目的论视角下的英语电影字幕翻译的研究-以《疯狂动物城》为例

目的论视角下的英语电影字幕翻译的研究——以《疯狂动物城》为例摘要:经济全球化时代背景下,各国文化交流日渐频繁,国外电影作品为了扩大销售量,开始进入国内市场,字幕翻译工作愈发关键，电影作为一种文化载体，字幕翻译对了解影片内容十分重要。目前国内的字幕翻译还处于初级阶段，翻译质量存在着参差不齐、鱼龙混杂等现象，这就给字幕翻译的发展带来了很多困扰的因素。字幕的翻译同样需要翻译理论来支持，本文将通过目的论分析电影疯狂动物城字幕翻译。目的论有三大原则，即目的原则，连贯性原则和忠实性原则，它们成为了我们在字幕翻译过程中的指导方针。目的原则认为，任何翻译都有一个目的，翻译活动要围绕这个目的进行：连贯性原则指译文必须符合语内连贯的标准，具有可读和可接受性;忠实性原则即译文必须要忠实原文。关键词：目的论；字幕翻译；翻译策略；《疯狂动物城》StudyontheSubtitleTranslationofEnglishMoviefromthePerspectiveofSkoposTheoryACaseStudyofZootopiaAbstract:Withthedevelopmentoftheglobaleconomy,culturalexchangesamongcountrieshavebecomeincreasinglyfrequent.Inordertoexpandsales,foreignfilmsbegantoenterthedomesticmarket.Subtitletranslationisincreasinglycritical.Asakindofculturalcarrier,subtitletranslationisveryimportanttounderstandthecontentoffilms.Atpresent,subtitletranslationinChinaisstillintheprimarystage,andthetranslationqualityisunevenandmixed.Thishasbroughtmanydisturbingfactorstothedevelopmentofsubtitletranslation.Subtitletranslationalsoneedsthesupportoftranslationtheory.ThispaperwillanalyzethesubtitletranslationofthemovieZootopiathroughskopostheory.Skopostheoryhasthreeprinciples,namelytheprincipleofpurpose,theprincipleofcoherenceandtheprincipleoffidelity,whichhavebecomeourguidelinesintheprocessofsubtitletranslation.Theprincipleofpurposeholdsthatanytranslationhasapurpose,andtranslationactivitiesshouldfocusonthispurpose.Thecoherenceprinciplemeansthatthetranslationmustbereadableandacceptable.Thefidelityprinciplemeansthatthetranslationmustbefaithfultotheoriginal.KeyWord:SkoposTheory;SubtitleTranslation;TranslationStrategy;ZootopiacontentIntroduction 5ChapterIStudyonFilmSubtitle 61.1DefinitionofSubtitle 61.2Definitionofsubtitletranslation 61.3Featuresofsubtitletranslation 71.4ResearchonFilmSubtitleTranslationathomeandabroad 8ChapterIISkoposTheory 92.1IntroductionofSkoposTheory 92.2ThreeRulesofSkoposTheory 102.2.1Skopostheory 102.2.2Coherence 112.2.3fidelity 11ChapterIIISubtitleTranslationinZootopiaBasedonSkoposTheory 123.1IntroductionofZootopia 123.2TranslationBasedonThreeRulesofSkoposTheory 133.2.1TranslationBasedontheSkoposRule 133.2.2TranslationBasedontheCoherenceRule 153.2.3TranslationBasedontheFidelityRule 16Conclusion 18Bibliography 19IntroductionTranslationisgenerallyusedinthefieldsofeducation,religion,scienceandphilosophy.Astimewenton,itbecamemoreandmorewidelyused.However,intheearly20thcentury,withthedevelopmentandpopularityoffilm,translationisusedinfilmsforforeignaudiences.Thensubtitletranslationcameintobeing.Nowadays,itbecomesmoreandmoreimportantbecauseofculturalexchange.However,assubtitletranslationinChinaisstillintheinitialstage,therearenospecifictranslationtheoriesandrules.Therefore,thequalityofsubtitletranslationcannotbeguaranteed.Atthesametime,subtitletranslationisnottakenseriously.Despitetheproblemswithsubtitletranslation,moreandmoreforeignTVseriesandmoviesarefloodingintoourcountry,becominganeffectivewayforusChinesetolearnaboutforeignculturesandcustoms.Therefore,thequalityofsubtitletranslationshouldbegivendueattention.Amongthetheoriesthatguidesubtitletranslation,Skopostheoryisthefirstchoice.Skopostheoryholdsthatthemostimportantfactordeterminingthetranslationprocessisthepurposeofthewholetranslationact.Theintendedpurposeofthetranslationandtherecipientofthetranslationdeterminethechoiceoftranslationstrategy.Inthetranslationoffilmandtelevisionsubtitles,theexpectedpurposeofthetranslationisculturalexchange,whiletherecipientofthetranslationistheaudience,whohavetheirownculturalbackgroundknowledge,expectationsforthetranslationandcommunicationneeds.Thispaperwilldiscussthecharacteristicsofsubtitleandsubtitletranslation,aswellasthedevelopmentstatusofsubtitletranslationathomeandabroad,thedevelopmentofSkopostheory,andtheimportantviewpointsofSkopostheory,andanalyzethesubtitletranslationofZootopiathroughSkopostheory.Chapter=1\*romanIStudyonFilmSubtitle1.1DefinitionofSubtitleAtpresent,almostallfilmandtelevisionworkshavesubtitles,andaudiencesbetterunderstandtheplotofthefilmthroughsubtitles.Manypeopleknowalotaboutsubtitles,itisgenerallyacceptedthatsubtitlesarewordsthatappearonthescreen,whicharegenerallythedialoguesofthecharactersinthefilmorprovidetheaudiencewithinformationabouttheplot.buttherearealwaysloopholesinmostdefinitions.Atpresent,themostcompleteandthemostcompellingdefinitioncomesfromHenrikGottlieb:"subtitlingcanbedefinedastherenderinginadifferentlanguageofverbalmessageinfilmicmedia,intheshapeofoneormorelinesofwritingtextpresentedonthescreeninsyncwiththeoriginalwrittenmessage"(1996).Namely:Subtitlingissupplyingatranslationofthespokendialogueinthesourcelanguageintothetargetlanguageintheformofsynchronizedsubtitle,usuallyatthebottomofthescreenwithoneortwolines.Subtitlesgenerallytaketwoforms:theoriginallanguage(intralingualsubtitle)andinterlingualsubtitle.Intralingualsubtitlereferstoconvertthespokenwordsintextbykeepingtheoriginallanguage.Interlingualsubtitlekeepstheoriginalsoundtrackbutputtranslatedtextonthebottomofscreen,knownasthesubtitletranslation.Inotherwords,thefirstsubtitledformoffilmandtelevisionworksmoreaimedatpeopleinthesamelanguage.Becausepeoplecanlearnalotofinformationthroughsound,subtitlessimplycombinetextwithsoundtofurtherhelppeopleperfectinformation.Thesecondformofsubtitlesoffilmandtelevisionworksmoreforpeopleindifferentlanguages,becauseofthelanguagedifferences,mostoftheinformationneedstobetranslatedsubtitlestounderstandthereforesubtitlesareanimportantpartoffilmandtelevisionworks.1.2DefinitionofsubtitletranslationSubtitletranslationbelongstothesecondtypeofsubtitlementionedabove.Thereiscurrentlynouniformdefinitionofsubtitletranslation.Manysubtitletranslationresearchershavetheirownopinions.thedefinitiongivenbyHenrikGottliebismostcompleteandscientific．ItCanbedefinedas“thetranslationofthespokenorwrittensourcetextofanaudio-visualproductintoawrittentargettextwhichisaddedontotheimagesoftheoriginaltextatthebottomofthescreen．”(Gottlieb，1994：262)Withthesubtitletranslation，theaudience“isactuallyreadingone’snativelanguagewhilelisteningtotheoriginallanguage．”(Gottlieb，1992：165)Inotherwords,subtitletranslationisaspecialtranslationthattranslatestheoriginallanguageinthetargetlanguageandappearsatthebottomofthescreeninordertolettheaudiencethroughthesubtitletranslationmoreclearlyunderstandthefilmandtelevisionworks,understandforeignculture.1.3Featuresofsubtitletranslation1.3.1TimeandspaceconstraintSubtitletranslationisdifferentfromothertranslations,becausetheappearanceofsubtitletranslationandthedialogueofcharactersinfilmandtelevisionworksoccursimultaneously.Fromtheaspectoftime,eachsubtitlestaysonthescreenfor2-3seconds,andafter2-3seconds,thenextsubtitleappears.Ifthesubtitletranslationisverylong,theaudiencehasnotfinishedreadingthesubtitlebeforethenextsubtitleappears.So,thetimeconstraintisveryimportantinsubtitletranslation.DeLindeisinfavorofthatTimeconstraintsbasicallystemfromtheneedforsynchronicitybetweensubtitlesandoralspeeches，andthereadingspeedofviewers．(DeLindeKay,1996：6)．Insubtitletranslation,thetimelimitisreflectedinthenumberofwordsandreadabilityofthetranslation,aswellasthespeedoftheaudience。Subtitlesshouldbeconciseandeasytoread,andeachsubtitleshouldstaylongerthantheordinaryaudiencecanread.Asfarasspaceisconcerned,thesubtitlesaremainlyatthebottomofthescreen,affectedbythescreensizeandthefontsizeofthesubtitlesthemselves.Ifthefontsizeofthesubtitleistoosmall,theaudiencecannotseethesubtitle.Ifthefontsizeofthesubtitleistoolarge,itmayblocksomepicturesandaffectthevisualperception.Ingeneral,alineofsubtitlesonthescreenisabout30inEnglishorabout13inChinese,andthesubtitleshouldbeproportionaltothescreensize.1.3.2ImmediacyImmediacyisanothercharacteristicofsubtitletranslation.Ingeneral,thetimespentonthescreenofasubtitlehassomethingtodowiththespeedofthespeaker.Ifthespeakerspeaksslowly,naturally,thesubtitletranslationstaysonthescreenforlonger,andifthespeakerspeakstoofast,thesubtitletranslationstaysforashortertime.Atthispoint,itismoreimportantforthesubtitletranslationtobeeasytoread.subtitletranslationismorepreferabletocolloquializationandaccurateexpressionofthespeaker'smeaning.1.3.3FlexibilityFlexibilityalsoanimportantfeatureofsubtitletranslation.Throughthestudyofdifferenttypesoffilms,wefindthatthetranslationofdifferenttypesoffilmsisdistinct.Forexample,infilmsforchildren,thedialoguewordsarerelativelysimpleandchild-oriented.Therefore,attentionshouldbepaidtothewayofexpressioninsubtitletranslation,whichshouldnotonlybeaccurateandeasytounderstandbutalsoadapttochildren'sphysicalandmentaldevelopment.Therefore,subtitletranslationneedstobeflexible.1.3.4ContextContextisveryimportantnotonlyinliterarytranslationbutalsoinsubtitletranslation.Subtitletranslationcannotexistseparatelyfromcontext.Indifferentcontexts,thesamesentenceconveysdifferentmeanings,whichmaynotbetheliteralmeaningofthesentence,butmayalsocontaintheintentionofthespeaker.Atthistime,subtitletranslationshouldconveytheintentionofthespeaker,soitisnotpossibletotranslateeachsentenceindependentlyinsubtitletranslation,andattentionshouldbepaidtotheoverallcontext,whichissimilartoothertypesoftranslation.1.4ResearchonFilmSubtitleTranslationathomeandabroadAccordingtoalargenumberofdata,theresearchonsubtitletranslationinwesterncountriesisearlierthanthatinChina。Theoriginoftranslationstudiesonwesternfilmandtelevisionworkscanbetracedbacktothelate1950stotheearly1960s.Inthe1990s,translationstudiesonwesternfilmandtelevisionentereditsheyday.Atthatstage,thetheoryoffilmandtelevisiontranslationstudiesmadegreatprogress,andmanytheoriesandachievementswereputforwardbywesternscholarsatthattime.After1995,westernfilmandtelevisiontranslationstudiesenteredaperiodofrapiddevelopment,andthenumberoftheoreticalstudiesonsubtitletranslationincreased.Besides,TheresearchresultsofEuropeanscholarsarequiteoutstanding.Gottliebisaleaderinthefieldoffilmandtelevisiontranslationstudies.Hehasputforwardaseriesoftranslationtheoriesandconductedin-depthresearchonsubtitletranslation.Westerncountrieshavealsoheldrelevantconferencesandorganizationsonthestudyofsubtitletranslation.Forexample,inFebruary2004,aninternationalseminaronthetopicof"on-screenlanguageconversion"washeldinLondon,whichpromotedtheresearchonsubtitletranslation.AndESIST,foundedinEurope,originallyconsistedofmorethanadozenteacherswholovesubtitletranslation,andnowhasmanyresearchersfromalloverthecountryBackintheearly19thcentury,thereweresubtitlesforfilmsofthattime,whichmainlyintroducedrelevantstories.WiththeinfluxofforeignfilmsintotheChinesemarket,subtitletranslationhascomeintobeing.Inrecentyears,asmoreandmoreaudienceslikeforeignfilms,alargenumberofforeignfilmsandtelevisionworksareshowninChina,andsubtitletranslationdevelopsrapidly.WhenearlyforeignfilmsandTVprogramswereintroducedintoChina,thesubtitletranslationwasusuallydonebyprofessionaltranslatorsfrommoviestudiosorTVstations.Nowadays,withthedevelopmentoftheInternetandthewidespreadofforeignfilmandtelevisionworksontheInternet,thesubtitletranslationofmostEnglishfilmsandtelevisionworksiscompletedbythesubtitletranslationteam.Accordingasresearchshowsthatthespeedofthedomesticsubtitletranslationoffilmsandtelevisiondramasislessthanabroadthereforthedevelopmentisnotmature.Thegeneralresearchtheoriesare:FunctionalEquivalencytheory,Ecologicaltranslationtheory,Correlationtheory,Skopostheory,Cognitivetranslation,etc.WiththeincreasingaffectionofBritishandAmericanfilmsandtelevisiondramasamongcollegestudents,moreandmorecollegestudentswilltakethesubtitletranslationoffilmsandtelevisiondramasastheresearchobject,somoreandmorerelatedresearchwillbecarriedout.Chapter=2\*romanIISkoposTheory2.1IntroductionofSkoposTheorySkopostheoryisatranslationtheoryfoundedbyReissVermeerinthe1970s.Theword"skopos"comesfromtheGreekwordfor"purpose,"sothistheoryiscalled"skopos."FunctionalisttranslationtheoryemergedinGermanyinthe1970s.Functionalisttranslationtheoryisoneofthemostpopulartranslationtheoriesbecauseitchangesthetranslationtheoryoflanguageandformtothedirectionoffunctionandsocialculture.In1984,Vermeermadethefirstsystematicscientificexpositionofskopostheory.Sincethen,Vermeerandothermembersofthefunctionalistschoolhavesupplementedthistheoryinmanyways,makingitmoreandmoreperfect.Therefore,theskopostheoryofVermeer,theActiontheoryofJustaHolzMantariandtheFunctiontheoryofNolteconstitutedthecoreofthefunctionalisttranslationtheoryofGermanyinthe1980s.TherearefourstagesinthedevelopmentoffunctionalisttranslationtheoryinGermany.ThefirststageisKatharinaReiss'sfunctionalistcriticismtheory.Inthesecondstage,HansVermeer'sskopostheoryoftranslation;Inthethirdstage,JustaHolzMantari'stranslationbehaviortheory;Phasefour,ChristianeNord'stheoryoffunctionandfidelity.AmongthefourtranslationtheoriesofGermanfunctionalism,skopostheoryisthemostinfluential.Mantari's"behaviortheory"proposedthatanyhumanbehaviorhasapurpose,andpeoplechangetherealitybyachievingthepurposeofthebehavior.Thatistosay,man'spurposedetermineshisbehavior.Vermeerbelievedthattranslationisalsopurposeful,insistingthatboththecreationoftheoriginalworkandthetranslationofthetranslatedworkarepurposefulhumanbehaviors,soheproposedthat"translationisthefunctionofitspurpose".Theprocessoftranslationdependsonthepurposeoftranslation,anditismoreimportanttoachievethepurposeoftranslationthanthemethodoftranslation.Accordingto"skopostheory",anyworkandeveneachpartoftheworkhavedifferentpurposes,sothetranslationacthasmorethanonepurpose.Thesepurposesarearrangedinorderofpriority.Eachpurposemusthavemeaning,andapurposemustbejustified.Inotherwords,translatorsneedtoadoptreasonabletranslationmethodsaccordingtodifferenttypesofworksandaudiencegroups.Therearethreemainprinciplesofskopostheory,andsubtitletranslationshouldfollowthesethreeprinciplesfromtheperspectiveofskopostheory.2.2ThreeRulesofSkoposTheory2.2.1SkopostheorySkopostheoryholdsthatthefirstprinciplefollowedbyalltranslationactivitiesis"theprincipleofpurpose".Translationneedstofunctioninthecontextandcultureofthetargetlanguageinthewayexpectedbytherecipient.Theprocessinwhichthepurposeofthetranslationbehaviordeterminesthewholetranslationbehavior,thatis,theresultdeterminesthemethodHowever,translationactivitiesmayhavemultiplepurposes,whicharefurtherdividedintothreecategories.(1)thetranslator'sbasicpurpose(suchasmakingaliving);(2)thecommunicativepurposeofthetranslation(e.g.,enlighteningthereader);(3)thepurposetobeachievedbyusingaparticulartranslationmeans.However,inthecommoncase,"purpose"referstothecommunicativepurposeofthetranslation.Therefore,thetranslatorshouldbeinagivencontextclearitsspecificpurpose,andaccordingtothepurposetodecidewhichtranslationmethodtoadoptliteraltranslation,freetranslationandothertranslationmethods.Thepurposeprincipleemphasizestheimportanceofpurpose,whichisthefirstconsiderationformostpeople,whetherintranslationorinterpretation.Insubtitletranslation,thetranslatormayhavetoconsidermorethanonepurpose:tomakethetranslationapproachableandeasytounderstand;ontheotherhand,thesentenceshouldbecoherentandsmooth.2.2.2CoherenceCoherencemeansthatthetranslationmustconformtothestandardofcoherence,andthetranslationshouldbereadableandacceptable.Itcanmaketherecipientunderstandandmakesenseinthecultureofthetargetlanguageandthecommunicativecontextinwhichthetranslationisused.Vermeer,aGermantranslationtheorist,believesthat"translationshouldbeincontextandconsistentwiththeconditionsoftherecipient.（Vermeer，2001）.Thatistosay,beforetranslating,thetranslatorshouldunderstandthecultureandcommunicationsituationembodiedintheoriginaltextsoastomaketherecipientunderstand.Nordsaid,"atranslatorcando,shoulddo,istotranslateanarticleatleastmeaningfularticles"forthetargetculturerecipients.(Nord,2001).Thissuggeststhatreadabilityandreceptivityareimportantincoherence.Thecoherenceprincipleplaysaveryimportantroleinthethreeprinciples,anditisobviouslyunprofessionalforatranslatortomakehisorhersentencesnotfluentintranslation.Coherenceisthemostbasiccriterionfortranslatingsentences.Onlyasmoothtranslationcanmaketheaudienceunderstandtheplottoldinthesubtitles.Incoherenttranslationsentencesleadtounreadabilityandinabilityoftheaudiencetounderstandthemeaningofsubtitles.Dullsubtitletranslationcannotbeacceptedbythetargetaudience.2.2.3fidelityTheprincipleoffidelity,proposedbyNord,referstotheinter-linguisticcoherencebetweenthesourcetextandthetargettext.However,shefoundthatskopostheoryhavetwodefects:firstofall,duetodifferencesinculturalpattern,peopleofdifferentculturalbackgroundofgoodtranslationhasadifferentview.Inaddition,ifthecommunicativepurposeofthetranslationrequiredbythepurposeprincipleisjustoppositetotheintentionoftheoriginalauthor,thenwewillabidebythepurposeprincipleandviolatethefidelityprinciple.Therefore,loyaltyprinciplewasproposedtosolvetherelationshipbetweentheculturaldifferencesandtranslationbehaviorofparticipants.Noblebelievesthatthetranslatorhasmoralresponsibilityfortherecipients,andmustexplaintothemwhattheydoandthereasonfordoingthis.That'soneaspectoftheloyaltyprinciple.Ontheotherhand,thetranslatorisrequiredtobeloyaltotheoriginalauthor.Thetranslatorshouldrespecttheoriginalauthorandcoordinatethetargetlanguagewiththeauthor'sintention.(Nord,2001).Therefore,theloyaltyprinciplefocusesontherelationshipbetweenthetranslatorandtheoriginalauthor,theclientandtherecipientofthetranslation.Thesethreeprinciplesconstitutethebasicprinciplesofskopostheory.Thecoherenceprinciplepointsoutthatatranslationmustconformtothecriteriaofcoherence,makethetranslationreadableandacceptable,maketherecipientunderstandthetranslation,andmakethetranslation'scommunicativecontextandculturemeaningful.Thefidelityprinciplemakesthetranslationmorefaithfultotheoriginal.Butthefirstprincipleofskoposisthattheprincipleofcoherenceandtheprincipleoffidelitymustbesubordinatedtotheprincipleofpurpose.Theintroductionanddevelopmentofskopostheoryprovidesatheoreticalbasisforsubtitletranslationandprovidesskillsforsubtitletranslationfromtheperspectiveofskopostheory.Chapter=3\*romanIIISubtitleTranslationinZootopiaBasedonSkoposTheory3.1IntroductionofZootopiaZootopiaisanadventure,comedy,andanimatedfilm，ThemoviefollowsJudytherabbitasshetravelstozootopiatorealizehercareerasapoliceofficer.ThefilmisinterspersedwithclassicAmericanhumorandexploressocialissuessuchasracialdiscriminationandprejudice.Finally,itreturnedtothecentralthemeofhowtobuildamulti-dimensionalsocietyandcreateabetterworld,whicharousedmorethoughtsfromtheaudience.ThefilmbeginswithaplayJudyrabbitperformedasachild.Ittellsastoryofthatpredatorsarenaturalenemytoherbivores.Withthepassageoftimeandtheadvanceofmoderncivilization,carnivoreshaveevolvedandgraduallyshedtheirsavagebiologicalinstincts.Intheanimalcityofthemodernmetropolis,carnivoresandherbivoreslivetogetherinharmonyandstrivetorealizetheirideals.Judy'sdreamistobeapolicemanandmaketheworldabetterplace.Aftergraduatingfrompoliceschool,Judycamefromhernativetownofrabbitholetoworkattheanimalcitycenterpolicestation.TheaudiencefollowedJudyonthetraintoseethechanginglandscapeofzootopia,itsnaturalbeautyandtheurbanamenitiesofthemetropolis.Inzootopia,everyanimalcanfinditsownlivingspace.Inordertomeettheneedsofallkindsofanimals,animalcityhassetupdifferentlivingareasaccordingtotheclimateandenvironment.Thefacilitiesofzootopiaarecarefullydesignedandmadeaccordingtothecharacteristicsoftheanimals.Althoughtheanimalsaredifferent,theycanliveinharmony.Animalcitypresentsasceneofprosperityandharmonyeverywhere,andtheaudienceseemstobeinadreamlikeidealcountrywithawarmandbeautifulscene.However,theanimalcity,withitsbrightappearanceandwarmth,isfullofhiddentidesanddangers.Theseeminglyperfectanimalcityalsohasdarkcornersthatarenotharmonious.FromrabbitJudy'sgrowthexperience,theaudienceclearlyrealizedthatlracialprejudice,discriminationanddistrusteverywhere.Asananimatedfilm,itcarriesthethemeofdiversityandchange.Themostprofoundthemeistoexplorehowpeoplecantreatdifferenceswithaninclusivemind,tobreakdownprejudiceanddiscrimination,andtounderstandeachother,liveinpeaceandcoexistindiversity.WearemovedbytheinspirationalplotofJudyrabbit'scouragetopursueherdream,andtheprofoundthemeofthefilmisworthourdeepthinking.Theworldisdiverse,anddifferencesareuniversal.Asoftenmentionedinthefilm,thereareinfinitepossibilitiesforeveryoneinzootopia.Thefoxandtherabbit,originallynaturalenemies,haveestablishedadeepfriendship.Everykindofexistenceisworthwaitingforgently,thefutureisgood.Thefilm'screatorsalludetohumansocietythroughanimalsociety.Aslongaswerespecteachother,toleratedifferences,promoteunderstandingandliveinpeace,prejudiceanddiscriminationwillberesolved.Withatolerantattitudetorespectothers,toleranceofdifferences,humanitywillreturntotheoriginaltrue,goodandbeautiful.3.2TranslationBasedonThreeRulesofSkoposTheory3.2.1TranslationBasedontheSkoposRuleLiteraltranslationLiteraltranslationisalsoknownasword-for-wordtranslation,istothefullexpressionoftheoriginal,itpaysmoreattentiontotheformofthesourcelanguagepreserved.BecauseEnglishandChinesehavedifferentstructures,itisimpossibletotranslatethemallwordforword.Literaltranslationshouldnotonlyfullyandaccuratelyclarifythemeaningoftheoriginalwork,butalsomaintaintheoriginalstylewithoutanydistortionorarbitraryadditionordeletionoftheideaoftheoriginalwork.BecauseZootopiaisananimatedcartoon,thecharacters'linesarerelativelysimpleandcolloquial.Manysubtitlesadopttheliteraltranslationmethod.Herearesomeexamples.Example1:Ohcripes,herecomeawaterworks哦天啊大洪水来了Analysis:ThissentenceappearswhenJudyleaveshometotakeatraintoZootopia.Hisparents,worriedabouther,werereluctanttolethergo.Aftertakinghertothecar,herfathersaidthistohermother.Heredirectlywaterworkstranslatesas大洪水。Theaudiencecanalsoclearlyknowthat‘‘waterworks’’refersto“tears’’.AfterJudyleaves,hisfatherwillbeverysadtocry,tearslikewaterworks.Andherecomesawaterworksismoreeuphemisticthanherecomestears.Becauserabbitfatheralsowantstoshowastrongcharacterinfrontofhisdaughterandwife,itisaeuphemisticexpressionofthefeelings.Thetranslationas大洪水retainstheimplicationoftheoriginallanguageandconveysrichemotions,andatthesametimeitconformstotheprincipleofpurpose.Example2:Thewolvesarenighthowlers狼就是夜嚎者Analysis:Thesubtitletranslatesnighthowlerinto夜嚎者throughaliteraltranslation.InChinese,thereisno夜嚎者todescribeananimalthathowlsatnight.AlthoughthereisnosuchexpressioninChinese,theaudiencecanknowthemeaningfromtheChinesecharacters.Thisdirecttranslationnotonlydoesnotlosethestyleoftheoriginal,butalsoreducesthenumberofwords.Iftranslatedas狼就是在夜间嚎叫的动物.Thistranslationexplainsthenighthowler.It'snotnecessary.Theaudienceisperfectlycapableofreadingthroughthe夜嚎者。Inthefilm,thetranslationofEnglishsubtitlesisalsorelativelybriefandclear,sothattheaudiencecanunderstandtheploteasilyandquickly.itservestheaiminaudience.PersonificationSkopostheorymeansthatinordertoachievethepurposeoftranslation,somespecialtranslationskillsmaybeadopted.Personificationisafigureofspeech.SomeofthesubtitlesinthemovieZootopiausethistechniqueintranslation.itservestheskoposrule.Herearesomeexamples.Example1:AndIcanmaketheworldabetterplace.Iamgoingtobe...我可以让世界更美好我要做Policeofficer!兔子警官Analysis:Inthesubtitle,weallknowthatapoliceofficermeans警察ButinthemovieZootopia,insteadoftrans