- 上一篇：女性主义翻译理论视角下之《傲慢与偏见》心理描写的比较研究
- 下一篇：论自由间接引语在《爱玛》中的运用
本篇论文中，作者从不同的层次的对等如词汇层面对等、语法对等、谚语及表达对等和语境对等来分析影片哈利波特与火焰杯中的电影字幕翻译，遵循功能对等原则的翻译过程中会遇到很多困难，但这些困难都可以通过运用直译、重译等翻译原则和策略来解决。
毕业论文关键词：电影字幕翻译；功能对等理论；文化交流
Chapter 1 Introduction 1
1.1 Research Background 1
1.2 Significance of the Research 2
1.3 Organization of the Paper 2
Chapter 2 Literature Review 4
2.1 Nida’s Functional Equivalence Theory 4
2.2 Related Researches on Movie Subtitle Translation 4
Chapter 3 An Overview of Movie Subtitle Translation 7
3.1 Definitions of Movie Subtitle 7
3.2 Distinct Features of Movie Subtitle Trsnalation 7
Chapter 4 A Case Study on Movie Subtitle Translation from the Perspective of Functional Equivalence Theory 9
4.1 Introduction to the movie – Harry Potter and the Goblet of Fire 9
4.2 Analysis of movie subtitle translation 9
4.2.1 Lexical Level Equivalence 9
4.2.2 Grammatical Equivalence 10
4.2.3 Equivalence of idioms and expressions 11
4.2.4 Contextual Equivalence 12
4.3 Principle and Strategies 14
Chapter 5 Conclusion 17
References 18
Chapter 1 Introduction
1.1 Research Background
With the implementation of reform and opening up policy, China communicates with other countries in more and more fields, especially in culture. A movie, the carrier of culture, is playing an increasingly important role during cross-national communication. Different from other forms of art, a movie mainly passes information and catches the attention of audience through media. In recent years, China imports a large number of foreign movies, especially English movies. Therefore, movie subtitle translation is becoming more focused.
It is valuable to study movie subtitle translation because it is a bridge for cultural gaps but most translators claim that it is one of the most difficult type of translation. There are a lot of constraints relating to subtitle such as time and space of presentation. The translators have to make target audience understand the source texts in a very short period of time and pass the information in limited space. There are also some content constraints relating to cultural images. It is very common that the audience from one culture cannot understand another culture of movie. However, the translation of some commercial subtitle often focuses on what is meant but ignore cultural images, which will result in confusion. For instance, The Da Vinci Code covers not simply only the world of literature and the arts but also social, political and religious respects. It is even difficult for native speakers to understand the implied meaning of the movie, let alone Chinese people.
Movie subtitle translation is a new but rapidly developing discipline abroad. In western countries, some well-known translation experts like Eugene A.Nida, Peter Fawcett and Susan Bassnett have partially mentioned movie subtitle translation in their articles. However, none of them has made a further study in this area. There is few systematic theory, general principles or standard on movie subtitle translation. According to Peter Fawcett, the mismatch between what the audience sees and hears can pose a lot of problems: the aesthetics effect may be destroyed, comprehension may be impaired, or it might quite simply be as irritating as an unscratched itch.”(Fawcett,1997:13). Susan Bassnett points out that “the translation process of cinematic text involves “akinetic-visual component” as the audience watches the lip movem源[自-751*`论/文'网·www.751com.cn/ ents of the actors or actresses closely” (Bassnett, 1981:133). Both of them express the difficulty of movie subtitle translation, but neither of them has suggested a way out.