalencetheory,withemphasisonNida'sdynamicequivalencetheoryanditsapplicationinaudiovisualtranslationstudies.Thischapterlaysthetheoreticalfoundationforsubsequentcaseanalyses.Thethirdchapterconstructafour-dimensionalanalyticalframeworkbyestablishingspecificanalysisindicatorsatthelexical,syntactic,textualandstylisticequivalence.ThefourthchapterexaminesbilingualsubtitlesfromthedocumentaryChineseArtsandCraftsthroughstratifiedempiricalinvestigation:explorescompensationstrategiesforculture-loadedterms;analyzessimplificationandrestructuringtechniquesforcomplexsentences;verifiescomprehensionequivalencebetweentargetandsourceaudiencesthroughcomparativeanalysisofcohesivemechanisms.Thefifthchapterprovidesacomprehensiveconclusiontothisthesis,summarizingthekeyfindingsanddiscussingtheirimplications,aswellasacknowledgingthelimitationsofthestudy.

LiteratureReviewThischapterisaliteraturereviewofdocumentarysubtitletranslationandtheapplicationoffunctionalequivalencetheory,withaparticularemphasisontheevolutionoffunctionalequivalencetheoryinsubtitletranslation(1980–2020).ItfocusesontheadaptationofNida’sdynamicequivalencetheoryinmultimediacontexts.Thisthesisdiscusseshowtodealwithculturalandlinguisticdifferencesinsubtitletranslationandachievefunctionalequivalencebyusingtherelevanttheoreticalliteraturesearchmethodandtheclosereadingmethodoftextcomparison.PreviousStudiesonSubtitlingTranslationAsanimportantpartoffilmandtelevisiontranslation,subtitletranslationplaysavitalroleincross-culturalcommunication.Existingstudieshaveprimarilyfocusedonliterarytranslation,withsystematicsolutionsfortheuniquespatiotemporalconstraintsofdocumentarysubtitlesyettobedeveloped.Thisgappresentsakeyopportunityforthisresearch.Earlystudiesfocusedontheobjectivelimitationsofsubtitletranslation.Li(2001)pointedoutthatsubtitletranslationislimitedbyspaceandtime.Zhao(2019)arguesthatsubtitlingisdifferentfromtraditionalliterarytranslationinthatitistranslatedfromspokenlanguageandoffersextrainformationfromrelevantaudio-visualsources.2.1.1ThedefinitionofsubtitlingThereareseveraldifferentdefinitionsoflanguageindifferentdictionaries,theMerriam-Webster'sonlinedictionarydefinesagivensubtitletranslationas“atranslation,usuallyofsentencesordialogue,thatissuperimposedatthebottomofascreenwithmovingimagesortelevisionprogramsinaforeignlanguage”.IntheAmericanConventionalDictionarydefinesagivensubtitletranslationas“humansemploystructuredsystemsofvocalexpressionsandcorrespondingwrittensymbols,arrangedthroughorganizedpatterns,toconveyfeelingsandcommunicatethoughtseffectively”.Concerningthedefinitionofsubtitletranslation,somewesternscholarshavegivenussomeadequateexplanations.Customarily,Subtitlingmeansthat“subtitlingischaracterizedasawritten,supplementary,real-timesynchronized,andcross-mediaadaptedformoftranslation”(Gottlieb1998).WhileBaker(2004)claimsthat“captions,alsotermedsubtitles,constitutedynamictextualrepresentationsofaudiovisualdialoguesthatappearthroughsynchronizeddisplayatthescreen'slowerinterfaceduringplayback.Thislinguisticmediationtechniqueachievesprecisealignmentbetweenacousticandvisualelementswithinconstrainedspatiotemporalparameters”.Karametegro(1998)definessubtitletranslationasthetranslationofthewrittenorspokensourcelanguagetextofanaudiovisualworkintothewrittentextofthetargetlanguage,andtheadditionofittothescreenofthesourcelanguagefilmwork,usuallyatthebottomifthereisascreen.2.1.2TheFeaturesofsubtitlingAlthoughthetemporalandspatialconstraintsofsubtitletranslationhavebeenwidelydiscussed(Li,2001),itsspecificcharacteristicsstillrequirefurtheranalysisinconjunctionwiththeuniquepropertiesofthemedium.Thefollowingdiscussionexploresthecharacteristicsofsubtitletranslationfromtheperspectivesofcolloquialismandculturaldifference.Colloquialism.Themaingoalofsubtitletranslationfordocumentariesistofaithfullytransmittheinformation.Thisrequirestranslatorstohaveprofoundlanguageskillsandprofessionalknowledge.Documentariesofteninvolveprofessionalfields,suchashistory,science,art,etc.,whichputshighrequirementsontheprofessionalknowledgeoftranslators.Forexample,whentranslatingscientificdocumentaries,translatorsneedtounderstandandaccuratelytranslatetechnicalterms,whileensuringthatsubtitlesareconciseandeasytounderstand.Thisrequiresnotonlyasolidlanguagefoundation,butalsoamasteryandunderstandingofprofessionalknowledge.Dialogueindocumentariesisusuallycolloquial,andtherearemanydifferencesbetweenspokenandwrittenlanguage.Translatorsneedtofindabalancebetweencolloquialexpressionandwrittenlanguagenorms,sothatsubtitlescannotonlyconveythenaturalandvividspokenlanguage,butalsoconformtothenormsofwrittenexpression.However,theexpressionofthetwodifferentlanguagesisbasedontheconstraintsoftimeandspace,andoftentheaudiencecannothavealong-termthinkingprocessforsomecontentoftheaudienceinthesourcelanguagewithinalimitedtimeandspace.Therefore,itismorenecessarytoreflecttheeasy-to-understand,coherentandaccuratesubtitletranslation.Subtitlesappearinfilmandtelevisionworksforaverylimitedtime,usually2-3seconds,aflash,andleavetheaudiencetothinkabouttheaftertasteofthetimeisverylittle,whichrequiresthetranslationofsubtitlesconciseandtothepoint(Zhang,2012).Culturaldifference.Culturaldifferencesareanotherchallengeindocumentarysubtitletranslation.Documentariesoftenreflecttheculturalbackgroundsandsocialphenomenaofdifferentcountriesandregions,andtranslatorsneedtohaveadeepunderstandingoftheoriginalcultureandbeabletoaccuratelyconveyittothetargetaudience.Inaddition,thedocumentarymayalsoinvolvesomeculturalcustomsandlifestyleswithregionalcharacteristics.Forexample,whendisplayingthelifescenesoftraditionalChinesehandicraftvillages,theremaybesomespecificfestivalsandfolkbeliefactivities.Thesecontentsmaybedifficultforforeignaudiencestounderstand,andtranslatorsneedtointerpretandguidethemappropriatelyinthesubtitles.Inshort,facedwiththechallengeofculturaldifferences,translatorsneedtohavetheawarenessandabilityofcross-culturalcommunication.Throughin-depthstudyoftheoriginalculture,translatorsshoulduseappropriatetranslationstrategiesandskillstoaccuratelyandvividlyconveytheculturalconnotationofthedocumentarytothetargetaudience,soastopromotethecommunicationandunderstandingbetweendifferentcultures.StudiesonDocumentarySubtitlingTranslationAbroadandatHomeWiththecontinuousadvancementofeconomicglobalizationandtheincreasingdiversityofcultures,documentary,asanartformwithuniquecharm,playsanincreasinglysignificantroleinthefieldofcross-culturalcommunication.Inthetideofglobalization,theeconomictiesbetweencountriesareincreasinglycloseandtradeisfrequent,whichnotonlypromotestheflowofmaterialresources,butalsoacceleratestheexchangeandintegrationofcultures.Culturaldiversityhasbecomeamajorfeatureoftoday'sworld,andtheculturesofdifferentcountriesandregionsshowtheiruniquecharmandvalueinthecollisionandexchange.Withitstruerecordandvividdisplay,documentaryhasbecomeanimportantcarriertospreadculturesofdifferentcountriesandenhancemutualunderstanding.Domesticresearchhasprimarilyfocusedonthespatiotemporalconstraintsofsubtitles(Li,2001),butithasnotsystematicallyconnectedtheseconstraintstothefunctionalequivalencetheory.Zhao(2019)emphasizedthecharacteristicsofaudiovisualmediabutdidnotdelveintothehierarchicalaspectsoftext,suchaslexiconandsyntax.Internationalresearch,ontheotherhand,hasexploredfeatureslikeaccessibilityandsynchronicity(Gambier,2003),butithasnotaddressedthetransmissionofculturalimagery.Kelly(2005)summarizedsixconstraintsthatcancomplementthedomesticresearchgapregardingthebalancebetweencolloquialismandprofessionalism.Bycomparison,itisevidentthatdomesticandinternationalresearchexhibitcomplementarystrengthsintheoreticaldepthandpracticalstrategies.Thefunctionalequivalencetheorycanintegratethesestrengths,providingaframeworkformulti-leveltranslation.Insummary,domesticandinternationalresearchhashighlightedthemultidimensionalchallengesofsubtitletranslation,yetthereisalackofsystematicanalysisfromtheperspectiveoffunctionalequivalence,particularlyregardingsolutionsatthelexical,syntactic,textual,andstylisticlevels.Thisstudyaimstofillthisgapbyvalidatingtheapplicabilityofthetheorythroughcasestudies.StudiesinChinaDomesticscholarshavegraduallyincreasedtheirresearchonsubtitletranslationandrelatedfields,mainlyfocusingonthefollowingaspects:Applicationoffunctionalequivalencetheory:Theapplicationoffunctionalequivalencetheoryindocumentarysubtitletranslationhasbeenwidelystudied.Forexample,someresearchersanalyzedthesubtitletranslationofthedocumentary"BeautifulChina"fromtheperspectiveoffunctionalequivalencetheory,andexploredhowtoachievetheequivalenceofinformation,culture,emotionandatmosphereintranslation(Xiang,2024).MoandCai(2010)mentionedintheprinciplesoffilmandtelevisionsubtitletranslationthatsubtitletranslationnotonlyenablesaudiencestogetalotofinformationinashorttime,butalsoenablespeopletofullyenjoytherealfilmandtelevisionworks.Thequalityofsubtitletranslationispivotalindeterminingwhetheraudiencescanfullycomprehendfilmcontentandachieveanoptimalviewingexperience.Mr.Qian(2000)emphasizedwithintheframeworkoftranslationtheorythataudiovisuallanguageexhibitscharacteristicssuchasimmediacy,comprehensiveness,accessibility,andaudibility.Thesefeaturesnecessitatetranslatorstobalancelinguisticconcisenesswithinformationalintegrityduringcross-culturaladaptation,ensuringalignmentwiththedynamicrequirementsofvisualmedia.Therefore,inordertobreakthebarrierofcross-culturalcommunication,itisnecessarytodoagoodjobinsubtitletranslation.Culturaldifferencesandtranslationstrategies:Culturaldifferencesareanimportantchallengeindocumentarysubtitletranslation.Researchershaveproposedavarietyoftranslationstrategies,suchasextraneousinterpretationandintralingualinterpretation,todealwithculture-specificitems(Zhao,2007).Inaddition,anotherstudyanalyzedtheEnglishtranslationofthedocumentaryClickonXinjiangfromtheperspectiveofculturalcommunication,andexploredhowtoaccuratelyconveyculturalconnotationsinsubtitletranslation.Ingeneral,Westerncountrieshavemadesomeachievementsintheresearchofsubtitletranslationstrategies,principles,standardsandqualitycontrol,Li(2015)believesthatwhileChina'ssubtitletranslationstartedrelativelylate,bothinthepracticeoffilmandtelevisiontranslationandintherelevanttheoreticalresearchoffilmandtelevisiontranslation,Chinaisinarelativelybackwardstage.StudiesinforeigncountriesForeignresearchondocumentarysubtitletranslationstartedearlierandformedamoresystematictheoreticalmethod.Themainresearchcontentsinclude:Characteristicsofsubtitletranslation:Gambier(2003)proposedsevencharacteristicsofsubtitletranslation:accessibility,acceptability,readability,synchronization,relevanceandlocalization.Thesefeaturesprovideimportantguidanceforthepracticeofsubtitletranslation.Limitationsofsubtitletranslation:Kelly(2005)summarizedthesixlimitationsofsubtitletranslation:time,space,image,music,speechandspokenlanguage.Theselimitationsrequirespecialattentioninactualtranslationtoensuretheaccuracyandfluencyoftranslation.TheoreticalFrameworkThischapteristhetheoreticalfoundationofthethesis,andalsoprovidestheoreticalsupportforthetranslationstrategiesproposedlater.Inthischapter,EugeneNida'sdynamicequivalencetheoryisplacedinthefirstplaceasthetheoreticalsourceoffunctionalequivalencetheory.Then,thisthesiswillexplorethecorecontentoffunctionalequivalencetheoryindepth.Nida'sFunctionalEquivalenceTheoryNida'stranslationtheoryhasundergonetwomajordevelopments.In1964,heproposedthetheoryofdynamicequivalence,advocatingthatthetranslationshouldevoke"essentiallythesameresponsefromthetargetaudienceasthesourceaudience"(Nida,1964),breakingthroughthelimitationsofformalequivalence.Nida'stheoryemphasizesthattranslationshouldfocusonthetargetaudience'sresponse,aimingfornaturalandfluentexpressionratherthanaliteralword-for-wordcorrespondence.However,sincetheterm"dynamic"iseasilymisunderstoodas"freerewriting,"Nidareviseditto"FunctionalEquivalence"in1986.Thisrevisionemphasizesthattranslationshouldachieveequivalenceinlinguisticfunctionssuchasinformationtransferandemotionalevocation,anditrefinesequivalenceintofourlevels:lexical,syntactic,discourse,andstylisticequivalence(Nida,1986).Thisadjustmentretainsthecoreideaofdynamicequivalencewhileenhancingthetheory'soperabilitythroughclearfunctionalcategorization.Theevolutionofterminologyreflectsaparadigmshiftfromemphasizingaudienceresponsetosystematicallydeconstructingtextualfunctions.TheApplicationofFunctionalEquivalenceTheoryFromthepointofviewofthepurposeandcharacteristicsofsubtitletranslation,theapplicationoffunctionalequivalencetheoryinsubtitletranslationhasstrongfeasibility.Firstofall,thegoalofsubtitletranslationishighlyconsistentinessencewiththecoreconcernsoffunctionalequivalencetheory.Subtitletranslationisdesignedtohelpthetargetlanguageaudienceeasilyunderstandthecontentinthesourcelanguagethroughsubtitles,sothattheycanhaveasimilarexperienceandreactionwhenwatchingvideosasthesourcelanguageaudience.Thetheoryoffunctionalequivalenceemphasizesthatthetranslatedtextshouldmatchtheoriginaltextincontentandstyletoachievethesametranslationeffectbetweendifferentlanguages.Therefore,undertheguidanceoffunctionalequivalencetheory,subtitletranslationcanbetterachieveitshighestgoal.Secondly,therearesignificantdifferencesbetweendifferentcultures,especiallyatthelinguisticlevel.Achievingcompleteform-contentequivalenceintranslationishighlychallenging.Translatorsmuststrategicallyadjusttheirapproach:prioritizesemanticaccuracyofsourcetexts,thenoptimizetargetlanguagestructures.Asfunctionalequivalencetheorydictates,conveyingcoremeaningshouldsupersederigidadherencetoformalcorrespondence.Thisnecessitatesconsiderationoftargetreaders'cognitivepatterns,employingsyntacticrestructuringandword-orderadaptationtobalanceformandcontent.Therefore,thetheoryoffunctionalequivalenceishighlyconsistentwiththecharacteristicsofsubtitletranslationandcanhelptranslatorsachievegoodaudio-visualeffectsinamoreappropriateform.Four-DimensionalAnalyticalFrameworkofFunctionalEquivalenceTheoryThisframeworkprovidescleartheoreticalguidanceforthecaseanalysisinChapter4,basedonNida's(1986)FunctionalEquivalenceTheory,thisstudyconstructsananalyticalframeworkatthefollowing