从生态翻译学角度看电影《沙丘》字幕翻译

AStudyontheChineseTranslationofSubtitlesintheFilmDunefromthePerspectiveofEco-translatology1IntroductionSciencefictionfilmshavelongcaptivatedaudienceswiththeirimaginativeworldsandthought-provokingthemes.Amongthem,

Dune

standsoutasaremarkableworkthatnotonlyoffersavisuallystunningandintellectuallyengagingexperiencebutalsoposesuniquechallengesinsubtitletranslation.1.1IntroductiontoDuneDune,ameticulouslycraftedsciencefictionepic,wasdirectedbyDenisVilleneuvein2021.ItisadaptedfromFrankHerbert’seponymousclassicnovelpublishedin1965.Setinafar-flungfuture,thefilmunfoldsaroundthefictionaldesertplanet“Arrakis”.ThenarrativecentersonthenobleHouseAtreides,whoaredeeplyenmeshedinaninterstellarpoliticaltussleoverthemysteriousresource,“spice”.Asaremarkablesciencefictionmasterpiece,Dunenotonlyconstructsacomplexinterstellarsocialfabricbutalsoseamlesslyweavesinthemeslikeecologicalcrises,religiousprophecies,andpowergames,delvingdeepintotheintricaterelationshipsamonghumansocialevolution,naturalecology,spiritualbeliefs,andpowerdynamics.ThechoiceofDuneastheresearchsubjectisnocoincidence.Ontheonehand,itoccupiesapivotalbenchmarkpositioninsciencefictionfilms.Itsinnovativenarrativetechniques,grandvisualspectacles,andprofoundthematicexplorationssetastandardforcreatingscience-fictionfilms.Ontheotherhand,theprocessofitssubtitletranslationvividlyexemplifiesthethreecoredimensionsthatEco-translatologyfocusesonandmorespecifically,thepreciseconversionoftermsinthelinguisticdimension,theeffectiveconveyanceofsymbolsintheculturaldimension,andtheseamlesscoordinationofemotionsandintentionsinthecommunicativedimension.Throughanin-depthanalysisofDune’ssubtitletranslationstrategies,thisstudyisexpectedtoyieldvaluableinsightsthatcombinetheoreticaldepthandpracticalguidanceforthespecializedandchallengingfieldofscience-fictionfilmtranslation.1.2IntroductiontoEco-translatologyEco-translatologywaspioneeredbyChinesescholarHuGengshenintheearly21stcentury(47).Itscoretenetviewstranslationasadynamicprocessinwhichthetranslatoradaptstothe“translationeco-environment”andmakesadaptivechoices.The“translationeco-environment”hereisnotastaticorisolatedconceptbutacomplexdynamicsystemthatorganicallyintegratesmultipleelements,includingthelinguistictraits,culturalheritages,communicativeintents,andaudienceexpectationsofthesourceandtargetlanguages.AsHuGengshenandTaoYoulanelaboratedintheiracademicresearch,thistheoryhassuccessfullytranscendedthestaticandone-sidedperspectiveoftraditionaltranslationresearch,highlightingthesubjectiveagencyofthetranslatorinthemulti-dimensionaleco-environment(132).Italsoinnovativelyproposesthe“three-dimensionaltransformation”modelasacrucialmethodologicalpropforguidingtranslationpractice.Linguisticdimensiontransformationchieflyfocusesonadaptivevocabulary,syntax,andrhetoricaladjustment.Inthetranslationofscience-fictionworks,forinstance,whenhandlingprofessionalterms,translatorsmustensuretermaccuracytomirrortheprofessionalnuancesoftheoriginaltextfaithfully.Simultaneously,theymustconsiderthetargetlanguageaudience’sreadinghabitsandcomprehensioncapabilities,aimingtomakethetermsaccessible.InthecontextofDunetranslation,thetranslationofitsuniqueterminologicalsystemshouldalsostrictlyadheretotheabove-mentionedprinciplesoflinguisticdimensiontransformationtoachieveaccurateandsmoothlanguageconversion(ZhangandUmeanowai4).Culturaldimensiontransformationrequirestranslatorstoadeptlyhandlecomplexculturalelementssuchasculture-loadedwords,historicalallusions,andculturaldifferencesincustomsduringthetranslationprocess.HuGengshenoncepointedoutthattheessenceofculturaltranslationcanberegardedasthe“transplantationofculturalecology”(47).Thisprocessdemandsthattranslatorsflexiblyutilizestrategieslikedomesticationorforeignizationtobridgetheculturalgapandachievetheeffectivetransmissionandprecisealignmentofculturalsymbolsacrossdifferentlanguagesandcultures.Communicativedimensiontransformationemphasizesthecommunicativefunctionoftranslation,ensuringthatthetranslatedtextcanpreciselymeettheaudience’sacceptancepsychologyandemotionalneeds,therebyachievingeffectivecross-linguisticandcross-culturalcommunication.Inthecontextoffilmsubtitletranslation,thesignificanceofthecommunicativedimensionisparticularlypronounced.Subtitlelinesneedtoconveythecharacters’intentionsatthelinguisticlevelaccuratelyandbecloselycoordinatedwithmultiplemodalelementssuchasthefilm’svisuals,soundeffects,andactors’performances.Forexample,translatorscanskillfullyusemodalparticlestoenhancetheexpressionofcharacters’emotionsorpreciselyselectwordswithdistinctemotionalhuestoguidetheaudiencetoquicklyandaccuratelycapturethecharacters’emotionalundertonesandintentionorientationswithinalimitedviewingtime,thusenablingthemtoimmersethemselvesdeeplyinthefilm’scontextandenhancethesenseofimmersionandidentificationintheviewingexperience.ThenotablestrengthsofEco-translatologylieinitsoutstandingsystematicnessanddynamism.Incontrasttotraditionaltranslationtheories,iteschewsthenarrow-mindedapproachofviewinglanguageorculturalissuesinisolation.Instead,itsituatesthetranslationactivityentirelywithinanorganicandunified“ecosystem”,compellingtranslatorstocomprehensivelyconsidertheinterplayofmultiplefactors,includingtheinternallinguisticstructureofthetextandexternalculturalandcommunicativeaspects.TakingthesubtitletranslationofDuneasanexample,thetransformationoffictionalterms(linguisticdimension)needstobesimultaneouslyadvancedandoptimizedincoordinationwiththetransmissionofculturalmetaphors(culturaldimension)andthestimulationoftheaudience’semotionalresonance(communicativedimension).Thethree-dimensionalmodelofEco-translatologypreciselyoffersascientificandefficientintegratedoperationalframeworkforthis.Moreover,thistheoryparticularlyaccentuatestheinteractiveevolutionprocessof“adaptationandselection”,meaningthattranslatorsmustbevigilantandadaptableinadjustingbetweenthesourceandtargetlanguages,dynamicallybalancingvariousconflictingrelationshipsinthetranslationprocess.Thiscoreconceptdemonstratesuniquetheoreticalvalueandpracticalguidingsignificanceinresolvingthelong-standingcontradictionbetween“fidelity”and“innovation”inscience-fictionfilmtranslation.Asanemergingtranslationtheory,eco-translatologyhasbeenvalidatedandwidelyappliedinvariousfieldssuchastouristtextsandliterarytranslation(Hu47;Cronin177;Wangetal.174).However,thereremainsvastroomforin-depthexplorationinthefilmandtelevisiontranslationfield,whichischaracterizedbyuniquemultimodalityandcross-culturalcommunicationfeatures.Thisstudyintroduceseco-translatologyintothesubtitleanalysisofDune,aimingtothoroughlyexplorethepracticalapplicationpotentialofthistheoryincomplexmulti-modalandcross-culturalcontexts.Simultaneously,itprovidesaninnovativemethodologicalapproachandtheoreticalunderpinningforthetranslationpracticeofscience-fictionfilmandtelevisionworks.2LiteratureReviewInthefieldoftranslationstudies,eco-translatologyisgraduallyemergingasafocalpointofgreatattention.Foreignscholarswerethefirsttoapproachitfromamultimodalperspective,delvingdeepintotheapplicationpotentialofEco-translatologyinsubtitletranslation,thuslayingadiversifiedresearchfoundationforthedevelopmentofthistheory.Atthesametime,theresearchachievementsofEco-translatologyinChinaarequitefruitful.Buildingontheessenceoftheresearchbythetheory’spioneer,domesticscholarscloselyintegratewiththecharacteristicsoflocalcultureandactivelyexplorepracticalapproachessuitableforthetranslationofmoviesubtitlesintheChinesecontext.Althoughthestartingpointsandfocusesoftheresearchathomeandabroadvary,theyallrevolvearoundtheapplicationofeco-translatologyinsubtitletranslation.Together,theypropelthein-depthdevelopmentofresearchinthisfieldandprovideabundanttheoreticalreferencesandpracticalinsightsforthesubtitletranslationresearchofmoviessuchas

Dune.2.1ForeignStudiesInforeigntranslationresearch,Eco-translatologyhasbeensteadilygainingprominenceinrecentyears.AsCroninmeticulouslynotedinhisinfluentialmonograph“Eco-Translation:TranslationandEcologyintheAgeoftheAnthropocene,”publishedbyRoutledge,ecologyhasascendedtoacentralpositionasadecisivefactorgoverningthesurvivalandsustainabilityofhumansocieties,cultures,andlanguages(177).Thisshifthasexertedaprofoundandfar-reachingimpactonthefieldoftranslation,promptingscholarstoreevaluatetraditionaltranslationtheoriesandmethodsfromanecologicalperspective.Foreignresearchershaveincreasinglyrecognizedthatmoviesarecomplexcombinationsofmultiplemodalities.Subtitletranslation,asanessentialpartofmovietranslation,notonlyinvolveslanguageconversionbutalsorequirescarefulconsiderationofothermodalfactorssuchasimages,sounds,andevenspatialelements.Forinstance,KressandvanLeeuwen'sgroundbreakingwork“MultimodalDiscourse:TheModesandMediaofContemporaryCommunication”presentedasystematicmultimodaldiscourseanalysistheory,whichhasprovidedasolidtheoreticalbasisforunderstandingtheintricatemultimodalinteractioninmoviesubtitlestranslation(338).AsKressandvanLeeuwenargue:“Theinteractionofverbalandvisualelementsinfilmconstitutesadynamicecologicalsystemwheresubtitlesmustadapttobothlinguisticandsemioticdemands”(132).Thisperspectiveenablesscholarstoanalyzehowsubtitlesinteractwithvisualandauditoryelementsinmovies,makingtheconsiderationofsubtitletranslationintheecologicalenvironmentmorecomprehensive.ScholarshaveconductedextensiveexplorationsofvariousaspectsofsubtitletranslationfromanEco-translatologyperspective.YuYayanemphasizedusingEco-translatologytoanalyzeerrorsintouristpublicsigntranslations.Byexaminingcultural,social,andphysicalcontexts,Yuproposedpracticalsolutionstoimprovetranslationquality:“Ecologicaltranslationtheorydemandstranslatorstoactasmediatorsbetweenlinguisticecosystems,balancingculturalauthenticityandaudiencereceptivity”(56).Thisstudydemonstratedthepracticalapplicationvalueofeco-translatologyinpracticaltexttranslation.Inaddition,ZhangandUmeanowai,intheirresearchpublishedin

SageOpen,delvedintoanalyzingAchebe’s“ThingsFallApart”fromanEco-translatologyperspective(4).Theirstudymeticulouslyexploredhowtopreservetheculturalconnotationsandecologicalsignificanceoftheoriginalworkduringthetranslationprocess.Thefindingsdemonstratedthateco-translatologycanbeeffectivelyappliedtoliteraryworks,suggestingitsbroadpotentialfordifferenttypesoftranslations,whethertheyareliterary,practical,ormultimodaltextslikemoviesubtitles.Ingeneral,foreignresearchonEco-translatologyinsubtitletranslationisinadynamicstateofevolution.Thereisagrowingrecognitionoftheimportanceofconsideringtheecologicalperspective,thetranslator’sselectionandadaptation,andthetextualenvironment.Byadoptingamulti-dimensionalperspectivethatincorporateslinguistic,communicative,cultural,aesthetic,andrhetoricaldimensions,researchersareactivelyexploringpracticalwaystobridgegapsindifferentaspects.Theseeffortsaimtoenhancethequalityandeffectivenessofsubtitletranslation,enablingmoviestobetterconveytheirintendedmessagesacrossdifferentcultures.Theseforeignstudiesofferseveralvaluabledirectionsfortranslatingfilmsubtitles.Firstly,consideringthefilmasacomplexecologicalsystem,translatorsshouldpaycloseattentiontotheinteractionbetweensubtitlesandotherelementssuchasvisualsandsounds,ensuringthatthesubtitlescomplementandenhancetheoverallviewingexperience.Secondly,understandingtheculturalbackgroundsofthesourceandtargetlanguagesandmakingappropriateadaptationsiscrucialforenhancingcross-culturalcommunication.Translatorsneedtobesensitivetoculturalnuancesandusetranslationstrategiesthatcaneffectivelyconveytheculturalmeaningsembeddedintheoriginaltexts.Finally,takingintoaccounttheaudience’sacceptanceandprovidingaccurateandaccessibletranslationscansignificantlyimprovetheoverallqualityofsubtitletranslation.Bycateringtotheaudience’sneedsandpreferences,translatorscanensurethatthesubtitlesarenotonlylinguisticallycorrectbutalsoengagingandeasytounderstand.AsthefieldofEco-translatologycontinuestodevelop,itholdsgreatpromiseforenhancingthetranslationofDunesubtitlesandsimilarfilmtranslations,contributingtothecross-culturaldisseminationandappreciationofmovies.2.2DomesticStudiesInChina,theresearchachievementsinecologicaltranslationstudiesarerelativelyfruitfulandhavegraduallypermeatedthefieldofmoviesubtitletranslation.HuGengshen’secologicaltranslationstudiestheory,asexpoundedinhisarticle“ResearchParadigmofEco-translatology:Orientation,ConnotationandCharacteristics”,haslaidasolidfoundationfordomesticresearch(1-6).ThistheorysystematicallyconstructstheresearchparadigmofEco-translatology,clarifyingitsorientation,connotationandcharacteristics,whichprovidesessentialtheoreticalguidanceforsubsequentresearch.Inspiredbythistheory,manyresearchershaveconductedin-depthexplorationofmoviesubtitletranslation.Forexample,SunHan,inthemaster’sthesis

“AStudyontheEnglishSubtitleTranslationStrategiesofChineseAnimatedFilm

WhiteSnake

fromthePerspectiveofEco-translatology”

submittedtoBeijingForeignStudiesUniversity,demonstratedtheapplicationofthreedimensionaltransformations—linguisticdimension,culturaldimension,andcommunicativedimension(20-22).Throughadetailedanalysisofthesubtitletranslation,Sunconcludedthatbyflexiblyimplementingthesethree-dimensionaltransformations,translatorscanbetteradapttothetranslationaleco-environment(20-22).Specifically,inthelinguisticdimension,adjustmentsingrammarandvocabularycanenhancethereadabilityofsubtitles;intheculturaldimension,appropriateculturalcompensationstrategieshelpconveyculturalconnotations;inthecommunicativedimension,ensuringtheaccuracyandeffectivenessofinformationdisseminationiscrucial.Thesetransformationscontributetoimprovingthequalityofsubtitletranslationandpromotingcross-culturalcommunication(Sun20-22).ZhangZhongjing,inthemaster’sthesis“AStudyontheTranslationStrategiesofTheConjuring

MovieSubtitlesfromthePerspectiveofEco-translatology”fromYangtzeUniversity,focusedonthetranslationstrategiesofmoviesubtitles.Zhangproposedaseriesofwell-plannedtranslationstrategies,includingdomesticationandforeignization(32-33).Throughcaseanalysis,itwasfoundthatdomesticationstrategiescanhelptheaudiencequicklyunderstandthecontentbyconformingtothetargetlanguage’sculturalandlinguistichabits,whileforeignizationstrategiescanretaintheoriginalculturalflavorandexpandtheaudience’sculturalhorizons.Areasonablecombinationofthesetwostrategiescaneffectivelybalanceculturaldifferencesandmeettheneedsofdifferentaudiences(Zhang32-33).YangYan(2023),inanothermaster’sthesisfromYangtzeUniversitytitled

“

AStudyontheSubtitleTranslationStrategiesoftheAmericanVersionof

EmpressesinthePalace

fromthePerspectiveofEco-translatology”,alsoexploredsubtitletranslationstrategies(33).Yang’sresearchpointedoutthatcommonmethodssuchasliteraltranslation,freetranslation,reductiveparaphrasing,deletion,amplification,andfreetranslationplusadditionwereusedinpractice(52).However,thestudyalsorevealedexistingproblems,suchasimproperwordusage,mistranslation,andlossoforiginalmeaning.Thesefindingshighlighttheimportanceofcontinuousimprovementandrefinementoftranslationstrategiesinsubtitletranslation.WangLirun,inthepaper“

AStudyontheChinese-EnglishSubtitleTranslationof

Hi,Mom

fromthePerspectiveofEco-translatology”

,conductedacomprehensiveanalysisofthesubtitletranslationof

Hi,Mom(174-175).Thestudyemphasizedtheneedtoconsiderthetranslationaleco-environmentcomprehensively,includingthefilm’stheme,audiencecharacteristics,andculturalbackground,toselectappropriatetranslationstrategies(Wang174-175).Overall,eco-translatologyresearchinChinaisontherise,withitsapplicationcontinuouslyexpandingacrossvariousfields.Thesestudies,whetherpresentedinacademicthesesfromprestigiousuniversitiesorpublishedinprofessionaljournals,haveprovidedrichpracticalcasesandtheoreticalinsights.Inthefuture,anincreasingnumberofscholarsareexpectedtofocusonthisfield,makingtheresearchmoresystematicandin-depth.Asthetheorycontinuestoevolve,itspracticalapplicationswillbecomeevenmoreextensiveandeffective,furtherpromotingthedevelopmentoftranslationstudiesandcross-culturalcommunication.3ACaseStudyofDunefromthePerspectiveofEco-translatologyEco-translatologyprovidesamulti-facetedlenstoanalyzetheintricateartofsubtitletranslation,especiallyforacomplexworklikeDune.ByexploringitsChinesesubtitletranslationthroughthreecoredimensionsofthetheory—linguistic,cultural,andcommunicative,itcanbeuncoveredhowtranslatorsnavigatethechallengesofcross-linguisticandcross-culturalcommunication,andensurethattheessenceofthefilmiseffectivelyconveyedtothetargetaudience.3.1LinguisticDimensionThelinguisticdimensionfromtheperspectiveofEco-translatology,greatlyemphasizesthetranslatorachievingadynamicbalanceinaspectssuchasvocabulary,syntax,andrhetoric.Thetranslatormustmakecautiousadaptivechoicesbetweenthe“fidelity”requiredbythesource-languageecologyandthe“acceptability”expectedbythetarget-languageecology.InthetranslationpracticeofDune,theinterweavingofscientificandtechnicaltermsandphilosophicaldialoguesisexceptionallyprominent,anditslanguagetransformationstrategiescanbedeeplyanalyzedthroughthefollowingcases.3.1.1TheEcologicalLimitsofLiteralTranslationofVocabularyAsCroninmentioned,inthesciencefictioncontext,thestrangenessoftermsisanessentialelementforconstructinganalienworldview(177).However,Eco-translatologyrequiresthetranslatortoevaluatetheacceptancethresholdofthetarget-languageecology.Iftermslike“KwisatzHaderach”transliteratedas“魁萨茨・哈德拉克”aretoodense,itislikelytocauseanexcessivecognitiveburdenontheaudience.Therefore,inthetranslationprocessofDune,thetranslatoradoptsa“selectiveliteraltranslation”method.Coreterms(suchas“spice”and“sandworm”)arekeptinliteraltranslation.Incontrast,secondaryterms(suchas“Baliset”translatedas“巴拉塞特琴”)aresupplementedwithvisualannotationstoachieveagradientbalanceintheterminologicalecology.Translating“Ornithopter”literallyas“扑翼机”strictlyfollowstheword-formationlogicofthesourcelanguage(ornitho–“bird”+pter“wing”),accuratelyretainingthetechnologicalcharacteristicsofthisbionicmachine.However,intheChinesecontext,itisdifficultfortheaudiencetounderstanditsconnotationsfromtheliteralwordsfully.Theyalsoneedtorelyonthevisuals(suchasthevisualpresentationofthewingvibrationsoftheornithopterinteractingwiththeduneenvironment)tomakeupforthecognitivegapsinvocabulary.AsYuYayanpointedoutintheresearchonthetranslationoftouristpublicsigns,translationneedstoconsidertheimpactofthesurroundingenvironmentontheaudience’sunderstanding(9).UnlikePrometheus,whichtranslates“Omniscope”freelyas“holographicstarmap”,Duneadoptsaliteraltranslationstrategy,focusingmoreonmaintainingtheintegrityofthescience-fictionterminologicalsystem.Thischoicefullyreflectsthetranslator’srespectforthesource-languageecology.“WaterofLife”inthefilmhasadualecologicalmetaphor.Itisboththe“sandwormmetabolitewater”onwhichtheFremendependforsurvivalandthe“hallucinogenicvenom”inreligiousceremonies.Thetranslatoradoptsaforeignizingstrategyandtranslatesitliterallyas“生命之水”,firmlyrejectingthereligiousassociationsthatmaybetriggeredbydomesticatingtranslation(suchas“holywater”).Thistranslationcoincideswiththefilm’scorethemeof“ecologicalresourcesasthesourceofbothsurvivalanddestruction”andsuccessfullyavoidsculturalmisinterpretations.Thiscasefullydemonstratesthe“multi-dimensionaladaptation”principleofeco-translatology.AsHuGengshenelaborated,theliteraltranslationinthelinguisticdimensionneedstoworkinconcertwiththemetaphortransmissionintheculturaldimension(thedualnatureofwater)andthesuspensemaintenanceinthecommunicativedimension(theaudiencegraduallyrevealsthetruenatureof“water”)(77).Ifdomesticatingtranslationisforced,itishighlylikelytodisruptthecomplex“water”semanticnetworkinthesource-languageecology(77-81).3.1.2TheModalAdaptationofSyntacticStructuresandthePoeticReconstructionWhenthesyntacticfeaturesofthesourcelanguage(suchasthehypotacticlogicofEnglish)aretoocomplextobedirectlytransplantedintothetargetlanguage,therhetoricaladvantagesofthetargetlanguage(suchastheparataxisandconcisenessofChinese)canbeusedtoachievefunctionalequivalence.Forexample.SourceLanguage(SL):“Themysteryoflifeisnotaproblemtosolve,butarealitytoexperience”.TargetLanguage(TL):“生命之秘非待解之题，乃需亲历之境”Theoriginaltextfeaturesaparallelstructureintheformofaphilosophicalmaxim,contrasting“aproblemtosolve”with“arealitytoexperience”.IntheChinesetranslation,thetranslatoringeniouslyreconstructsthesyntaxbyusingfour-characterphrasesandclassicalChinesefunctionwords(“非”,“乃”).ThisnotonlysuccessfullypreservesthesymmetryandphilosophicaldepthoftheoriginaltextbutalsohighlyconformstotherhythmicecologyoftheChineselanguage.ThistranslationmethodfullyreflectsEco-translatology’s“rhetoricalcompensation”strategy.Furthermore,in-depthanalysisshowsthattheinfinitiveverbs(tosolve,toexperience)intheoriginalEnglishsentenceimply“purposefulness”,whiletheChineseexpressions“待解”and“亲历”weakenthepurposeorientationthroughstatedescription,whichismoreinlinewiththeecologicalviewof“comprehensionratherthanconquest”inEasternphilosophy.Thisadjustmentisatransformationoflanguageformandahiddentransmissionofecologicalvalues.AsHuGengshenandTaoYemphasized,thetranslatorskillfullytransformsWesternlinearthinkingintoEasterncircularcognitionthroughsyntacticreconstruction,successfullyachievingcrossculturalecologicaldialogue(125-126).3.1.3TheCreativeTranslationofRhetoricDeviceInthetranslation,thecreativehandlingofrhetoricaldevicesfromthelinguisticdimensionisvitalforpreservingtheoriginalcharmandenhancingtheexpressivenessofthetarget-languagesubtitles.SL:“Thespicemustbeflow”TL:“香料是流动的”Inthesourcelanguage,“spice”denotesthepreciousresourcewithinthefilm,and“flow”isastraightforwardverb.Metaphorically,thislineconveystheimperativeneedforthecontinuousoperationofthedune’secologicalandeconomicsystems.Theliteraltranslation“香料是流动的”conveysthebasicsemanticmeaningbutlacksthedepthofthemetaphoricalconnotation.Incontrast,thecreativetranslation“香料之脉一脉相传”usestheimageryof“veins”tovividlyillustratethesignificanceandinterconnectednessofthespice,drawingananalogytotheessentialroleofbloodvesselsinlivingorganisms.Thistranslationnotonlycapturesthemetaphoricalessenceoftheoriginalbutalsoaddsasenseofmysteryandgrandeur,aligningwiththefilm’soveralltone.Bycreativelyadaptingtherhetoricaldevice,itconformstotheaestheticandexpressivehabitsoftheChineselanguage,effectivelydemonstratingtheprincipleof“creativeadaptation”inEco-translatology.Thisapproachnotonlypreservesthemetaphoricalmeaningoftheoriginaltextbutalsoenhancestheemotionalresonanceandstylisticconsistency,highlightingtheimportanceofcreativehandlingofrhetoricaldevicesinmaintainingtheoriginalcharmandimprovingtheexpressivenessoftarget-languagesubtitles.Theoriginaltextconstructsanembodiedmetaphorwith“mind-killer”,comparingfeartoanassassin,vividlydepictingthedestructiveeffectoffearonthemind.TheChinesetranslation“恐惧噬心”ingeniouslyborrowstheswallowingimageofthecharacter“噬”,notonlyretainingthemetaphoricaltensionbutalsogreatlyenhancingthesenseofurgencythroughthemonosyllabicverb.Thistranslationmethodfullyconformstothe“creativetranslation”principleinEco-translatology.Whenliteraltranslation“恐惧是心灵杀手”wouldresultinlooserhythm,thetranslatorreconstructstherhetoricbasedontheuniquemonosyllabicverbsinChinese“噬，斩，灭’’,thussuccessfullyactivatinganequivalentemotionalimpactinthetargetlanguageecology.3.2TheCulturalDimensionIntheframeworkofEco-translatology,theculturaldimensionnecessitatesthattranslatorsestablishadynamicequilibriumbetweenthesourcelanguagecultureandthetargetlanguageculture.Ontheonehand,preservingculturalheterogeneityisparamountformaintainingthediversityoftheglobalculturalecosystem.Eachculture’sdistinctvaluesandmeaningsconstituteaninalienablepartoftheextensivehumanculturalheritage.Ontheotherhand,adaptivetransform