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:由于国内外影视行业的快速发展,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，字幕翻译对了解影片内容十分重要。然而，国内对字幕翻译的研究才刚刚开始，因此很多电影的翻译质量存在很大差异。20世纪70年代，弗米尔创立了目的翻译理论，该理论将Skopos概念运用于翻译中，认为目的支配着整个翻译活动。目的论有三大原则，即目的原则，连贯性原则和忠实性原则，它们为许多电影字幕翻译提供了指导。本文将在目的论的指导下分析电影《疯狂动物城》字幕翻译的翻译策略及翻译方法。关键词：目的论；字幕翻译；翻译策略StudyontheSubtitleTranslationofEnglishMoviefromthePerspectiveofSkoposTheory——ACaseStudyofZootopiaAbstract:Duetotherapiddevelopmentoffilmindustryathomeandabroad.Foreignfilmsbegantoreleaseonthedomesticcinemasforenlargingmarket.Subtitletranslationisincreasinglycritical.subtitletranslationisintegraltounderstandtheplotoffilms.However,domesticresearchonsubtitletranslationhasjustbegun,thequalityoftranslationinmanyfilmsisverydifferent.SkopostheoryisatranslationtheoryfoundedbyReissVermeerinthe1970s.ThistheoryappliestheconceptofSkopostotranslationandholdsthatpurposedominatestheoveralltranslationactivity.Subtitletranslationalsorequirestheoreticalsupport.ThesubtitletranslationofthemovieZootopiawillbeanalyzedthroughSkopostheoryinthispaper.Skopostheoryiscomposedofthreerules,namelytheSkoposrule,coherenceruleandfidelityrule,whichhaveprovidedourguidelinesintheprocessofsubtitletranslation.AccordingtotheSkopostheory,differentkindsoftranslationmethodsandstrategieshavebeenadoptedinsubtitletranslationsuchasfreetranslation,literaltranslation,amplification,personificationandsoforth.KeyWord:SkoposTheory;SubtitleTranslation;TranslationStrategyContentsIntroduction IntroductionWiththedevelopmentandpopularityofforeignerfilm,translationisusedinfilmsforforeignaudiencesgradually.Thensubtitletranslationcameintobeing.Atthepresenttime,itbecomesevermoreimportantbecauseofculturalexchanges.Though,thestudyonsubtitletranslationinChinaisnotmature.therearenoperfecttranslationtheoriesandrulesforit.Therefore,thequalityofsubtitletranslationcannotbeguaranteed.Atthesametime,subtitletranslationisnottakenseriously.Despitetheproblemswithsubtitletranslation,moreandmoreforeignTVseriesandmoviesarefloodingintoourcountry,becominganeffectivewayforustolearnaboutforeignculturesandcustoms.Thus,thequalityofsubtitletranslationshouldbefocusedon.Amongthetheoriesthatguidesubtitletranslation,Skopostheoryisthefirstchoice.Skopostheoryembracesthatdifferentaimsinwholetranslationdeterminetheprogressionoftranslation.Theplannedpurposesofthetranslationandtheaudienceofthetranslationgoverntheoptimaloftranslationskills.Inthetranslationoffilmandtelevisionsubtitles,theexpectedpurposeofthetranslationisculturalexchange.Thispaperisdividedintothreechapters.Inthefirstchapter,itdiscussesbasicquestions:whataresubtitleandsubtitletranslation?whatcharacteristicsarethem?Andhowareaboutthestatusquoofresearchonsubtitletranslationathomeandabroad,theninthesecondchapter,itintroducesthedevelopmentofSkopostheoryandtheimportantviewpointsofSkopostheoryindetail.Atlast,exampleswillbeshowntoanalyzethesubtitletranslationofZootopiathroughSkopostheoryandwhatkindoftranslationstrategiesandmethodsadoptedinthesubtitletranslationofZootopiaundertheinstructionofSkopostheory.Suchasfreetranslation,literaltranslation,amplification,personificationandcolloquial.Chapter=1\*romanIFilmSubtitleTranslation1.1DefinitionofSubtitlePresently,almostallfilmandtelevisionworkshavesubtitles,andaudiencesbettercomprehendtheplotofthefilmviafilmsubtitles.Manypeopleknowalotaboutsubtitles,itisgenerallyacceptedthatsubtitlesarewordsthatappearonthescreen,whicharegenerallythedialoguesofthecharactersinthefilmorprovidetheaudiencewithinformationabouttheplot.Buttherearealwaysloopholesinmostdefinitions.Atthepresenttime,majorityofresearchersexplainthedefinitionofsubtitlefromGottlieb.Gottlieb(1996)concludesthat“subtitlingcanbedefinedastherenderinginadifferentlanguageofverbalmessageinfilmicmedia,intheshapeofoneormorelinesofwritingtextpresentedonthescreeninsyncwiththeoriginalwrittenmessage”.Namely:Subtitlingissupplyingatranslationofthespokendialogueinthesourcelanguageintothetargetlanguageintheformofsynchronizedsubtitle,usuallyatthebottomofthescreenwithoneortwolines.Subtitlesgenerallytaketwoforms:theoriginallanguage(intralingualsubtitle)andinterlingualsubtitle.Intralingualsubtitlereferstothesubtitleisassameasthelanguagethatspeakersaresaying.Interlingualsubtitlereferstothesubtitlehasbeentranslatedintotargetlanguageappearedthebottomofscreen,knownasthesubtitletranslation.Inotherwords,thefirstsubtitledformoffilmandtelevisionworksmoreaimedatpeopleinthesamelanguage.Becausepeoplecanlearnalotofinformationthroughsound,subtitlessimplycombinetextwithsoundtofurtherhelppeopleperfectinformation.Thesecondformofsubtitlesoffilmandtelevisionworksmoreforpeopleindifferentlanguages,becauseofthelanguagedifferences,mostoftheinformationneedstobetranslatedsubtitlestounderstandthereforesubtitlesareanimportantpartoffilmandtelevisionworks.1.2DefinitionofSubtitleTranslationSubtitletranslationbelongstothesecondtypeofsubtitlementionedabove.Thereiscurrentlynouniformdefinitionofsubtitletranslation.Manysubtitletranslationresearchershavetheirownopinions.ButthedefinitiongivenbyHenrikGottliebismostcompleteandscientific．Thesubtitletranslationcanbedefinedas“thetranslationofthespokenorwrittensourcetextofanaudio-visualproductintoawrittentargettextwhichisaddedontotheimagesoftheoriginaltextatthebottomofthescreen．”(Gottlieb,1994:262)Withthesubtitletranslation，theaudience“isactuallyreadingone’snativelanguagewhilelisteningtotheoriginallanguage．”(Gottlieb，1992:165)Inotherwords,subtitletranslationisaspecialtranslationthattranslatestheoriginallanguageinthetargetlanguageandappearsatthebottomofthescreeninordertolettheaudiencethroughthesubtitletranslationmoreclearlyunderstandthefilmandtelevisionworks,understandforeignculture.1.3FeaturesofSubtitleTranslationAsdiscussedabove,whatissubtitletranslation?Understandingthedefinitionofsubtitletranslationisthebasisoftranslatingmoviesubtitles.Insubtitletranslation,notonlytounderstandthedefinitionofsubtitles,buttoknowmoreaboutthemainfeaturesofsubtitletranslation.Thesecharacteristicsplayanimportantroleinsubtitletranslation.Besides,somefactorsresultinthosefeatures.Forexample,subtitletranslationregularlyturnsoutonthescreen.Itisinfluencedbyscreensize.Atthesametime,differenttypesoffilmshavediversetranslationmethods.Subtitletranslationfitinthecategoryoftranslation,whichisalsoinfluencedbythecontext.Thenthefeaturesofsubtitletranslationwillbeelaboratedonebyone.1.3.1TimeandSpaceConstraintSubtitletranslationisdifferentfromothertranslations,becausetheappearanceofsubtitletranslationandthedialogueofcharactersinfilmandtelevisionworksoccursimultaneously.Fromtheperspectiveoftime,eachsubtitlestaysonthescreenforafewseconds.Afterabout2-3seconds,thenextsubtitleappears.Ifthesubtitletranslationisverylong,theaudiencehasnotfinishedreadingthesubtitlebeforethenextsubtitleappears.So,thetimeconstraintisveryimportantinsubtitletranslation.DeLindeisinfavorofthattimeconstraintsbasicallystemfromtheneedforsynchronicitybetweensubtitlesandoralspeeches，andthereadingspeedofviewers．Insubtitletranslation,thenumberofwords,readabilityofthetranslation,andthereadingspeedoftheaudienceareinfluencedbytime.Subtitlesshouldbeconciseandeasytoread,andeachsubtitleshouldstaylongerthantheordinaryaudiencecanread.Asfarasspaceisconcerned,thesubtitlesaremainlyatthebottomofthescreen,affectedbythescreensizeandthefontsizeofthesubtitlesthemselves.Ifthefontsizeofthesubtitleistoosmall,theaudiencecannotseethesubtitle.Ifthefontsizeofthesubtitleistoolarge,itmayblocksomepicturesandaffectthevisualperception.Ingeneral,alineofsubtitlesonthescreenisabout30inEnglishorabout13inChinese,andthesubtitleshouldbeproportionaltothescreensize.1.3.2ImmediacyImmediacyisanothercharacteristicofsubtitletranslation.Ingeneral,thetimespentonthescreenofasubtitleisrelativetothespeedofthespeaker.Ifthespeakerspeaksslowly,naturally,thesubtitletranslationstaysonthescreenforlonger,andifthespeakerspeakstoofast,thesubtitletranslationstaysforashortertime.Atthispoint,itismoreimportantforthesubtitletranslationtobeeasytoread.subtitletranslationismorepreferabletocolloquializationandaccurateexpressionofthespeaker’smeaning.1.3.3FlexibilityFlexibilityisalsoanimportantfeatureofsubtitletranslation.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.1.4ResearchonFilmSubtitleTranslationatHomeandAbroadAccordingtoalargenumberofmaterials,theresearchonsubtitletranslationinwesterncountriesispriortothatinChina.Sincethelate1950stotheearly1960s,someresearchersstartedstudyingfilmsubtitletranslation.theperiodof1990sisthegoldentimefortranslationstudiesonwesternfilm.Atthatstage,thetheoryoffilmandtelevisiontranslationstudiesmadegreatprogress,andmanytheoriesandachievementswereputforwardbywesternscholarsatthattime.Westernfilmtranslationstudiesdevelopedfastafter1995andanumberoftheoreticalstudiesonsubtitletranslationwerecreated.Besides,theresearchresultsofEuropeanscholarsarequiteoutstanding.Gottliebisafront-runnerinthefieldoffilmtranslationstudies.Hehasproposedaseriesoftranslationtheoriesandconductedin-depthresearchonsubtitletranslation.Westerncountrieshavealsoheldrelevantconferencesandorganizationsonthestudyofsubtitletranslation.Forexample,inFebruary2004,aninternationalseminaronthetopicof“on-screenlanguageconversion”washeldinLondon,whichpromotedtheresearchonsubtitletranslation.AndESIST,foundedinEurope,originallyconsistedofmorethanadozenteacherswholovesubtitletranslation,andnowhasmanyresearchersfromalloverthecountryBackintheearly19thcentury,thereweresubtitlesforfilmsofthattime,whichmainlyintroducedrelevantstories.WiththeinfluxofforeignfilmsintotheChina,subtitletranslationhascomeintobeing.Inrecentyears,asmoreandmoreaudiencesarefoundofforeignfilms,alargenumberofforeignfilmsandtelevisionworksarereleasedinChina,andsubtitletranslationdevelopsrapidly.WhenearlyforeignfilmsandTVprogramswereintroducedintoChina,thesubtitletranslationwasusuallydonebyprofessionaltranslatorsfrommoviestudiosorTVstations.Nowadays,withthedevelopmentoftheInternetandthewidespreadofforeignfilmandtelevisionworksontheInternet,thesubtitletranslationofmostEnglishfilmsandtelevisionworksiscompletedbythesubtitletranslationteam.Accordingtoresearchwhichshowsthatthespeedofthedomesticsubtitletranslationoffilmsandtelevisiondramasislessthanabroadthereforethedevelopmentisnotmature.Thegeneralresearchtheoriesare:FunctionalEquivalencytheory,Ecologicaltranslationtheory,Correlationtheory,Skopostheory,Cognitivetranslation,etc.Asaresult,amultitudeofcollegestudentslovewatchingforeignfilms,moreandmorecollegestudentswilltakethesubtitletranslationastheresearchobject,thusmoreandmorerelatedresearchwillbecarriedout.Chapter=2\*romanIISkoposTheory2.1IntroductionofSkoposTheorySkopostheoryisatranslationtheoryfoundedbyReissVermeerinthe1970s.Theword“Skopos”comesfromtheGreekwordfor“purpose”,sothistheoryiscalled“Skopos”.FunctionalisttranslationtheoryoccurredinGermanyinthe1970s.Functionalisttranslationtheoryisoneofthemostpopulartranslationtheoriesbecauseitchangesthetranslationtheoryoflanguageandformtothedirectionoffunctionandsocialculture.In1984,VermeermadethefirstsystematicscientificexpositionofSkopostheory.Sincethen,Vermeerandothermembersofthefunctionalistschoolhavesupplementedthistheoryinmanyways,makingitmoreandmoreperfect.Therefore,theSkopostheoryofVermeer,theBehaviortheoryofMantariandtheFunctiontheoryofNolteconstitutedthecoreofthefunctionalisttranslationtheoryofGermanyinthe1980s.TherearefourstepsinthedevelopmentoffunctionalisttranslationtheoryinGermany.ThefirststageisKatharinaReiss’sfunctionalistcriticismtheory.Inthesecondstage,HansVermeer’sSkopostheoryoftranslation;TranslationbehaviortheoryofJustaHolzMantariisthethirdstage;Phasefour,ChristianeNord’stheoryoffunctionandfidelity.AmongthefourtranslationtheoriesofGermanfunctionalism,Skopostheoryisthemostinfluentialandperfect.Mantari’s“Behaviortheory”proposedthatanyhumanbehaviorhasapurpose,andpeoplechangetherealitybyachievingthepurposeofthebehavior.Thatistosay,man’spurposedetermineshisbehavior.Vermeerbelievedthattranslationisalsopurposeful,insistingthatboththecreationoftheoriginalworkandthetranslationofthetranslatedworkarepurposefulhumanbehaviors,soheproposedthat“translationisthefunctionofitspurpose”.Theprocessoftranslationhingesonthepurposeoftranslation,anditismoresignificanttoreachthepurposeoftranslationthanthemethodoftranslation.AccordingtoSkopostheory,anyworkandeveneachpartoftheworkhavedifferentpurposes,sothetranslationacthasmorethanonepurpose.Thesepurposesarearrangedinorderofpriority.Eachpurposemusthavemeaning,andapurposemustbejustified.Inotherwords,translatorsneedtoadoptreasonabletranslationmethodsaccordingtodifferenttypesofworksandaudiencegroups.ThecoreofSkopostheoryisitsthreeinfluentialrules,andsubtitletranslationshouldfollowandabidebythesethreerulesfromtheperspectiveofSkopostheory.2.2ThreeRulesofSkoposTheoryAsauthordiscussedabove,Skopostheoryarecomposedofthreecorerules:Skoposrule,coherenceruleandfidelityrule.Subtitletranslationshouldbeguidedbythesethreerules.AnoverviewtothethreerulesofSkopostheorywillbetalkedaboutindetail.2.2.1SkoposRuleSkoposrule,asafirstimportanceofSkopostheory,controlstheoveralltranslationactivity.Translationneedstoplayaroleinthecontextandcultureofthetargetlanguagebesidesitisdevelopedbyexpectationofaudience.Inwholeprocessoftranslation,differentpurposesexit,thatis,thechoosingoftranslationskillsrelyonthoseaims.Althoughtranslationactivitiesmayhavevariouspurposes,thosepurposescanbedividedintothreecategoriesroughly.Firstcategorycomesfromtranslators,whyatranslatorhasanactiontotranslate?Maybe,itisajobforthem.Thiscategoryofpurposesisabasicpurposeoftranslators.Second,thecommunicativepurposeofthetranslation(e.g.enlighteningthereader);thelast,choosingofaparticulartranslationskilltoachievedthepurpose.Forexample,inordertoexplainthespecialfeaturesofthegrammaticalstructureinacertainlanguage,literaltranslationaccordingtoitsstructureisadopted.Therefore,thecontextandspecificpurposeoforiginallanguageshouldbeclarityandaccordingtothepurposetodecidebesttranslationskills.TheSkoposruleputsanemphasisontheimportanceofpurpose,whichisthefirstconsiderationformosttranslator,whetherintranslationorinterpretation.Insubtitletranslation,thetranslatormayhavetoconsidermorethanonepurpose:tomakethetranslationapproachableandeasytounderstand;ontheotherhand,thesentenceshouldbecoherentandsmooth.2.2.2CoherenceRuleCoherencerulemeansthatthetranslationvisionshouldbereadableandacceptable.Coherenceenablesthereceivertounderstandtheculturalandcommunicativecontextofthetargetlanguage.Vermeer(2001),aGermantranslationtheorist,believesthattranslationshouldbeincontextandconsistentwiththeconditionsoftherecipient.Thatistosay,beforetranslating,thetranslatorshouldunderstandthecultureandcommunicationsituationembodiedintheoriginaltextsoastomaketherecipientunderstand.Nord(2001)said,“-atranslatorcando,shoulddo-istotranslateanarticleatleastmeaningful”forthetargetculturerecipients.Thissuggeststhatreadabilityandreceptivityarevitalincoherencerule.Thecoherenceruleplaysaveryimportantroleinthethreeprinciples,anditisobviouslyunprofessionalforatranslatortomakehisorhersentencesnotfluentintranslation.Coherenceisthemostbasiccriterionfortranslation.Onlyasmoothtranslationcanmaketheaudienceunderstandtheplottoldinthesubtitles.Incoherenttranslationsentencesgiverisetounreadabilityandinabilityoftheaudiencetounderstandthemeaningofsubtitles.Boringsubtitletranslationcannotreachthecommunicativepurposeandtheexpectationoftargetaudience.2.2.3FidelityRuleFidelityrule,proposedbyNord,referstotheinter-linguisticcoherencebetweenthesourcetextandthetargettext.However,shefoundthatSkopostheoryhastwodefects:translationisthetransformationbetweentwolanguages,whichisinfluencedbydifferentcultures,sothequalityoftranslation,forpeopleofdifferentculturalbackgrounds,doesnothaveafixedstandard.Inaddition,ifthecommunicativepurposeofthetranslationrequiredbytheSkoposruleisjustoppositetotheintentionoftheoriginalauthor,thentranslatorswillabidebytheSkoposruleandviolatethefidelityrule.Furthermore,fidelityruleisinagreatimportantplaceintherelationshipbetweentheculturaldifferencesandtranslators.Nord(2001)believesthatthetranslatorhasmoralresponsibilityfortherecipients,andmustexplaintothemwhattheydoandthereasonfordoingthis.That’soneaspectofthefidelityrule.Ontheotherhand,thetranslatorisobligedtobeloyaltotheoriginalauthor.Intheprocessoftranslation,thetranslatorislimitedbytheoriginalauthor’sintentionandneedstorespecttheoriginalauthor.Therefore,themainpurposeoffidelityruleistofillinthegapcausedbyculturaldifferencesbetweenthetranslator,theauthorandthereceiver.ThesethreerulesconstitutethebasicrulesofSkopostheory.Thecoherencerulepointsoutthatatranslationmustconformtothecriteriaofcoherence,tomakethetranslationreadableandacceptable,tomaketherecipientunderstandthetranslation,andtomakethetranslation’scommunicativecontextandculturemeaningful.Thefidelityrulemakesthetranslationmorefaithfultotheoriginaltext.CoherenceruleandfidelityruleserveforSkoposrule.TheintroductionanddevelopmentofSkopostheoryprovidesatheoreticalbasisforsubtitletranslation.2.3TheGuidanceofSkoposTheorytoFilmSubtitleTranslation.Inthetraditionaltranslationtheory,mostofthememphasizetheaccurategraspofwords,sentencesandparagraphstoachievefaithfulness,expressivenessandelegance.However,TheSkopostheoryputsthepurposeandfunctionofthetranslationfirst,andthetranslatoradoptsthebesttranslationmethodthroughdifferentpurposes.ThisisanewdirectioninTranslationStudies.Subtitletranslationisaspecialformoftranslationandapurposefulactivity.Theultimategoalofsubtitletranslationistohelpaudiencesovercomelanguageandculturalbarriersandbetterunderstandthemeaningofmoviesthroughpropersubtitletranslation.SubtitletranslationconformstoSkopostheory.Meanwhile,thecharacteristicsandparticularityofsubtitletranslationarealsoconsideredbySkopostheory,whichmakesitapplicabletosubtitletranslation.Chapter=3\*romanIIISubtitleTranslationinZootopiaBasedonSkoposTheory3.1IntroductionofZootopiaZootopiaisanadventure,comedy,andanimatedfilm,themoviefollowsJudytherabbitasshetravelstoZootopiatorealizehercareerasapoliceofficer.ThefilmisinterspersedwithclassicAmericanhumorandexploressocialissuessuchasracialdiscriminationandprejudice.Finally,itreturnedtothecentralthemeofhowtobuildamulti-dimensionalsocietyandcreateabetterworld,whicharousedmorethoughtsfromtheaudience.ThefilmbeginswithaplayJudyrabbitperformedasachild.Ittellsastoryofthatpredatorsarenaturalenemytoherbivores.Withthepassageoftimeandtheadvanceofmoderncivilization,carnivoreshaveevolvedandgraduallyshedtheirsavagebiologicalinstincts.Intheanimalcityofthemodernmetropolis,carnivoresandherbivoreslivetogetherinharmonyandstrivetorealizetheirideals.Judy’sdreamistobeapoliceman.Aftergraduatingfrompoliceschool,Judycamefromhernativetownofrabbitholetoworkattheanimalcitycenterpolicestation.TheaudiencefollowedJudyonthetraintoseethechanginglandscapeofZootopia,itsnaturalbeautyandtheurbanamenitiesofthemetropolis.InZootopia,everyanimalcanfinditsownlivingspace.Inordertomeettheneedsofallkindsofanimals,animalcityhassetupdifferentlivingareasaccordingtotheclimateandenvironment.Animalcitypresentsasceneofprosperityandharmonyeverywhere,andtheaudienceseemstobeinadreamlikeidealcountrywithawarmandbeautifulscene.However,theanimalcity,withitsbrightappearanceandwarmth,isfullofhiddentidesanddangers.Theseeminglyperfectanimalcityalsohasdarkcornersthatarenotharmonious.FromJudy’sgrowthexperience,theaudienceclearlyrealizedthatracialprejudice,discriminationanddistrusteverywhere.Themostprofoundthemeistoexplorehowpeoplecantreatdifferenceswithaninclusivemind,tobreakdownprejudiceanddiscrimination,andtounderstandeachother,liveinpeaceandcoexistindiversity.Asoftenmentionedinthefilm,thereareinfinitepossibilitiesforeveryoneinZootopia.Thefoxandtherabbit,originallynaturalenemies,haveestablishedadeepfriendship.Everykindofexistenceisworthwaitingforgently,thefutureisgood.Thefilm’screatorsalludetohumansocietythroughanimalsociety.Withatolerantattitudetorespectothers,toleranceofdifferences,humanitywillreturntotheoriginaltrue,goodandbeautiful.ThesubtitletranslationofthisfilmcomesfromsubtitletranslationteamwhichisaprofoundtranslationteamandhastranslatedafloodofpopularfilmsreleasedonChina.3.2TranslationBasedonThreeRulesofSkoposTheoryTheauthordiscussesabovethatthethreerulesarevitaltoSkopostheoryanditprovideaguideforsubtitletranslation.Applicationunderthethreerulesinsubtitletranslationwillbedemonstrated.3.2.1TranslationBasedontheSkoposRuleInsubtitletranslation,thetranslatormayhavetoconsidermorethanonepurpose:tomakethetranslationdown-to-earthandeasytounderstand,ontheotherhand,thesentenceshouldbecoherentandsmooth.Theauthorwillgiveexamplestoillustrateitnext.3.2.1.1LiteralTranslationLiteraltranslationisalsoknownasword-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.Heredirectly“waterworks”translatesas“大洪水”。Theaudiencecanalsoclearlyknowthat“waterworks”refersto“tears”.AfterJudyleaves,hisfatherwillbeverysadtocry,tearslikewaterworks.Andherecomesawaterworksismoreeuphemisticthanherecomestears.Becauserabbitfatheralsowantstoshowastrongcharacterinfrontofhisdaughterandwife,itisaeuphemisticexpressionofthefeelings.Thetranslationas“大洪水”retainstheimplicationoftheoriginallanguageandconveysrichemotions,andatthesametimeitconformstotheSkoposrule.Example2:Thewolvesarenighthowlers.狼就是夜嚎者。Analysis:Thesubtitletranslates“nighthowler”into“夜嚎者”throughaliteraltranslation.InChinese,thereisno“夜嚎者”todescribeananimalthathowlsatnight.AlthoughthereisnosuchexpressioninChinese,theaudiencecanknowthemeaningfromtheChinesecharacters.Thisdi