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山东大学硕士学位论文英语电影片名的翻译姓名：丁进申请学位级别：硕士专业：英语语言文学指导教师：孙迎春20080418 山东大学硕上学位论文摘要电影是一种集艺术性和商业性于一体的艺术形式，是最具有影响力的媒体之～。随着中国对外开放进程的加快以及中外文化交流的发展，英语电影正越来越多地涌入中国大陆市场。作为英语译制片不可或缺的部分，中文译名架起了～座把电影和观众初步联系在一起的桥梁。电影片名的翻译已成为翻译领域一个越来越重要的组成部分。好的译名能使电影锦上添花，在新片的推介过程中具有举足轻重的作用。遗憾的是，电影片名的翻译研究工作还做得远远不够，目前似乎还没有人提出一套比较完整可行的原则指导片名的翻译。关于电影名的翻译及其研究，普遍都以传统的“对等’’翻译理论作为指导思想。这样做，虽然将翻译从形式的枷锁中解放了出来，但是，它却并没有使电影名的翻译摆脱“等值”的束缚，也不能解释为什么有的影片译名违反等值标准但却经实践检验十分成功，因而难以有效地指导翻译实践。本文尝试从功能翻译理论中的目的论的角度对英语电影片名翻译进行进一步的研究。目的论突破了传统翻译理论，提出了翻译行为并不是单纯的语际转换，它是一种有目的的行为活动，而且还是一种有目的的跨文化的交际活动，从而进一步丰富了翻译理论，并为影视翻译实践开辟了一个新视角。目的论强调文本目的在翻译过程中所起的作用；目的法则作为一条总的原则决定了翻译方法和策略必须由译文预期的目的和功能来决定。这就使电影名的翻译摆脱了“等值”的束缚，降低了原电影名在翻译过程中的指导与支配地位，更有利于译者在翻译过程中发挥自身的能动性，发挥目的语的优势，使译文达到更理想的效果。在以上理论研究的基础上，论文的第一章作为引言部分，阐明了本文的研究背景、写作目的、理论框架和组织结构。第二章对英语电影片名做了一个总体分析：介绍了电影的种类，分析了电影片名的特点和功能，为探讨其翻译方法奠定了基础。本章具体探讨了电影片名所具有的三种基本功能，即信息功能、审美功能和商业(呼唤)功能。信息功能，从狭义上是指译名传递原电影片名的信息或者关于电影情节的信息，使观众对电影内容有初步的了解；从广义上是指译名应承载着深刻的文化内涵。审美功能是指中文译名用简洁、通俗的语言来传递电影的主要内容和情感，符合中文语法规 山东人学硕上学位论文则和大陆观众的表达习惯，让观众领略中文语言的优美。商业(呼唤)功能是指译名能够激发观众的观看欲望，使观众受到感召，最终采取行动，从而实现影片的票房商业价值。第三章系统回顾了德国功能学派的观点，同时也总结了目前国内英语电影片名汉译的研究状况和相关成果。第四章在目的语文化为导向的功能翻译理论的指导下对英语电影片名的汉译进行了详细的分析，探讨了功能翻译策略是如何运用到电影片名的翻译中去的。中国观众看电影的主要目的是为了娱乐。片名翻译的最终目的和主要功能就是娱乐观众激发其观看欲望，这也就要求译者在译文中努力实现电影片名的三种基本功能。同时文章指出，由于语言和文化的差异，原文的功能并不一定都能在译文中得到实现。在翻译过程中，译者应该考虑到潜在观众，充分把握译语观众的审美趣味、心理需求、知识背景等，注重译文的可接受性。基于上述目的和翻译要求，本文通过实例分析归纳了中文译名所使用的翻译策略：音译、直译(包括逐字翻译、调整词序结构、音译加释义)、意译(本文中主要指直译意译结合)以及改译。这些翻译策略对原英语片名提供的信息进行了不同的处理，即完全保留、适当选择、全部抛弃和增加信息等。文章指出各种翻译策略密不可分，优势互补，为了更好的实现片名翻译目的，译者可以灵活采用多种翻译策略。第五章是结论部分，对全文进行了总结，对电影片名的翻译提出了一些建议，同时也指出了论文写作的局限性并对今后的研究提出了一些建议。关键词：英语电影片名翻译；目的论；翻译策略 山东大学硕上学位论文ABSTRACTThefilm，apopularart、Ⅳitllbothartisticandcommercialvalues，isoneofthemostinfluentialmassmedianowadays．WiththeincreasingpaceofChina’SopeningtotheoutsideworldaswellasthedevelopmentofculturalcommunicmionbetweenChinaandEnglish—speakingcountries，moreandmoreEnglishfilmsarepoutingintothemarketofChina’Smainland．AsanindispensablepartofthetranslatedEnglishfilms，thetranslatedfilmtitlesbuildupabridgeovertheinitialconnectionbetweenthefilmandtheaudience．Therefore，filmtitletranslationhasbecomeamoreandmoreimportantandsignificantpartoftranslationstudies．Anexcellentversionmaycontributealottothecharmofthefilmandplaysanimportantpartintheintroductionofanewfilm．However，filmtitletranslationisanareathatisfarfrombeingexploredanduptillnOWnoonehasputforwardasystematicandfeasibleprincipletoguidefilmtitletranslation．。Generallyspeaking，studiesandresearchesonfilmtitletranslationhavebeenusuallyconductedbytraditionalequivalencetranslationtheory．Tosomeextent，suchtheoryCanfreefilmtitletranslationfromtheyokeofformbondage．However,itcannotreallyfreefilmtitletranslationfromthebondageof‘equivalence’．Inaddition，translationstrategiesbasedontraditionaltranslationtheoriescannotprovideatheoreticalexplanationforsometranslatedfilmtitlesthataresuccessfulinpracticebutagainsttraditional‘equivalence’standard．Therefore，theycannoteffectivelyconducttranslationpractice．ThepresentthesistriestomakeafurtherstudyonEnglishfilmtitletranslationfromtheperspectiveofSkopostheory．Insteadoftreatingtranslationasacode·switchingoperation，Skopostheory,bytakingprecedenceoverpurposeandfunctionintranslation，definestranslationasapurposefulactivityaswellasanintentionalinterculturalcommunication，thusbringingmorevaluableinsightsintotranslationstudiesandgivinganewperspectivetothestudyoffilmtitletranslation．Skopostheoryputsemphasisonthepurposeintranslationactivitiesandaccordingtothistheorytranslationstrategiesaredeterminedbythepurposeofthe 山东大学硕上学位论文targettexts．Inthissense，6ydethroningthestatusoforiginalfilmtitles，filmtitletranslationcanbefreedffonithebondageof‘equivalence’．Inaddition，thetranslatorcanbeallowedtohavemoral；initiativeandwilldoabetterjobintranslationactivities．Onthebasisoftheabovetheoreticalstudy，ChapterOneservesasallintroduction，presentingtheresearchbackground，writingpurpose，theoreticalframeworkandstructureofthethesis．ChapterTwoisageneralanalysisofEnglishfilmtitles，introducingthegenreoffilmanddiscussingthefeaturesandfunctionsoffilmtitles．Thischapterseinesasthefoundationforfutureanalysisontranslationpolicies．Inthischapter,thethreefunctionsoffilmtitlesarefullyanalyzed，thatis，theinformative，aestheticandcommercial(appellative)functions．Theinformativefunction，inanarrowsense，mearlsthattheversionconveystheinformationoftheoriginalfilmtitleortheinformationabouttheplotofthefilminordertohelptheaudiencehaveabasicunderstandingofthefilm；inabroadsense，itreferstotheprinciplethattheversionsshouldbearcomplicatedculturalconnotations．TheaestheticfunctionmeansthattheChinesetranslationstransferthemainplotandemotionofthefilminconciseandpopularlanguage，conformingtothegrammaticalrulesandthelanguagehabitsofChineseinordertomaketheaudiencesensethebeautyofChinese．Thecommercial(appellative)functionmeansthattheversionsshouldstimulatethedesireoftheaudiencetoseethefilm．Onlywhentheaudiencehavebeenentertainedandattractedbythetitlewilltheybepersuadedtogotothecinema,thusrealizingthecommercialvalueofthefilmboxoffice．ChapterThreeisatheoreticalretroflection．Inthischapter,Germanfunctionalistapproachesarerevisited，coveringitsdevelopmentandmainideasbyplacingspecialemphasisonSkopostheory．Meanwhile，italsogivesageneralliteraturereviewofthepreviousstudiesonEnglishfilmtitletranslationmadebyChinesetranslationscholars．InChapterFour,undertheguidanceofthefunctionalistapproachwitIlthetarget—cultureorientation，theauthormakesadetailedanalysisonEnglishfilmtitletranslationandthenexploreshowthefunctionalistapproachisappliedtofilmtitletranslation．TheChineseaudiencewatchafilmmainlyforentertainment．Therefore， 山东大学硕十学位论文theultimatepurposeandthemainfunctionof。Englishfilmtitletranslationaretoentertaintheaudienceaswellastostimulatethedesireoftheaudiencetoseethefilm．Inordertoachievesu．c．hagoal，the．translatormouldtrytoachievethethreebasicfunctionsintargettext，thatis，theinformative，aestheticandcommercial(appellative)functions．Atthesametime，theauthoralsopointsoutthat，owingtothelinguisticandculturaldifferences，thefunctionsoforiginalfilmtitlesusuallycannotbetotallypreserved．Inaddition，thetranslatorshouldbearthetargetaudienceinmind，takingtheiraesthetictastes，psychologicalneedsandbackgroundknowledgeintoconsiderationandattachinggreatimportancetotheirreceptivityduringtheprocessoftranslation．Basedontheabovetranslationpurposesandrequirements，thestrategiesusedinEnglishfilmtitletranslationexemplifiedbyahostoftranslatedversionsfromdifferentanglesareintroduced，namely,transliteration，literaltranslation(includingword—for-wordtranslation，theadjustmentofwordorderorstructure，transliterationplusparaphrase)，liberaltranslation(includingthecombinationofliteralandliberaltranslation)andadaptation．Thesestrategiestreatthesourcetextinformationindifferentwayssuchascompletepreservation，properselection，completeabandonmentandinformationaddition．Fromthepreviousanalysisandexamples，thepresentthesisholdsthatallthetranslationmethodsareindispensableandsupplementarytoeachotherandthatthetranslatorcalladoptdifferenttranslationstrategiesflexiblyinordertobetterachievethegoalofEnglishfilmtitletranslation．ChapterFiveservesasaconclusion,summarizingthewholethesisaswellasputtingforwardsomesuggestions．Inaddition，italsopointsoutthelimitationsofthepresentthesisandbringsupsomesuggestionsforfurtherstudiesinthefuture．Keywords：Englishfilmtitletranslation；Skopostheorie；translationstrategies 原创性声明本人郑重声明：所呈交的学位论文，是本人在导师的指导下，独立进行研究所取得的成果。除文中已经注明引用的内容外，本论文不包含任何其他个人或集体已经发表或撰写过的科研成果。对本文的研究做出重要贡献的个人和集体，均己在文中以明确方式标明。本声明的法律责任由本人承担。论文作者签名：]＆日期：迦量：丛论文作者签名：J丛日期：迦董：丛关于学位论文使用授权的声明本人完全了解山东大学有关保留、使用学位论文的规定，同意学校保留或向国家有关部门或机构送交论文的复印件和电子版，允许论文被查阅和借阅；本人授权山东大学可以将本学位论文的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或其他复制手段保存论文和汇编本学位论文。(保密论文在解密后应遵守此规定)论文作者签名：』垫导师签名：of、，r 山东大学硕上学位论文1．1ResearchBackgroundChapterOneIntroductionNowadays，州t11therapiddevelopmentinscienceandtechnology,audio-visualmedia,、析ththeirperfectcombinationofsoundandimage．areplayingamoreandmoreimportantroleinourdailylife，andhavebecomeoneofthefastestandthemostconvenientmeansofcross．culturalcommunication．Audio．visualtranslationiSundoubtedlyoneofthecommonestformsoftranslationencounteredineverydaylifeinourcontemporarysociety．Audio—visualculture，especiallyfilmandtelevisionculture，hasalreadybeenpromotedtobeoneofthedominantformsofcultureinmodemsociety．Asanartisticform，filmscatertobothrefinedandpopulartastes．Theytellstories，createvividimages，expressdeepemotionsandattracttheaudiencebytheirperfectcombinationofsound，colorandmovingpictures．Tosomeextent，filmsreallytouchthesociallife-fromdifferentaspects．Besides，theyarealsooneofthemostimportantelementsintheworld’Sculturalcommunication，whichCanberegardedasaneffectivewayofpromotingmutualunderstandingbetweendifferentpeopleindifferentcountries．Eversince1979whenChina’SpolicyofreformandopeninguptotheoutsideworldWascarriedout，Chinahasgraduallytakenanactivepartininternationalcommunication．Inrecentyears．、ⅣitllChina’SentryintoWTOandthestrengtheningprocessofglobalization，communicationbetweennationsisbecomingmoreandmoreprosperous，ofwhichculturalexchangeisanessentialpartthatcannotbeignored．Asamodeofculturaltransmission，moreandmoreEnglishfilmshaveenteredChinesemarket，whichhasbecomeapartofpeople’Slivesandexertedgreatinfluenceontheformationofpeople’Slanguage，livingpatterns，andevenvalues．Therefore，weshouldattachmuchimportancetothestudyoffilmtranslation．Likethetitletoaliterarywork，thefilmtitledeliversthemostimportantinformationaboutthefilmtotheaudience，whichCan嘶ptheattentionofthe 山东大学硕十学位论文audienceatthefirstsight．Apartfromtheimpressiveplotoffilmandwonderfulperformanceofactorsandactresses，agoodtranslationoffilmtitleswillundoubtedlycontributealottothecharmofthefilm．跏cetheyhavealwaysbeenputinaneye-catchingplace，afilmmusthaveaconciseandmeaningfultitle．Agoodtitleshouldnotonlyrevealthethemeofthefilmconciselyandcomprehensively,butalsoshouldgeneralizethecontentofthefilmterselyandsuccinctly．Beingakindofbrandandadvertisement，thefilmtitlehascommercialvalue，whichplaysaleadingroleintheboxofficeofthefilm．Agoodfilmtitlenotonlyattractstheeyeballs，butalsohelpsthefilmwinaneverlastingfame．AcaseinpointistheclassicfilmMadisonCountyBridge《廊桥遗梦》，whichtellsadeeplytouchinglovestorybetweenaphotographerandahousewifeinMadisonCounty．TheoriginalEnglishfilmusesthebridgeofMadisonCountywherethestorytakesplaceandendsasitstitle，whichisquitefamiliartotheAmericanaudience．However，adirecttranslation《麦迪逊郡的桥》maynotconveymuchmeaningandthusmaynotbeappealingtotheChineseaudience．Bypreservingtheheadword“bridge”，theChineseversionconveysthemainplotofthefilm．ThenthetwoChinesecharacters“遗梦”extendtheoriginalcontentoftheEnglishfilmtitlebygivingbirthtothetragicatmosphereofthefilm．Inthisway,theChineseversionmayeasilykindletheaudience’Scuriositytoseethefilm．Fromthis，onecanseethatanexcellenttranslationofthefilmtitlewillundoubtedlycontributealottothesuccessofthefilm．Onthecontrary,apooronewillcertainlyfailtoattracttheaudience，misleadtheaudienceaswellasdegradethebeautyandvalueofthewholefilm．Thetranslationoffilmtitleisnotasimpleandeasytask，butactuallyaverycomplicatedandproblematicmaaeLIthasitsownlinguistic，stylisticandculturalfeatures，whichdeservethetranslator’Scarefillconsideration．UntilnOWalmostnoonehasprovidedasystematicprincipletoguidethetranslationoffilmtitles．Forthisreason，thereappearmanyproblemsduringtheprocessoftranslatingfilmtitles．ItisthestartingpointatwhichthisthesistriestooffersomeconstructiveinstructionforEnglishfilmtitletranslation(EFTTforallabbreviation)．2 山东人学硕七学位论文1．2TheoreticalFrameworkThisthesiswilltakeGermanfunctionalisttranslationapproach，mainlySkopostheoryastheoreticalbasis．Withtheindus备'ializationandCOmmercializationoffilmindustry,filmhasfarexceededtheconventionalartform．Therefore，films，especiallyfilmtitles，shouldnotbeseenandtranslatedaspureliteratureunderthedirectionof“equivalence’’and“receptionaesthetics”theories．Instead，Skopostheory,whichseestranslationasapurposefulactivity,asanintentionalinterculturalcommunication，callbeusedasaguidelineforthetranslationofEnglishfilmtitles．AccordingtoSkopostheory,theprimeprincipleguidingthetranslationactionistheSkopos(purpose)ofthetargettext，whichinturnisdeterminedbytheintendedreceiver’sneedsandexpectations．Asanartisticform，filmscatertobotllrefinedandpopulartastes．WhenanEnglishfilmisreleasedinChina，itsChinesefilmtitleiscorrespondinglypubliclyshowntotheChineseaudienceincinema．MakingclearoftheSkoposisofvitalimportanceinEnglishfilmtitletranslation．ForChineseaudience，theygotocinemamostlyforentertainment．Theultimatepurposeoffilmtitletranslationistoattracttheaudiencetoseethefilmandfilmtitletranslationmeanstoproduceatargetfilmtitle埘tlldefinedfunctionsofinforming，persuadingandentertainingthetargetaudience，servingastheculturalcommunicatorandappealingtotheaudience’Sinterest，thusbecomingabox—officehit．‘InlightofSkopostheory,intheCOurSeoftranslation，theintendedfunctionsoftargettexthavebeenattachedmuchimportancetoinordertomeetthedemandsandexpectationsofthetargetaudience．Basedonfunctionaltheories，theauthorofthisthesiswillmainlyanalyzethefunctionsoffilmtitlesasfollows：theinformativefunction，theaestheticfunctionandthecommercial(appellative)function．InEnglishfilmtitletranslation，theinformativefunctionmeansthatthetranslationsconveytheinformationoftheoriginaltitleoroftheplotofthefilminordertohelptheaudiencehaveaperceptualcomprehensionofthefilm．Theaestheticfunctionmeansthatbyusingconciseandpopularlanguage，especiallyintheformofChinesefour-characterphraseinsomecases，thetranslationscallmaketheaudienceobtainaesthetie3 山东大学硕十学位蓖文entertainment．Thecommercial(appellative)functionreferstothefactthatbytakingthecommercialelementintoconsideration，t116translatedfilmtitlessbouldfullyarousetheaudience’Sinterests．thusfulfillingthecommercialvalueofthe￡lm．Skopostheoryalsoviewstranslationasaninterculturalcommunication，takingculturaldifferencesintoaccount．Inthiscase，translatingmeanscomparingculturesandtranslationisnotonlyamatterofwordrenderingbutratheramatterofculturalrendering．Beingamodeofculturaltransmission，audio—visualtranslationshouldbedoneinaspecificsocio-culturalcontext．ThesameistrueofthetranslationofEnglishfilmtitles埘t11regardtotheirculturalfunction．Forthisreason，thefilmtitletranslatorissupposedtofullyunderstandthedifferencesbetweenEnglishfilmtitlesandChinesefilmtitlesinculture-specificity．Meanwhile，theacceptabilityoftheChineseversionsshouldalsobeenhanced．Unliketheequivalencetheory,thecriterionoftranslationinfunctionalistapproachisadequacytotheSkoposratherthanequivalenceinform．Therefore，incertaindegree，thistheoryprovestobescientificandpracticalinthatitprovidestheoreticalbasisforsometranslationmethodsinEnglishfilmtitletranslationthatareconsideredasagainsttheexistingtranslationyetprovedsuccessfulinpractice．Inthiscase，thetranslatorisallowedmoreinitiativethaninprevioustranslationstudies．HeispermittedtochoosetranslationstrategiesandmethodsthatCanbestservetheparticularfunctionandfinallyrealizetheSkoposoftranslation．Forthisreason，undertheguidanceofSkopostheory,thetranslatormaybeclear-mindedindoingEnglishfilmtitletranslation．1．3StructureoftheThesisThisthesisiscomposedoffivechapters：ChapterOneservesasanintroduction,presentingtheresearchbackground，theoreticalframeworkandstructureofthethesis．ChapterTwoisageneralanalysisofEnglishfilmtitles，introducingthegenreoffilmanddiscussingthefeaturesandfunctionsoffilmtitles．Thischapterservesasthefoundationforfutureanalysisontranslationpolicies．4 山东大学硕十学位论文ChapterThreeisatheoreticalretroflection．Inthischapter,Germanfunctionalistapproachesarerevisited，covetingitsdevelopmentandmainideasbyplacingspecialemphasisonSkopostheory．Meanwhile，italsogivesageneralliteraturereview尹fthepreviousstudiesonEnglishfilmtitletranslationmadebyChinesetranslationscholars．ChapterFouroffersadetailedanalysisofEnglishfilmtitletranslationundertheguidanceofSkopostheorytogetherwiththeguidingtranslationprinciplesandpropermethodsexemplifiedbyahostoftranslatedversionsfromdifferentangles．ChapterFiveservesasaconclusion，summarizingthewholethesiswitllthesignificanceofaudience—orientedfilmtitletranslationhighlightedandtheapplicabilityofSkopostheorytoEnglishfilmtitletranslationjustified．Inaddition，italsopointsoutthelimitationsofthepresentthesisandbringsupsomesuggestionsforfurtherstudiesinthefuture．5 山东大学硕士学位论文ChapterTwoGenerdlAnalysisofEnglishFilmTitlesFilmisbothanartisticformandmentalproduct，withwhichcultural，political，andideologicalelementsareconveyed．Thetranslationoffilmtitlesmaybequitedifferentfromthatofotherkindsofliteraryforms，suchasnovels，poems，etc．．Ashasbeenstatedabove，agoodtranslationoffilmtitlesmayaddcharmtothefilmandcontributealottothebox—officevalue．Thefilmtitle，beingshortinformbutrichinmeaning，hasitsownlinguistic，aestheticandculturalfeatures，towhichthetranslatorshouldpaymuchattention．BeforewecometotheCOreofthethesis，itisquitenecessarytomakeageneralanalysisofEnglishfilmtitlesinorderthatitwillprovideabetterunderstandingoftheresearchsubject．2．1FilmGenreGenerallyspeaking，filmusuallyfallsintothreetypes：documentary,educationalandfictional．Thedocumentaryfilmmainlyseekstoprovidetheaudiencewiminformation,forinstance，thehistoricandnewsworthyevents，socialcustoms，manners，thedevelopmentofsocietiesandhumancivilization，andSOon．Theeducationalfilmreferstothatwhichismadewiththeprimarypurposeofteachingsomesubjectofmattersorskills．Thefictionalfilmisthemostpopulartypeofmotionpictures，whichismostcommonlyshowninlargemovietheatres．Suchtypeoffilmusuallytellsaninterestingfictionalstory,which，tosomeextent，Canbeacceptedbyalargeproportionofaudience．Fromtheabove，onemayseethatthefirsttwotypesmainlyservethepurposeofinformationtransmission,whichareplaininstyleandformalinwording，andintendedforarelativelysmallgroupofaudience，whilethethjrdisusuallyintendedtoentertainwideandvariedaudience，thuspossessingstrongemotionalcolortoattracttheattentionoftheaudience．Limitedbyspace，thisthesiswillonlydealwiththe6 山东大学硕士学位论文translationoffictionalfilmtitles．Toputitindetails，fictionalfilmscallbefurtherdividedintofourtypes，namely,horrorfilm，fantasy．film，comic，film，andlsriofilm．Forthehorrorfilm，whichfocusesonthethrillingeffect，itstitleismainlyservedtocreatesomekindofsoul-stirringatmosphere，forexample，TheRing《午夜凶铃》，TheSilenceof砌PLamb《沉默的羔羊》，andSOon．Forthesecondtype，itisvisionaryandimaginative，whichusuallytellsastorycompleting、vitlldistantplanet，greatdark，environmentalchanges，spacetravel，futuristictechnology,unknownforces，extraordinarymonsters(creaturesfromouterspace)，etc。Itstitleissupposedtorevealthenovelideaofthefilmandbringaboutakindoffantasticatmosphere，forexample，StarWars：Episode心加以旷theClones《星球大战前传：克隆人的进攻》，SpiderMan《蜘蛛侠》，andHarryPotterandtheSorcerer'sStone《哈里·波特与魔法石》．Forthecomicfilm，itisdesignedtoprovokethelaughterbyexaggeratingthesituation，thelanguage，actionandcharacters．Correspondingly,itstitleshouldbetingedwithcomicflavorinordertoproduceahumorousandamazingeffectforthefilm，forinstance，Mr．Doubtfire《肥妈先生》(or《窈窕奶爸》)andHomeAlone《小鬼当家》．Maincharactersinanimationsaleusuallythoselovelyanimalsorthingsthatareembodied、析t11life．Forthisreason．theanimatedfilmsarecategorizedintothecomicgenreandthetranslatedfilmtitlesshouldnaturallyproduceanamazingeffectforthefilm．Forexample，ToyStory《玩具总动员》，StuartLittle《精灵鼠小弟》，andSOon．Thelasttypeisthelyricfilm．ManyfilmsCanbeputintothisgroup，suchaslovestories，musicalfilms，familyfilmsandWarfilms．Thetitlesofthesefilmsshouldberichinlyricflavorandquiteclosetothestyleofprose，forexample，AWalkintheClouds《云中漫步》．2．2FeaturesofEnglishFilmTitlesAlthoughfilms，asakindofliteraryform，havesomethingincommonwithotherliteraryforms，theyalsopossesssomeuniquefeatures，whichmakethemdifferentfromothers．Thesameistrueofthecaseoffilmtitles．Asamodeofculturaltransmission,filmtitlesinvolvemanycomplicatedculturalfactors；asanartisticform，7 山东人学硕士学位论文theyhaveanaestheticfunctioninnature；asakindofcommodity,'h_heymustpossessec,mmercialvalues．Thefeaturesoffilmtitleswillbeanalyzedinthefollowingperspectives，namely,linguistic，cultural,'aesthetic，and·commercia!喧erspectiVes．2．2．1LinguisticFeaturesAsaspecialtypeofpopularculture，filmtitlehasitsownuniquelinguisticfeatures．Inmostcases，Englishfilmtitlesareveryshort，conciseandcompact埘tllregardtothestructure，yetrichinmeaning，which，tosomeextent，aresummarizationsofthewholefilm．Intheviewoftheform，sometimestheyemployoneortwowordsastitles，whichmaybethenalTleoftheprotagonistortheplacewherethestorytakesplace，forinstance，Alexander《亚历山大大帝》，PearlHarbor《珍珠港》；sometimes，theyadoptvariouskindsofphrasesastitles，namely,nounphrases，verbphrasesandprepositionalphrases，whichareexemplifiedinthefollowingtitles：TheSoundoftheMusic《音乐之声》，consistingofamodifierandtheworditmodifies；MeettheParents《拜见岳父岳母大人》，usingthestructureofaverb-objectphrase；OnGoldenPond《金色池塘》，employingtheprepositionalphrase．Thereisnodenyingthattherearesomeinstancethatsomelongfilmtitlesdoappear,forexample．TheLordoftheRings：TheReturnoftheKing《指环王：王者归来》．However,suchlengthytitlesarecomparativelyfewinnumber．2．2．2CulturalFeatures·Allgoodfilmsaresocialproductsofculturalphenomenaandideologicaltrendofcertaintimes．Filmsareproducedtoreflecttherealityandthecurrentissueswithwhichordinarypeopleareconcerned．Inasense，theyreallytouchthesociallifefromdifferentangles．SuchculturalfeaturesCanalsobereflectedattheleveloffilmtitles．Filmtitlesarecloselyrelatedtovariousaspectsofsocieties，suchasreligion,history,philosophy,socialcustoms，andSOon．Moreoftenthannot，culturalfeaturesarecloselyrelatedtothequotationofidiomsandallusions，whichconveyrichculturalmeanings．Forexample，filmssuchasSeven，OriginalSin，andAdam'sRibareenvelopedinstrongWesterncolor,andclearlyshowthegreatinfluenceuponEnglishfilmtitlesexertedbywesternreligiousculture．2．2．3AestheticFeatures8 山东大学硕士学位论文Films，allaudio—visualart，canprovidetheaudiencewithaestheticentertainmentthroughtheirperfectJc．ombinationofsound，color,andmovingpictures．Generallyspeaking，theaestheticcharacteristicsoffilmtitlesare。closelyrelat．edtotheapplicationofrhetoricaldevices，suchassimile，metaphor,irony,contrast，personification，alliteration,oxymoron,andSOon．Theemploymentofrhetoricaldeviceshasbeenprovedtobeeffectiveandpowerful，becausethecarefullydesigneddevicesusedinfilmtitleshelpeithertocreatesomespecialkindofatmosphere，toarousetheimaginationortomovethepassion．Forexample：CrystalHeart(metaphoODanceswithWolves(personification)SenseandSensibility(alliteration)TrueLies(oxymoron)Tiger!Tiger!Tiger!(repetition)2．2．4CommercialFeaturesAsapopularartisticform，filmsareproductsofcommercialization．Asuccessfulfilmshouldbetheonethatcanattractpeopletothecinemaandthatshouldbecomeagreatbox-officehit．Tosomeextent,itisjustifiedinsayingthatafilmwillbemeaninglessifitcannotattractthepublicattentionandbringlargeprofit．Therefore，filmtitlesshouldalwaysbeeye-catchingandbetingedwithcommercialcolor．Inasense，suchcharacteristiccanhelptoboomthefilmindustry．However,thisdoesnotmeanthatonecanmerelypursuelargecommercialprofitbyprovidingsomequeertitles、析mrioregardtotheconnotationoftheoriginal．2．3FunctionsofEnglishFilmTitlesFunctionisatopicwidelydiscussedintranslationstudies．Beingtheeyesofthefilmcontentsandthespiritofthefilmadveaisement，filmtitlesoftenperformtwoorthreefunctionstofulfilltheirultimatepurposes．Thebasicprincipleoffunctionalismintranslationistheorientationtowardsthe(prospective)functionofthetargettext(Nord，2006：79)．Translationisalwaysrealizedforatargetsituationwimitsdeterminingfactors(receiver,timeandplaceofreception,etc．)，inwhichthetarget9 山东大学硕±学位论文textissupposedtofulfillacertainfunctiorl’whichcanand，indeed，mustbespecifiedinadvance(ibid．：32)．Therefore，thefu6ctionsofanytexttobetranslatedareimportantfactors"towhichthe-translatorshouldattachmuchimportanceduring,theprocessoftranslation．AccordingtoVermeer,‘‘functionreferstowhatatextmeansorisintendedtomeanfromthereceiver’Spointofview．”(Nord，2004：28)．Eachtextisproducedforagivenpurposeandshouldservethispurpose．Thesameistrueofthetranslatedtext，whichissupposedtofunctioninthetargetcultureforthetargetreceivers．ForReiss，textfunctionsarecloselyrelatedtotexttypes．Basedonthe‘organonmodel’oflanguagefunctionsproposedbyKarlB0hler,Reissdividestextsintothreebasictypes，namely,informative，expressiveandoperativetext．“Thedepictivefunctionisemphasizedincontent—focusedtexts，theexpressivefunctionemphasizingform—focusedtexts，andthepersuasivefunctionemphasizingappeal-focusedtexts．’’(Reiss，2004：25)．InhisATextbookofTranslation，PeterNewmarkadoptsandadaptstheBtihler--Jakobsonfunctionsoflanguage．AccordingtoBiihler,thethreemainfunctionsoflanguagearetheexpressive，theinformativeandthevocativefunctions．ForJakobson，therearethreeotherfunctionsoflanguage：theaesthetic，thephaticandthemetalingual．Basedonthese，Newmarkproposesthreefunctions，namely,theexpressive，theinformativeandthevocative．·Similarly,inherTranslationasaPurposefulActivity，Nordalsoputsforwardthefollowinglanguagefunctions：thereferential，theexpressive，theappellativeandthephatie．Actually,inspiteofdifferentnames，thesefunctionsbearacertaindegreeofsimilaritieswitheachother．TheinformativefunctionmaycorrespondtOthereferentialfunction，theaesthetictotheexpressive，andtheappellativetothevocative．Withthehelpoftheabovetheoriesalong淅tllthespecificfeaturesoffilmtitles，theauthorofthisthesiswillanalyzethefunctionsoffilmtitlesasfollows：theinformativefunction，theaestheticfunctionandthecommercial(appellative)function．2．3．1InformativeFunction 山东大学硕上学位论文Theinformativefunctionisthebasicfunctionthatanyfilmtitleshouldpossess．Astherepresentativeofafilm，itisagreedthatthefilmtitleshouldbeofhigh-informationvalue．Atitlewithout．anyinformatj．vevaluec锄besaidmeaningless．SuccessfulfilmtitlesaresupposedtoCalTyasmuchinformationaspossibleinordertoenabletheaudiencetogetathoroughunderstandingofthefilmcontent．AccordingtoNewmark(2001a：40)，thecoreoftheinformativefunctionoflanguageisexternalsituation,thefactsofatopic，realityoutsidelanguage，includingreportedideasortheories．Inthisthesis，theinterpretationoftheinformativefunctionistwo—fold．Inanarrowsense，itmeansthatafilmtitleissupposedtoprovidetheaudiencewiththebasicinformationaboutthefilm．Inotherwords，byseeingthefilmtitle，theaudiencemayinfertheinformationaboutthefilmgenre，thegeneralplot，themaincharacter(s)，theplaceorthetimewhenthestorytakesplace．Somefilmtitlesindicatethefilmgenre，forinstance，StarWars《星球大战》，《世界末日》，MissiontoMars《火星任务》，whicharesciencefictionfilms．Someindicatethemaincharacter(s)ofthefilm，whichhelptheaudienceassociatetheirmemory晰ththeexactfilm，forexample，TheGodfather《教父》，Ali《拳王阿里》，Hamlet《哈姆雷特》．Sometitlesgivehinttowhat’Sgoingoninthefilm，forexample，MyBestFriend'sWedding《我最好朋友的婚礼》，AroundtheWorldin80Days《环游地球80天》，PrisonBreak《越狱》，SavingPrivateRyan《拯救大兵瑞恩》．Sometitlesindicatethethemeofthefilm，whichmaynotbeS0eye—catchingatthefirstsight，butwhichusuallyleaveontheaudience’Smindalingeringaftertaste．Forinstance，BraveHeart《勇敢的心》，BeautifulMind《美丽心灵》，Chocolat《浓情巧克力》．Somefilmtitlesrevealthebackgroundofthefilm，whichconsistsofseveralaspects，suchastime，placeandenvironmentinwhichthestorytakesplace．Forexample，AirForceOne《空军一号》，Casablanca《卡萨布兰卡》，Titanic《泰坦尼克号》．Inabroadsense，theinformativefunctionmeadsthatfilmtitlesshouldbearculturalconnotation．Asisknowntoall，filmsaretheproductsofmentalactivities,withwhichcultural，political，andideologicalfactorsareconveyed．Thetaskoffilmsistorecordandreflectpeople’Slife．Thesocialcontext，culturalphenomenaandll 山东火学硕士学位论文ideologyareshown‘andimpliedinfilms．Tosomeextent，filmsaretheminiatureofspecificcultures，tduchingalmosteveryaspectofsociallife，art，history,religioN,；morality,etc。Thd‘sameistrueoffilmtitles，which’shouldpossessculturaP．transmissionfunction．Bythismeans，thetargetaudienceCanobtaindeeperimplicationsofthefilmaswellasabeRercomprehensionofthesourceculture．Ashasbeenstatedbefore，culturalfeaturesoffilmsareusuallycloselyrelatedtothequotationofidiomsandallusions，whichconveyrichculturalmeanings．Asweknow,inwesterncountries，religiousbeliefshavegreatinfluenceonpeople’Sdailylife，whichinturnhaveexertedinfluenceonfilmtitles．Forinstance，thefilmtitleOriginalSinisenvelopedinstrongwesterncolor．ItcomesfromtheBible，referringtotheinbornsinofhumanbeings．AccordingtotheBible，therearetwokindsofsins，originalsinandactualsin，whichmeansthesinthatmancommitsinthislife．Christianitythoughtthattherootofallhumancrimes，disasters，sufferingsanddeathcomefromAdamandEve，becausemeyeattheforbiddenfruit，thusviolatingtheGod’Swill．AnotherfilmtitleSevenalsopossessesrichculturalmeaning．Sevenisameaningfulnumberinwesternreligion，suchasSevenVirtues(七大美德)，SevenGiftsoftheSpirit(神的七大礼物)，theSevenHeavens(七重天)，theSevenSacraments(七大圣礼)andSOon．Herethetitlereferstothesevendeadlysins，namely,pride，envy,wrath，sloth，greed，gluttony,andlust．Besidesthese，therearemanyotherexamplesdelighttheaudience’Seyes：AdamiRib，TheSilenceoftheLamb，eye#reye，TheFirStBlood,etc。2．3．2AestheticFunctionFilmisanartisticproduct，whichhasitsownaestheticfeatures．AsuccessfulfilmtitleCannotonlyprovidetheinformationaboutthefilmbutalsoofferaudiencepleasantfeelings．TheCOleoftheaestheticfunctionistopleasetheorganofperceptionandsenses．In11isATextbookofTranslation，Newmarkpointsoutthatlanguageisdesignedtopleasethesenses，firstlythroughitsactualorimaginedsound，andsecondlythroughitsmetaphors．Therhythm，balanceandcontrastsofsentences，clausesandwordsalsoplaytheirpart．Astheartoflanguage，theaestheticvaluesoffilmtitleare 山东大学硕士学位论文generallyreflectedinitsform,．soundeffect，force，rhythmandtheapplicationofrhetoricaldevices．Fromthepreviousanalysis，oneCanseetheartisticeffectsoftheemploymento—frhetoricaldevicestotilt9titles．Forexample，theuseofsimileandmetaphorcanhelptheaudienceassociatethememorywiththeexactfilmaswellasdeepentheunderstandingbyvividlyrevealingthethemeofthefilm．Repetitionmaylayemphasisonthesubject。ortheobjectofthewholefilm，thusleavingdeepimpressionontheaudience．Filmtitlestingedwithironicalflavorareusuallythought-provokingandaccordinglyarousetheaudience’Scuriositytocometothecinematoseethefilm．Besides，therhythm，colorofthewords，forceofthewordsandvividimageCanalsoaddeleganceandpowertothetitle．AcarefullydesignedfilmtitleCallwellperformtheaestheticfunction，creatingsuchbeautyasphoneticbeautyandimaginationalbeauty．Generallyspeaking，theapplicationofalliterationCancreatephoneticbeauty,forinstance，SenseandSensibility，n砘andP呵udice，《碟中谍》，etc。Sometimes，inE．Ctranslationoffilmtitles，theChinesefour-characterphrases，economicalinwordingbutexpressiyeinmeaning，alsoplayallimportantpartinachievinggreatartisticeffect．AtypicalexampleistheChineseversion《云中漫步》fortheAmericanfilm么WalkintheClouds，whichtellsaromanticstory．Ayoungmanandawomanwholoveeachotherarewalkinginthevineyard．Ifitistranslatedinto“在云中走”，theaudiencecannotenjoyanyromanticflavor．Bycontrast，theversion《云中漫步》Canarousetheromanticfeelingintheheartoftheaudience：dreamlikevineyard，handsome．hero，beautifulheroine，andromanticlovestory．2．3．3Commercial(Appellative)FunctionWiththeindustrializationandcommercializationoffilmindustry,filmhas．farexceededtheconventionalartisticform．ThecommercialismiStheinnatefeatureofthefilm，andtheboxofficeisjustthetypicalfeatureofthemodemfilm’Scommercialism．Asakindofmentalproduct，film—makinggoesthroughthesameproductionperiodasothercommoditiesdo：producingthefilm，advertisingandreleasingthefilmandconsumingthefilm，i．e．watchedbytheaudience．Nowadays，itisverycommonthatafilmcostshundredsofmillionsofdollars，especiallythehothit 山东大学硕上学位论文madebyHollywood．Forthisreason，itiseasytoseethatifafilmgetshighboxoffice，thefil'ncompanywouldearnenoughprofits，otherwise，itwouldsustainlossesorevengobankrupt．Therefore，inmodemcommercialsoci‘ety,‘i!theboxofficeisakeyfactortojudgewhetherafilmissuccessfulornot．Inasense，filmtitlesareakindofbrandandadvertisement，sincetheyhavealwaysbeenputinaneye-catchingplace，thevivid，conciseandcharm-embodiedtranslatedfilmtitleswillundoubtedlyhelptofulfilltheboxofficevalue．Thecommercialfunctionproposedinthisthesisis，tosomeextent，similartothevocativeortheappellativefunction,thecoreofwhichisthereadership，theaddressee．AccordingtoNewmark，“theterm‘vocmive’isusedinthesenseof‘callingupon’t№readershiptoact，tlliIll【orfeel，infactto‘react’inthewayintendedbythetext．”(Newmark，2001a：41)．Inthisthesis，directedatthereceivers’sensitivitytoact，thecommercialfunctionmeansthatfilmtitlesaresupposedtoattracttheaudience’Seyeballsandtobecomeagreatbox-officehit．Thecommercialfunctionincludestheinformativefunctionandtheaestheticfunctionatcertainlevel．Firstly,agoodfilmtitlemustbeinformativeenough．Ashasbeenstatedpreviously,theinformativefunctionisthebasicfunctionofthethree．AtitlewithoutanyinformativevalueCanbesaidmeaningless．Sincethepurposeoffilmtitlesistoattracttheaudienceandarousetheirinterests，theaudiencehavetogetsomebackgroundknowledgeaboutthefilm．Secondly,afilmtitleCanbeappellativeenoughbyperformingitsaestheticfunction．Theaudienceissupposedtoreceiveaestheticpleasurefromthetitle．Whentheaudiencearefacedwimsuchcarefullydesignedfilmtitles，meywouldbeaestheticallyentertainedandaccordinglytheircuriositycouldbeeasilyconjuredup．Thecommercialfunctionoffilmtitlesalsoconsistsoftouchingtheheartstringsoftheaudiencebymeansofthecharmofthelanguage，thatis，brevity,smoothnessandvividness．Apartfromthese，bycateringtothepsychologicalneedandinterestoftheaudience，thecommercialfunctionCanbewellachieved．Comparethefollowingfilmtitles：Earthquake---《惊魂夺命》VS．《地震》 山东大学硕十学位论文TheⅣP卜i《网络惊魂》VS．《网络》YouCan}TakeIt聊砌．场z广《浮生若梦》VS．《你无法带走》Bloodandso甩扣《碧血黄沙》VS．《血与沙》尸f口丹旷《钢琴别恋》VS．《钢琴》Chocolat---．《浓情巧克力》VS．《巧克力》Intheaboveexamples，thefirstversionsarebetterthanthesecondones，becausetheyhelpappealtotheaudienceeitherbycreatingsomekindofsuspenseatmosphere，bygivingtheaudiencemoreroomforimagination，orbywell．matchingthepsychologyoftheChineseaudiencewhotendtousefour-characterexpressionsand2．4SummaryFewfilmtitlesarepurelyinformative，aesthetic，orappellative．Theabovethreefunctionsoffilmtitles，theinformative，theaestheticandtheappellativefunctions，arecloselyinterrelated嘶tlleachother．Mostfilmtitlesincludeallthethreefunctions，maybe埘thanemphasisononeofthethree．MostinformativetitlesmayhaveavocativethreadrunningtIlrou#them；theexpressivetitlesusuallyCfl_rDy．information．Similarly,appellativetitlesincludetheinformativeandtheaestheticfunc．tionsatcertainlevelasanalyzedintheabove．Generallyspeaking，thesethreefunctionsoperatethroughoutafilmtitleandthefrsttwofunctionsservethecommercialfunctioninthattheultimategoaloffilmmakingistoentertaintheaudienceandtobecomeagreatbox—officehit．Fromtheaboveanalysis．onemayseethatthemulti-functionsincorporatedinfilmtitlesleadtoaresultthatthefilmtitleisnotpurelyacontent—focusedtext，oraform—focusedtextoranappeal—focusedtext，sincethepurposeoffilmtitles，istoinform，toentertainandtoattracttheaudience．Instead，itisaunityofthethree晰t11particularemphasisononeofthem．Thefunctionalistsholdthateachtextisproducedforagivenpurposeandshouldservethispurpose．Thetranslatedtextissupposedtofulfillcertainfunctionsinthesituationinwhichitisused．Therefore，intheprocessof 山东太学硕士学位论文translation．thetranslatorshouldtakesuchf．actorsintoconsiderationandtheymayadoptflexibletranslationstrategiesSOlongastheyCanfulfillthelistedfunctions． 山东大学硕七学位论文ChapterThreeLiteratureReview3．1FunctionalistTranslationTheoryRevisitedAsarelativelycompleteandsystematictheory,functionalistapproachestotranslationdidn’tsuddenlyappearovernight．“The1970sand1980ssawamoveawayfromthestaticlinguistictypologiesoftranslationshiftsandanemergenceandflourishinginGermanyofafunctionalistandcommunicativetotheanalysisoftranslation．”(Munday,2001：73)．‘‘Linguisticsalonewon’thelpUS．First，becausetranslatingisnotmerelyandnotevenprimarilyalinguisticprocess．Secondly，becauselinguisticshasnotyetformulatedtherightquestionstotackleourproblems．Solet’Slooksomewhereelse．”(Nord，2004：10)．Withthestrenuouseffortsofseveraltranslationscholars，thetheoryhasbeenconstantlyimprovedandwidelyappliedbytranslationresearchers．3．1．1EarlyViewsSincefunctionalistapproachesdidn’tsuddenlyappearovernight，abriefdescriptionofearlyfunctionalistviewsoftranslationisnecessaryforUStounderstandit．Functionalistapproachestotranslationwerenotinventedinthetwentiethcentury．Throughouthistory,translatorsusuallyobservedthatdifferentsituationscallfordifferentrenderings，especiallymanyBibletranslatorshavefeltthattheprocessoftranslatingshouldinvolvebothprocedures：afaithfulreproductionofformalsource·textqualitiesinonesituationandanadjustmenttothetargetaudienceinanother．TheybelievedthatitWasmoreimportant‘'torenderthesense”(St．Jerome)ortoadjUStthetexttothetargetaudience’Sneedsandexpectations．Inasimilarvein，EugeneA．Nida(1964)alsomakesadistinctionbetweenformalanddynamicequivalenceintranslation,withtheformerreferringtoafaithfulreproductionofSOurCe—textformelementsandthelaterdenotingequivalenceof 山东大学硕七学位论文extralinghisticcommunicativeeffect(Nida，1964：159qtd．inNord，2004：5)．AccOrdingtoNida,atranslationofdynamicequivalenceisintended。toachievecompletennaturalnessofexpressionandtorelatethereceptortomodesJfbehaviorrelevantwithinthecontextofhisownculture；itdoesnotinsistthatheunderstandtheculturalpatternsofthesource—languagecontextinordertocomprehendthemessage(ibid．)．However,equivalence-basedtranslationtheorieshavetheirweakness．Equivalence-basedapproachesfocusonthesourcetext，thefeaturesofwhichmustbepreservedinthetargettext,andthetargettextmustbeequivalenttothesourcetext．However,inreallife，toachieveabsoluteequivalenceintheprocessoftranslationisimpossible，sincetheprocessoftranslatingshouldinvolvebothprocedures：afaithfulreproductionofformalsource-textqualitiesinonesituationand‘anadjustmenttothetargetaudienceinanother．Therefore，inthissituation，scholarsbegantoexplorenewtheories．Thisiswherethefunctionalisttranslationtheoryemergedin1970sintendedtobreak、丽mlinguistictranslationtheoriesandtobridgethegapbetweentheoryandpractice．3．1．2DevelopmentoftheTheoryWecannotdiscussthetheorywithoutmentioningKatharinaReiss，HansJ．Vermeer,JustaHolz·Mlintt百ri．andChristianeNordbecause。oftheirmajorcontributionstothedevelopmentofthefunctionaltranslationtheory．Thedevelopmentofmodemfunctionalisttheoryintranslationstudieshasgonethroughfourstages：KatharinaReiss’Sfunctionalisttranslationcriticism，HansJ．Vermeer’SSkopostheorieanditsextensions，JustaHolz-M蕴nttari’Stheoryoftranslationalaction，andChristianeNord’Sfunctionplusloyaltymodel．3．1．2．1KatharinaReiss’SFunctionalismAsearlyas1971，KatharinaReissintroducedafunctionalcategoryintoher‘objectiveapproachtotranslationcriticism’．InherbookPossibilitiesandLimi缸ofTranslationCriticism，takingequivalenceasherbasis，Reissdevelopsamodeloftranslationcriticismbasedonthefunctionalrelationshipbetweensourceandtargettexts．AccordingtoReiss，theidealtranslationwouldbeone“inwhichtheaiminthe1R 山东人学硕上学位论文TL[targetlanguage】isequivalenceasregardstheconceptualcontent，linguisticformandcommunicativefunctionofaf．SL【sourcelanguage】text”(1977，translationin1989：112qtd．inNor—d，2004：9)．Shereferstothiskindoftranslation,．as“integralcommunicativeperformance”．(ibid．)．However，shealsoknewthatreallifepresentssituationswhereequivalenceisnotpossibleand，insomecases，notevendesiredduetothespecificationsofthe‘'translationbrief'’．Therefore，herobjectiveapproachtotranslationcriticismallowsforcertainexceptionsfromtheequivalencerequirement．‘‘Oneexceptioniswhenthetargettextisintendedtoachieveapurposeorfunctioninsteadofthatoftheoriginal．Anotherexceptioniswhenthetargettextaddressesanaudiencedifferentfromtheintendedreadershipoftheoriginal(Nord，2004：9)”，thatistosay,thetargettexthasaspecificgroupoftargetaddresseesotherthanthatoftheoriginal．Bothexceptionshaveallowedthefunctionalperceptiveinthetranslationprocesstooverruletheequivalencestandards．ThetranslationcriticCannolongerrelyonfeaturesderivedfromSOurCe—textanalysisbuthastojudgewhetherthetargettextisfunctionalintermsofthetranslationcontext．Inthiscase，forReiss，allthetypesoftranslationmaybejustifiedinparticularcircumstances，andthenfunctionalequivalenceisnolongerregardedasthenormalaimoftranslation．3．1．2．2HansJ．Vermeer’SSkopostheorieHansVermeer,astudentofReiss，hasgonemuchfurtherintryingtobridgethegapbetweentheoryandpractice．HismostdistinguishedtheoryisSkopostheorie，whichwasdevelopedasthefoundationforageneraltheoryoftranslation,dealingwithspecificlanguagesandcultures．Sincetranslationinvolvesthetransferofcommunicativeverbalandnon-verbalsignsfromonelanguageintoanother,Vermeerconsiderstranslationasatypeofhumanaction，whichisdefinedasintentional，purposefulbehaviorthattakesplaceinagivensituation．That’SwhyVermeercallshistheorySkopostheorie，atheoryofpurposefulaction．Furthermore，sincesituationsareintegrated、vinlcultures，anyevaluationofaparticularsituation，ofitsverbalizedandnon-verbalizedelements，dependsonthestatusithasinaparticularculturesystem．AccordingtoVermeer,‘‘oneofthemostimportantfactorsdeterminingthepurposeofatranslationistheaddressee，whoistheintendedreceiveroraudienceofthetarget 山东人学硕十学位论史textwiththeirculture-specificworld—knowledge，theirexpectationsandtheircommunicat；veneeds．”(Nord，2004：12)Asasharpcontrast-toReiss’Sbeliefthatthd‘sourcetextisthemeasureofallthingsintranslation，Vermeerraisestheideaofthe‘‘dethronement’’ofthesourcetext：thestatusofthesourcetextismuchlowerinfunctionalistapproaches，whichisradicallydifferentfromearlierlinguisticorequivalence-basedtheories．Thesourcetextisnolongerthefirstandforemostcriterionforthetranslator’Sdecisions；instead，itisjustoneofthevarioussourcesofinformationusedbythetranslator．‘‘Vermeerregardsitasan‘offerofinformation’thatispartlyorwhollyturnedintoan‘offerofinformation’forthetargetaudience．”(ibid．)．MoredetailsabouttheSkopostheoriewillbepresentedlater．3．1．2．3JustaHolz—Miinttiiri’STheoryofTranslationalActionJustaHolz-ManttadtakesonestepfurtherthanVermeer．Hertheoryisbasedontheprinciplesofactiontheory．Insteadofusingtheterm‘'translation'’，shepreferstospeakof“messagetransmitters”，whichconsistsoftextualmaterialcombinedwithothermediasuchaspictures，soundsandbodymovements．Inhermodel，translationisdefined弱“acomplexactiondesignedtoachieveaparticularpurpose”．Thepurposeoftranslationalactionistotransfermessagesacrosscultureandlanguagebarriersbymeansofmessagetransmitters．AsHolz—MiirItt萏riputsit：Translationalactionistheprocessofproducingamessagetransmitterofacertainkind,designedtobeemployed讯superordinateactionsystem衲ordertocoordinateactionalandcommunicativecooperation．(1984：17qtd．inNord，2004：13)Sheparticularlyemphasizestheactionalaspectsofthetranslationprocess，analyzingtherolesoftheparticipants(initiator,translator,user,messagereceiver)andthesituationalconditions(time，place，medium)inwhichtheiractivitiestakeplace．3．1．2．4ChristianeNord’SFunctionplusLoyaltyModel20Anotherimportantscholarwhohelpsspreadtheinfluenceofthefunctionalist 山东大学硕士学位论文approaches、isCbxistianeNord．InherbookTranslatingas口PurposefultActivity，ChristianeNordpomtsoutthelimitationstotheSkoposmodel：whenthetranslationbriefrequiretsatranslationwhosecormnunicativeaimsarecontrarytoorincq溪npatiblewiththeauthor’Sopinionorintention，therewouldbenorestrictiontotherangeofpossibleends．Inconcerningthislimitation，NordraisestheLoyaltyprincipleofSkopostheorie：theresponsibilitytranslatorshavetowardtheirpartnersintranslationalinteraction．Thefunctionplusloyaltyprincipleisthusproposedwiththeintentionofinducingthetranslatortorespectthesender’Sindividualcommunicativeintentionsandreducestheprescriptivenessof‘radical’functionalism．3．1．3TheNucleusoftheFunctionalTranslationTheory：SkopostheorieSkopostheorieisputforwardbyHansJ．Vermeer．HestatedhisgeneralpositioninhisFrameworkfo，GeneralTranslationTheoryin．1978，andexplainedSkopostheorieindetailinthebookGroundworkfo，aGeneralTheoryofTranslationCO-authoredbyVermeerandReissin1984．Skopostheorieisarelativelynewapproachtotranslationstudiesthatconsiderstranslationasapurposefulactivity,andemphasizesthepredictedresultsoftranslating．Therefore，．Skopostheorieisthenucleusofthefunctionaltranslationtheory,playingthemostimportantroleinit．．．Beforeprobingintothedetailsofthediscussion,itisnecessaryforUStograspgeneralideasofthetheorytoavoidsomeunintendedmisunderstandings．ThemainideasofSkopostheoriecanbesummarizedasfollows：(1)Translationisaformofintentional，interpersonal，and、interculturalinteractionbasedon．asourcetext．(2)Asanintentional．interaction,translationintendstomakechangefromonestateofaffairstoanother．(3)Differentparticipantsareinvolvedinthisprocessandplaydifferentroles．Theclientisusuallytheinitiatorofthetranslationalaction，whodeterminesthetranslationbrief；thetranslatorproducestargettextinthetargetculturetoexpressthecommunicativeintentionofthe．senderofthesourcetext；andthereceiveriStheuserofthetargettext．(4)ThegeneralprincipleconsistsofSkoposrule，whichisthetop—rankingone 山东大学硕上学位论文foranytranslation，coherencerule，fidelityruleandloyaltyrule，whichisaddedtomakesurethatthetarget—textpurposeshouldbecompatiblewiththeoriginalauthor’Sintention．(5)Thesourcetextisnolongerthefirstandforemostcriterionforthetranslator’Sdecisions，yetinstead，itisjustoneofthevariousSOurCeSofinformationusedbythetranslatof．Thetranslatorchoosesfromthis‘‘offerofinformation”theitemswhichhethinkstitleadequatetothedesiredpurposesinthetargetculture．(6)Adequacyofthetargettextismoreimportantthanequivalence．“Adequacyreferstothequalitiesofatargettextwithregardtothetranslationbrief：thetranslationshouldbe‘adequateto’therequirementsofthebrief．”(Nord，2004：35)3．1．3．1BasicConceptsofSkopostheoriea)TranslationasIntentionalInteractionAccordingtoNord，“whenwespeakofintentionalityinaninteraction，weassumetherewasachoicetoactonewayoranother,torefrainfromactinginaparticularway,ortonotactata11．”(ibid．：19)．Vermeerdefinestheconceptas“foranactofbehaviourtobecalledanactionthepersonperformingitmust(potentially)beabletoexplainwhyheactsashedoesalthoughhecouldhaveactedotherwise．”(ibid．)TranslationCanberegardedasanintentionalinteractionbecause，firstly,itisintendedtochangeanexistingstateofaffairs，primarilytheinabilityofcertainpeopletocommunicatewitheachother；secondly,itiscarriedoutwithmorespecificcommunicativeintentions，suchastoinformthetargetaddresseesaboutsomethingthesource—textsendersays．Bystatingtranslatingasanintentionalinteraction,thefunctionalistsmeansthattranslationmustbedirectedtowardapurpose，thatistosay,topromotecommtmicationortoinformthereaders．Suchintentionality,asVemleeremphasizes，“doesnotrefertoanactionreallybeingintentional，buttoitsbeingseenorinterpretedasintentionalbytheparticipantsoranyobserver．”(ibid．)．Intentionmayberelatedtothetranslator,butmoreoften，itisassociated嘶t11theinitiatorofatranslationprocess．Therefore，theintentionofatranslationisnotnecessarilythesame私orsimilartotheintentionoftheoriginalauthor,andintranslatingtheremaybedifferentchoicesinpickinguptranslationstrategiesaccordingtothepurposethatthe translationiSintendedfor．b)TranslationasInterpersonalInteractionFromthedevelopmentofSkopostheorieweknowthatinthetheoryofaction,Holz—Manttafi“placesspecialemphasisontheactionalaspectsoftheprocess，analyzingtherolesoftheparticipants(initiator,translator,user,messagereceiver)andthesituationalconditions(time，place，medium)inwhichtheiractivitiestakeplace．”(Nord，．2004：13)．Accordingtofunctionalism，alltheparticipantshavecertainfunctionsor．rolesintheinteraction．Apartfrom。thetraditionallyassumedparticipantsinprocess，namely,source-textproducer,translator,target-textreceiver,thefunctionalistsaddsomemoreagentstotheprocessoftranslation,suchasinitiator,commissioner,target-textuser,target—textaddresseeandSOon．Alloftheparticipantsaleconnectedthroughacomplexnetworkofmutual：relationsandmayaccountforthebriefoftranslation，affectingthepurposeandstrategiesoftranslation．Nordanalyzesalltheserolesingreaterdetail．1．．Initiatoristheperson，．grouporinstitutionthatstartsofftheprocessanddeterminesitscoursebYdefiningthepurposefo，．whichthetargettext．isneededInitiatoristheonewhoactuallyneedsthetargettexl．(ibid．：20)2．．Commissioneristhepersonwhoasksthetranslatortoproduceatargettext．力，．aparticularpurposeandaddressee．Thecommissionermayinfluencetheveryproductionofthetargettext,perhapsbydemandingaparticular,；textformatorterminology．(ibid．)3．Translatoris．ostensiblytheexpertintranslationalactionandshouMbe，responsiblebothfo，carryingoutthecommissionedtaskandfo，．ensuringtheresultoftheprocess,evenwhenaspectslikeformattingandlayoutareassigned-tootheragents．(ibid．：21)4．Source—textproducer括thepersonwhoproducesthetextthatisto．serveasthesourcefo，atranslationalaction．(ibid．)5．Target-textreceiver括theaddresseeoftheandisthus．adecisivefactorin．the．productionofthetargettext．Theaddressee括功eprospective 山东大学硕上学位论文freceiverseenfromthetextproducer备standpoint；thereceivbristheperson,bgrouporinstitutionthatactuallyreadsorlistenstothetextafterithasbeen强produced．(Nard，2004：22)6．Target—textuserisdescribedbyHolz-Mdnttdriastheonewhofinallyputsittouse,perhapsastrainingmaterial,asasourceofinformationorasameansofadvertising．(ibid．)Fromtheabove．itiSclearthatboththerolesofinitiatorandtranslatorarecrucialforatranslationprocess．Besides，theroleoftheintendedtargettextreceiverisalsodecisiveinthespecificationoftranslationSkopos．Althoughpeopleoragentsinvolvedinthetranslationprocessaredividedintosixdifferenttypes，inreality,itisimportanttonoticethatdifferentrolesmaybefulfilledbyoneperson．c)TranslationasInterculturalActionInSkopostheorie，theconceptofcultureisalsoveryimportant．Tobreakwithtraditionallinguistictranslationtheory,Vermeerviewstranslationasaninterculturalaction．Itisnotthetranscodingofwordsorsentencesfromonelanguageintoanother,butacomplexactioninwhichsomeoneprovidesinformationaboutatextundernewfunctional，culturalandlinguisticconditionsinanewsituation．ForVermeer,acultureis‘'theentiresettingofnormsandconventionsanindividualasamemberofhissocietymustknowinordertobe‘likeeverybody’ortobeabletobedifferentfromeverybody．”(Vermeer,1987a：28qtd．inNard，2004：33)．AccordingtoVermeer,‘‘everyculturalphenomenonisassignedapositioninacomplexsystemofvalues：Andeveryindividualisanelementinasystemofspace—timecoordinates．Therefore，transculturalactionorcommunicationacrossculturebarriershastotakeaccountofculturaldifferences、析tllregardtobehaviour,evaluationandcommunicativesituation．”(cf．Vermeer,1990b：29qtd．inNard，2004：33)Nordpointsoutthat‘'translationtakesplaceinconcrete，definablesituationsthatinvolvemembersofdifferentcultures．”(Nard，2004：23)．Inthissense，cultureisacomplexsystem，whichCanbesubdividedinto“paraculture”，‘‘diaculture’’and“idioculture”．‘(ibid．：24)．However,theborderlinesbetweenculturalsystems：or 山东大学硕士学位论文sub—systemsaredifficulttodefineuntilMichaelAgar,aNorthAmericananthropologistwhothink．saculturecannotsimplybeequatedwithalanguageandwhoworkedasan‘interculturalpractitioner’inMexicopresentsadifferentviewtowardsculture：CultureissomethingthatthelCP[interculturalpractitioner．]creates,astoryhe／shetellsthathighlightsandexplainsthedifferencesthatcausebreakdowns．Culture．isnotsomethingpeoplehave；itissomethingthatfillsthespacesbetweenthem．Andcultureisnotanexhaustivedescriptionofanything；itfocusesondifferences,differencesthatcanvaryfromtasktotaskandgroupto．group．(Agar,1992：11qtd．inNard，2004：24)InAgar’Spointofview,languageandcultureareinterdependentandtheircombinationiscalled“languaculture”whichistreatedasasingleentitybyhim，andthecultureboundaryismarkedby“richpoints”，whicharcdifferencesinbehaviourcausingcultureconflictsorcommunicationbreakdownsbetweentwocommunitiesincontact．(Nard，2004：25)．Thisviewisusefulinguidingtranslationpractice，becauseitmeansthatatranslatorhastobeveryawareofthe‘'richpoints”relevanttoaparticulartranslationtaskbetweengroupsoneithersideofthelanguaculturebarrier．3．1．3．2TranslationB15efForfunctionalists，translationisusuallydone‘byassignment’．AsNardputsit,“intheprofessionalpracticeofinterculturalcommunication，translatorsrarelystartworkingoftheirownaccord．TheyareusuallycalledupontodoSObyaclient．”(ibid．：20)．Thatistosay,aclientneedsatextforaparticularpurposeandcallsuponthetranslatorforatranslation，thusactingastheinitiatorofthetranslationprocess，whodecidesthecommunicativepurpose．Inanidealease，theinitiatorwouldgiveasmanydetails硒possibleaboutthepurpose，explainingthetarget—textaddressee(s)，the(prospective)time，theplaceoftextreception，theoccasionandmediumthroughwhichthe．textwillbetransmitted．thefunctionthetextisintendedtohave硒wellasthemotivefortheproductionofthetext．ForNard，thisinformationwouldconstitute 山东大学硕上拿纽论文allexplicittranslationbrief(ibid．：30)．However,realpracticeoftenpresentsdifferentsituationswheretheclientmaynotgivethetranslatoranexplicittranslation．"brief,becausesometimeshemayhaveonlyavagueorevenincorrectideaofwhatkindoftextisneededforthesituationinquestionorusuallyhedoesnotknowthatagoodbriefspellabettertranslation，sinceheisnotanexpertininterculturalcommunication．Inthiscase．thetranslator,whoplayscrucialroleinthetranslationprocess，shouldberesponsiblefor‘‘analyzingtheacceptabilityandviabilityofthetranslationbriefinlegal，economicorideologicalterms’’aswellasfor“specifyingtheactivitiesrequiredforcarryingoutthebrief’．(Nord，2004：21)．Basedonthesourcetextinthesourcesettings，anexperiencedtranslatorisabletoinferthetranslationbriefhimselfandmakesomevariationsuponthetargettextinordertomakeitmeaningfulforthetargetculturereceivers．“Apartfromthis，thetranslationbriefdoesnottellthetranslatorhowtogoabouttheirtranslatingjob，whattranslationstrategytOuse，orwhattranslationtypetochoose．Thesedecisionsdependentirelyonthetranslator’Sresponsibilityandcompetence．’’(ibid．：30)．Sincethetranslationbriefmaynotbeidenticalwiththeoriginalauthor’Sintention，thetranslatorpurposefullychoosesthoseitemsofinformationwhichhethinksCanrealizethetranslationbrief,andleavesoutoradjuststhosethatarenotcoincidentwiththebrief．Inthissense，translatorsinthefunctionaltranslationtheoryhavemorepowerandfreedomtodecidethetranslatingstrategiesaccordingtotranslationpurpose．AccordingtoNord，withregardtoSkopostheorie，insteadofdependingontheSOurCeculture，theviabilityofthebriefdependsonthecircumstancesofthetargetculture．Sincetranslationhasbeendefinedasatranslationalactioninvolvingasourcetext，thesourceisusuallyapartofthebrief．Intermsofactiontheory,theagents(sender,receiver,initiator,translator)playthemostimportantparts(ibid．：31)．3．1．3．3Adequacy：theStandardofEvaluationIntheprocessoftranslation,thetranslatorisusuallyguidedbyhisassumptionsofthetargettextreaders’needs，expectationsandpreviousknowledge．Theseassumptionsmaybedifferentfromtheintentionoftheoriginalauthor；therefore，itis 山东大学硕：L学位论文understandablethatthetranslatorcannotofferthesameamountorkindofinformation勰theoriginalauthor．Forthat，Skopostheoriehascometochallengethetraditionalconceptofequivalence．AccordingtoSlmpostheorie，theintendedpurposesofthetargettextdeterminethetranslationstrategiesandthecriterionfortranslationevaluationis“adequacy’’insteadof“equivalence”．Somescholarsalsousethesametermintheirtranslationtheories．Even·Zohar,forinstance，pointsoutthatanadequatetranslation“isatranslationwhichrealizesinthetargetlanguagethetextualrelationshipsofasourcetext、析thnobreachofitsown[basic】linguisticsystem．”(Even—Zohar,1975：43qtd．inNord，2004：35)．Besides，Tourystatesthat‘‘adherencetosourcenormsdeterminesatranslation’Sadequacyascomparedtothesourcetext．’’(Xoury,2001：56)．However,differentfromtheaboveusesoftheterm．“adequacy’’inSkopostheoryrefersto“thequalitiesofatargettext、析tllregardto，thetranslationbrief．"thetranslationshouldbe‘adequate’totherequirementsofthebrief．”(Nord，2004：35)．Compared埘t11．theconceptofequivalence，adequacyisadynamicconceptrelatedtotheprocessoftranslationalactionandreferringtothe“goal—orientedselectionofsignsthatareconsideredappropriateforthecommunicativepurposedefinedinthetranslationassignmenr’，(ibid．)．Equivalenceisastatic，result·orientedconceptdescribingarelationshipof‘equalcommunicativevalue’betweentwotextsor,words，phrases'．，sentences，syntacticstructuresandSOon．(ibid．：35-6)．InSkopostheorie，“equivalencemeansadequacytoaSkoposthatrequiresthatthetargettextservethesamecommunicativ．efunctionorfunctionsastheSOurCetext，thuspreserving‘invarianceoffunctionbetweensourceandtargettext’．Thatis，theconceptofequivalenceisreducedto‘functionalequivalence’onthetextlevel．”(ibid．：36)．Inthisway,equivalenceissubjecttoadequacy．anddeterminedbySkopos．WithintheframeworkofSkopostheorie，purposeisessentialintheevaluationoffunction．Translationisdefinedtobeadequateorinadequatewithregardtothepurposeorthecommunicativefunctionitissupposedtoachieve．3．1．3．4ThreeRulesofSkopostheoriea)SkoposRule·． 山东大学硕上学位论文SkoposisaGreekwordfor‘purpose’．AccordingtoSkopostheorie，“theprimeprincipledetermining’anytranslationprocessisthepurpose(Skopos)oftheoveralltranslationalaction．”斟ord，2004：27)．TheSkoposusuallyreferstothepurposeofthetargettext．Thetop—rankingruleforanytranslationisthusthe‘Skoposrule’，thatis，‘'theendjustifiesthemeans”(ibid．：29)．Norddistinguishesthreekindsofpurpose：‘'thegeneralpurposeaimedatbythetranslatorinthetranslationprocess(perhaps‘toearnaliving’)，thecommunicativepurposeaimedatbythetargettextinthetargetsituation(perhaps‘toinstructthereader’)andthepurposeaimedatbyaparticulartranslationstrategyorprocedure．”(ibid．：27—8)VermeerexplainstheSkoposruleinthefollowingway：EachtextiSproducedforagivenpurposeandshouMservethispurpose．TheSkoposrulethusreadsasfollows：lr口nSlcIle／tnterprel／speajc，fwriteinawaythatenablesyourtext彳translationtofunctioninthesituationinwhichit括usedandwiththepeoplewhowanttousenandpreciselyinthewaytheywantntofunction．(Vermeer,1989a：20qtd．inNord，2004：29)ThisruleisintendedtosolvetherestraineddisputesinvolvingfreeVS．faithfultranslation，dynamicVS．formalequivalence，goodinterpretersVS．slavishtranslators，andSOon．Itmeansthatdependingonthepurposeforwhichthetranslationisneeded，theSkoposofaparticulartranslationtaskmayrequirethetranslatortoadopta‘free’ora‘faithful’translation，oranythingbetweenthesetwoextremes(ibid．：29)．b)IntratextualCoherenceandIntertextualCoherenceBesidesSkoposrule，morespecificaspectofSkopostheorieistherelationshipbetweenthesourceandtargettextswithinafunctionalistframework，thatis，intratextualandintertextualcoherence，whichformintothecoherenceruleandfidelityrole．Coherencerulereferstothatthetargettextshouldconformtothestandardof‘intratextualcoherence’，‘'whichspecifiesthatatranslationshouldbeacceptableina 山东大学硕士学位论文sensethatitiscoherentwiththereceivers’situation”(cfP6chhacker,1995：34qtd．inNord，2004：32)．Thismeansthereceivershouldbeabletounderstandit；itshouldmakesenseinthecommunicatiyesituation孕ndcultureinwhichitisreceived．For．．thisreason，intheprocessoftranslation，thetranslatorshouldtakethetargetcultureintocarefulconsiderationanddosomealternationsinordertomakethetranslationintelligible．Otherwise，thetranslatedtextmayloseitssignificanceandbecomemeaninglessinatargetculture．．，Sincetranslationisanofferofinformationfromthesourcetext，thetranslatedtextmustbearcertainrelation、析t11thesourceone．Vermeercallsthisrelationship‘intertextualcoherence’or‘fidelity’．Thiscoherenceexistsbetweensourceandtargettextandtheformittakesdependsbothonthetranslator’SinterpretationofthesourcetextandonthetranslationSkopos．“Onepossiblekindofintertextualcoherencecouldbeamaximallyfaithfulimitationofthesourcetext．”(Nord，2004：32)fidelityruleisconsideredsubordinatetocoherencerule，andbotIlalesubordinatetotheSkoposrule．IftheSkoposrequiresachangeoffunction，thestandardwillnolongeribefidelitytothesourcetextbutadequacy,orappropriatenesswithregardtotheSkopos(Reiss&Vermeer,1984：139qtd．inNord,二2004：33)．“AndiftheSkoposdemandsintratextualincoherence，thestandardofintratextualcoherenceisnolongervalid．”(ibid．：33)e)FunctionplusLoyaltyRule·LoyaltyruleisputforwardbyChristianeNord．Ashasbeenmentionedabove，NordfindstwointerdependentlimitationstotheSkoposmodel．“Oneconcernstheculture—specificityoftranslmionalmodels；theotherhastodo、Ⅳitlltherelationshipbetweenthetranslatorandthesource—textauthor．”(ibid．：124)．AlthoughVermeerallowsforarelationshipof‘‘intertextualcoherence’’or‘‘fidelity’’toholdbetweenthesourceandtargettexts，thedemandforfidelityissubordinatetotheSkoposrule．Fromtheprevious，wehaveknownthatthemainidea．ofSkopostheoriecouldbeparaphrasedas‘thetranslationpurposejustifiesthetranslationprocedures’or‘theendjustifiesthe，means’．Thisseemsacceptablewheneverthetranslationpurposeisinaccordancewitllthecommunicativeintentionoftheoriginalauthor．Butwhathappens 山东大学硕上学位论文ifthetranslationbriefrequiresatranslationwhosecommunicativeaimsarecontrarytoO’‘incompatiblewiththeauthor’Sopinionorintention?(Nvrd，2004：124)．Theloyalf)rrulethenrequiresthatthetranslatorshouldbeloyaltoth琶source—textauthor．“Loyaltycommitsthetranslatorbilaterallytothesourceandthetargetsides．’’(ibid．：125)．Itreferstotheresponsibilitythetranslatorhastowardthesourcetextproducer,thetargetreceiverandotheragentsinvolvedinthetranslationalinteraction．Thatistosay,thetranslatorshouldberesponsibletowardhispartnersintranslationalinteraction．Thetarget-textpurposeshouldbecompatible、析mtheoriginalauthor’Sintentions．Nordemphasizesthatthetermcannotbe“mixedupwithfidelityorfaithfulness，conceptsthatusuallyrefertoarelationshipholdingbetweenthesourceandthetargettexts．Loyaltyisallinterpersonalcategoryreferringtoasocialrelationshipbetweenpeople．”(ibid．)Functionplusloyalty,thecombinationmakesasupplementruletoperfectthefunctionalisttheorywhichguidesthetranslationprocess．“Functionrefers’tothefactorsthatmakeatargettextworkintheintendedwayinthetargetsituation，whileloyaltyreferstotheinterpersonalrelationshipbetweenthetranslator,thesource·textsender,thetarget-textaddresseesandtheinitiator．Loyaltylimitstherangeofjustifiabletarget—textfunctionsforoneparticularsourcetextandraisestheneedforanegotiationofthetranslationassignmentbetweentranslatorandtheirclients．”(ibid．：126)3．1．3．5MeritsofSkopostheorieComparedwithpreviouslinguisticequivalence—orientedtranslationtheories，Skopostheory,bytakingprecedenceoverpurposeandfunctionintranslation，bringsmorevaluableinsightsintotranslationpracticeandevaluation．Itapproachestranslationinafunctionalway,whichbroadensthedefinitionoftranslationintoasocio·culturalframeinsteadofthepreviouslinguisticone．a)ANewDefinitionofTranslationInsteadoftreatingtranslationasacode—switchingoperation,Skopostheorydefinestranslationasanintentional，interpersonal，andpartlyverbalinterculturalinteractionbasedonasourcetext：JustasVermeerputsit： 山东大学硕上学位论文Ihavedefine碡．translationasinformationofferedinalanguageZofcultureZwhich。imita招sinfqrmatmnofferedinlanguageaofcuttureAsoas、tofuZ够lZt砷desiredfunction．ThatmeansthatatranslationiSnotthetrans—codingofwordsorsentencesfromonelanguageintoanother,butacomplexaction砌whichsomeoneprovidesinformationaboutatextundernewfunctional,culturalandlingu&ticconditionsand加anewsituation,wherebyformalcharacteristicsare。imitatedasfaraspossible(Vermeer,1986：36qtd．inSnell-Homby,2002：46)：Thishighlightstheinvolvementofmultiplepersonalandculturalfactorsintranslationprocess．Inthisway,Skopostheoryhaswidenedthescopeoftranslationstudiesandmovedbeyondthelinguisticboundary．Suchdefinitionbroadensthehorizonoftranslationstudiesandhelpstoexplainthecomplexityoftranslation．，b)ChangesoftheStatusofSTandTTAnimportantimpactofSkopostheoryisthatitcompletelychangesthestatuso{STandTT．Thesourceis“dethroned”andjlastbecomesall‘：offerofinformation"，whichisnolongerthesupremeyardstickfortranslation．WiththefallingofSTslatus．二thetargettextrisestothefocus．ThetranslatorCanadapthistranslationstrategy．accordingtothetranslationpurpose．Therefore，thetranslatorcanbereleasedfromthe‘'restrictionsimposedbyanarrowlydefinedconceptofloyaltytothesourcetext。alone”(Schaffner,2005：238)andhavetheinitiativeintranslation．c)NewAttitudetowardTranslationStrategiesSkopostheoryCallbeparaphrasedas‘'thetranslationpurposejustifiesthetranslationprocedures”．(Nord，2004：124)．Ifatranslationfulfillstheprimarypurposeoftranslation,．itisbelievedtobeasuccessfultranslation，whatever．translationstrategiesthetranslatortakes．Translationmethodscallbevariousastheyvaryaccordingtothedifferentpurposesthetranslatorintendedtoachieve．Skopos：theoryaccountsforthedifferentmethodsindifferenttranslationsituations．Intiffssense，Skopostheorytakesamoretolerantattitudetotranslationpractice，especiallythosethatareusuallyconsideredtobeagainsttheexistingtranslationcriteriabutprovesto ．山东人学硕士学位论文besatisfactoryandsuccessfulinoutcome(陈小慰，2000：9—12)．d)SignificanceforTranslationCriticismAccordingtoSkopostheory,theintendedpurposeofthetargettextisessentialintheevaluationoftranslation，andthecriterionfortranslationevaluationis“adequacy’’insteadof‘‘equivalence”．Aslongasatranslationfulfillstheprimarypurposeoftranslation，itisbelievedtobeasuccessfulone．Inthissense，Skopostheoryhascometowidenthenarrowvisionsoftraditionaltranslationcriticism，implyingtheacceptanceofmultipleversionsandtheevaluationofindividualversions、^，imrespecttothepurposesforwhicheachversionisintended(Baker,2005：208)andexpandingthepossibilityoftranslation．Meanwhile，withloyaltyasacompromise，itstressesthetranslator’Sresponsibilityfortranslation，demandingthetranslator’Srespectfortheauthor,andlimitstheexcessivepracticeofsubjectivityintranslation．Therefore，comparedwiththetraditionallinguisticapproach，which·focusesonthetextandauthor,’Skopos．theorylaysmoreemphasisonthepurposeoftranslation，thetranslator,thetargetaudienceandthesituationinwhichthetranslationisproduced．Inthisway,ithasbroughtanewperspectiveontranslationcriticism．3．2PreviousStudiesonEnglishFilmTitleTranslationInrecentyears，asmoreandmoreoverseasfilmshavebeenintroducedandshowninChina,foreignfilmshavebecomeanindispensablepartofourdailylife．Theacademicstudyonfilmtheoryandfilmmakingtechnologyalsoexperienceflourishinggrowthbothathomeandabroad．However,comparativelyspeaking，theoreticalstudyonaudiovisualtranslation,thetranslationofforeignfilmsandTVprogramsremainsfarfromtouchedupon．ProfessorQianShaochanginhisarticle《影视翻译⋯翻译园地中愈来愈重要的领域》(只加Translation一-AMoreandMoreImportantFieMinTranslationStudies)pointsoutthatinChinanowadaysthenumber,ofthefilmandTVseriesaudienceismuchlargerthanthatofliteraryworks，andtheaudiovisualtranslationhasnolessinfluencethanliterarytranslation．However,incontrast,theChinesetranslationacademiapaysmuchlessattentiontoaudiovisual31 山东大学硕士学位论文translationthanitdoestoliterarytranslation．reflectinganimbalancewitllthesignificantsocialrolethatforeignfilmandTVseriesplay,：(QianShaochang，2000：61)．．Encouragingly,someChinesetranslationscholarsandresearchershavebecomeawareoftheaudiovisualtranslationandhavemadesomerespectableendeavor．BaoHuinaninhisbook《文化语境与语言翻译》(CulturalContextandTranslation)discussesthetranslationofspecialtermsthatarerichinculturalconnotations，includingnames，titlesofbooksandfilms，addressingterm，idioms，etc．．HereviewsthecurrentsituationoffilmtitletranslationinChina,pointingoutthefactthatafilmtitleisusuallytranslatedintoseveralversions，causingconfusiontotheaudienceandmanagementproblemforthemarket．Inaddition，healsoclassifiesthetranslationmethodsadoptedinEnglishfilmtitletranslation．Althoughhisanalysisconcerningfilmtitletranslationisinsightfulandilluminative，itisstillcomparativelyincompleteandinadequate．Apartfromthis，recentlymanyarticlesCanalsobeseeninvariouskindsofacademicperiodicals．Unsatisfactorily,someofthemarelimitedtotheenumeration《themethodsoftranslatingfilmtitlewhileotherslacktheoreticalframework,wimafeworevennotranslationtheoriesusedtosupporttheirideas．Forexample，NingZhishou(1997)pointsouttwomainstrategiesusedinthetranslationofEnglishfilmtitles，namely,literaltranslationandliberaltranslation．Forhim，literaltranslationincludesthefollowingthreecases"maximallymaintaintheformandmeaningoftheoriginalfilmtitle；changethewordorderorstructureoftheoriginaloneaccordingtOthecharacteristicsofthe．targetlanguage；makesomeadditionoromissionoftheoriginalone．Asforliberal．translation，itdoesnotrefertotheliberaltranslationoftheoriginalfilmtitlebut．thetranslationinaccordancewitlltheplotoftheoriginalfilm．Intheend，heconcludesthatnomatterwhichstrategyischosen,itshouldserve．thegoatthattheformofthetranslatedfilmtitleshouldbeinaccordancewiththecontentofthesourcefilmtitle．Besides，YaoQinhua(1999)alsoproposesthesetwostrategiesbutwithanemphasisOllthestudyonthetranslatedfilmtitlenamedaftertheprotagonist'sname．TherearealsomanyotherarticlesthatCanbeclassifiedintothis33 山东大学硕士学位论文type，whoseconclusionsaremoreorlessthesame：transliteration，literaltranslation，liberaltranslatio幢，thecombinationofliteralandliberaltranslation，etc．aresuitablefor-filmtitletrd矗slation．T11iSkindofarticles，tosomeextent，Call"offerreaderageneralideaabouthowmanytranslationmethodsareusedtotranslatethefilmtitle，buttheylackthetranslationtheorytosupporttheirconclusion．Sometranslatorsbasetheirstudiesonsometranslationtheories．Forexample，HeYing(2001)putsforward“onecenterandfourbasicpoints”．‘‘Onecenter'’referstofunctionalequivalence，meaning‘'theinformationoftheoriginalfilmtitlehasbeenSOtranslatedintothetargetlanguagethattheresponseofthetargetreceptorisessentiallylikethatofthesourcereceptor．’’‘‘Fourbasicpoints’’refertofourbasicvaluecriteriafortranslatingEnglishfilmtitles，namely,informativevalue，culturalvalue，aestheticvalueandcommercialvalue．ZhaoChunmei(1998)proposesYanFu’S“faithfulness，expressivenessandelegance”asthecriteriaforEnglishfilmtitletranslation．Forher,‘‘faithfulness’’ismeanttobefaithfultotheoriginalfilmtitleandplot；‘‘expressiveness’’ismeanttoconformtotheChineselanguagehabits；and‘‘elegance’’ismeanttobevividandconcise．Althoughsuchtranslatorsproposecertaintranslationtheoryorcriteria,inpracticetheymaynotapplythemtotheanalysisofEnglishfilmtitletranslationeffectively．ForZhao，shedoesnotapplythethreecriteriatotheanalysisoffilmtitletranslationbutturnstothediscussionofliteralandliberaltranslation．Therefore，thethreecriteriafailtoplaythedueroleinherstudy．SomescholarsintheirarticlespointoutsomefactorsthatdeserveattentioninE-Cfilmtitletranslation．HeNing(1998)pointsoutfivefactors．Firstly,thetranslationshouldbefaithfultotheoriginalfilmtitle．Secondly,inordertogiveameaningfulandconcisetranslatedtitle，thetranslatorshouldhaveathoroughunderstandingoftheplotofthefilm．Thirdly,thetranslationshouldconsidertheacceptabilityofthetargetaudience．Fourthly,thetranslationshouldtakethecommercialelementintoconsideration．Lastly,culturaldifferencesshoulddeservethetranslator’Sattention，whichmayhinderthetranslationoffilmtitles．Similarly,HeYuemin(1997)alsoputsforwardthreepoints，i．e．theplotandbackgroundoftheoriginalfilmshouldbeunderstoodcomprehensively；thetargetaudience’Spsychology, 山东太学硕上学位论文culturalacceptabilityandlanguagehabitsshouldbetakenintoconsideration；thecommercialvalueofthetranslatedfirm．titleshouldbeattachedmuchimportanceto．There7．snodoubtthatsuchstudieslistedabovewillofferthepresentresearchvaluablematerial．Themethodsthescholarssummarizeareveryusefulandpracticalforfilmtitletranslation．However,therestillexistsomelimitationsinthem．Somearemerelylimitedtotheenumerationoftranslationstrategieswhilesomecovertoobroadtopics，whichdonotmakeasystemicselectionoffilmtitles．Althoughsometranslatorsproposecertaintranslationtheoryorcriteria,inpracticetheymaynotapplythemtotheanalysisofEnglishfilmtitletranslationeffectively．Thetranslationoffilmtitleisaverysignificantpartoftranslationstudies．Itisakindof‘‘generallanguagetranslation”(Snell·Homby,2002：311ratherthanliteraryortexttranslation．Liketheliterarytranslation，generalEnglishtranslationneedscertaintranslationtheorytoexplainandguide．Thisiswhatthestudiestheauthormentionedaboveexactlylackof．Forthisreason，basedonthestrengthandweaknessoftheabovestudies，thepresentthesiswillbeaboveallguidedbyacertaintheorytohaveafurtherstudyonEnglishfilmtitletranslationbyofferingsomeconstructiveinstructions．35 山东大学硕上学位论文ChapterFourApplicationofSkopostheorietoEFTTFilmisbothanartisticformandmentalproduct，withwhichcultural，political，andideologicalelementsareconveyed．Nowadays，谢ththeindustrializationandcommercializationoffilmindustry,filmhasfarexceededtheconventionalartisticform．Therefore，films，especiallyfilmtitles，shouldnotbeseenandtranslatedaspureliteratureunderthedirectionoftraditionaltranslationtheories，whichoverlyemphasizethelinguisticformsandattachmuchmoreimportancetothesourcetextthantothetargetculturalconditionsandintendedaudience．AcarefullookatS勋postheorymayshowthatitissignificantinthatitisdifferentfromtraditionaltheories．Ithelpstofreetranslatorsfromthebondageoftraditionaltheoriesbyprovidingthemanewwayofthinking，broadensthescopeoftranslationstudiesbyincreasingtherangeofpossibletranslationstrategies，andestablishesaprofoundfoundation，helpingpeopletopenetratedeeperintoculturalandtranslationalphenomena．●4．1AFunctionalAnalysisofEFTTBasedonJustaHolz-MAntt缸’stheoryoftranslationalaction，Skopostheorypostulatesthattranslationisaformofintentional，interpersonal，andinterculturalinteractionbasedonasourcetext．InthefollowingparagraphsthetranslationofEnglishfilmtitlewillbeanalyzedmainlyfromthesethreeaspects．4．1．1EIilTasaPurposefulActivityAccordingtoSkopostheory,theprimeprincipledetermininganytranslationprocessisthepurpose(S勋pos)oftheoveralltranslationalaction．Forthisreason，itisnecessarytodefinetheSkoposofEFTTfirst．Ashasbgenmentionedinthepreviouschapter,forNord，therearemainlythreekindsofpurposes，namely,thegeneralpurposeaimedatbythetranslatorinthe 山东大学硕士学位论文translationprocess(perhaps‘toealTlaliving’)，thecommunicativepurposeaimedatbythetargettextinthetargetsituation(perhaps‘toinstructthereader’)andthepurposeaimedatbyaparticulartranslationsWategy9rprocedure吖ord，2004：27—8)．AsinthespecificcaseofEFTT,suchthreekindsfofpurposecouldbeunderstoodinthefollowingway：(a)generaipurpose：Fortranslator,translatingfilmtitlescanberegardedasameansofearninghislivingandasuccessfultranslatedworkmaywinhimgreatfame．(b)communicativepurpose：alsotheultimategoaloffilmtitletranslation,whichistoarousetheaudience’Sinterestandtriggerthemtogotothecinema．(c)purposeofusingparticulartranslationstrategies：ThisistoachievethethreefunctionsmentionedinChapterTwo，namely,informativefunction，aestheticfunctionandcommercial(appellative)function,toinstructandentertaintheaudience．ThecommunicativepurposeplaysthemostimportantpartamongthethreepurposessinceinSkopostheorythetermSkoposusuallyreferstothepurposeofthetargettext．AndwhodeterminestheSkopos?AccordingtoSkopostheory,theaddressee，namely,theintendedreceiveroraudienceofthetargettext谢tlltheirculturespecificworld-knowledge，theirexpectationsandtheircommunicativeneeds，isthemainfactordeterminingthetargettextSkopos(ibid．：12)．Inthecaseoffilmtitletranslating，theintendedaudienceisthepersonwhopaysfortheticketandgoestothecinematowatchthefilm．Onlywhentheaudience’Sinterestanddesirearearoused，willtheybepossiblyconvincedtotakingcertainactionstogotocinema,and、析llthebox0伍cevaluebefulfilled．．HowCantheultimatepurposeofEFTTberealized?Sincetheintendedaudienceofthetargettextisconsideredtobeaveryimportantfactorintranslationprocess，theanalysisoftheintendedaudienceofEnglishfilmsmayshed，lightonsuchissue．Basicallyspeaking，theintendedaudienceisthegeneralpublic，whodonotknowmuchornotatallforeignlanguage．Forthem，theplottakesthefirstpriority．Thereisnodenyingthattheprimaryexpectationforthemostaudiencestowatchafilmistoacquirefullspiritualrelaxationandpsychologicalsatisfaction．Theybuyticketstogotocinemamainlyforentertainmentafteraday’Sbusyandlaboriouswork，especiallyinthosebigcitieswithquickpacedlife，peoplearemorelikelytendedtosufferboth37 山东大学硕十学位论文outerandinnerpressure．Therefore，itisproperforthemtorelaxtheirtensenervesandreleasetheirfeelingswiththehelpofentertainment．Inspiteofthis，intermsoffilmitself,fromitsbirth，fitfaaissupposedtobeapopularizedart-fortheordinaryaudience．Thenatureofthefilmdeterminesitsentertainingproperty．Beingaspiritualcommodityforpopularconsumption，modernfilmslaymoreemphasisonpopularityandentertainmenttocapturetheaudience’Sinterest，especiallythoseAmericanHollywoodfilmswitllIlighcostandhighboxoffice，whosefunctionmainlyliesinentertainment．Thetermentertainmentmentionedinthiscaseisnotequaltodivertingoneselfaimlessly．Instead，itisanimportantfactorthatconstitutesalltheprefectarts．ThepurposethatEnglishfilmtitletranslationtendstorealizeiscloselyrelatedtothatofthefilmsincefilmtitleisconsideredtobetheeyesofthefilm．WhenallEnglishfilmisreleasedinChina,itsChinesefilmtitleiscorrespondinglypubliclyChineseaudienceincinema．Itisanimportantmediumtoappealtotheaudienceanddrawthefilmclosertothem，becausetheaudiencespaymuchattention,；}、tothefilmtitlebeforetheygointothecinema．Sincethefilmisentertainment-orientedandtheChineseaudienceswanttobeentertainedbythefilm，·thetranslationofEnglishfilmtitleshouldmeetthedemandforentertainmentinordertowintheheartoftheaudience．Inthiscase，entertainmentCanberegardedastheforemostgoalofEnglishfilmtitletranslation．Asamultifoldpopularartisticform，differentfilmtypescatertodifferenttastesoftheaudience，entertainingthemfromdifferentaspects．Forexample，westernfilmpresentsakindofpioneeringspiritandatthesametimesatisfiesasenseofjustice，i．e．gettingridofbulliesandbringingpeacetogoodpeople；romancefilmsatisfiestheaudience’Syearnforpureeternallove；sceneryfilmbringstheaudienceclosertotheculturesandcustomsofforeigncountries；andtheactionandadventurefilmscatertothosewhohavebeentkedofadulllifeandwhowanttoexperienceathrilling，tenseandsuspiciousemotion．Differentfilmtypeslayemphasisonspecificfunction．AshasbeenpointedoutinChapterTwo，mostfilmtitlespossesstheinformative，theaesthetic，andthecommercial(appellative)functionwithallemphasisononeofthethree．InVermeer’SSkopostheorie，theSkoposofatranslationisdeterminedbythe 山东大学硕七学位论文functionwhichthetargettextisintendedtofulfill．(Nord，2006：27)．Accordingly,translatedfilmtitles，asnewfilmtitlesinthetargetlanguage，shouldalsopossessthethreefunctionswiththeideoticalultimatepurposeofentertainingtheaudience．ByprovidingtheChineseaudiencewitllsomeinformationoftheoriginalinwrittenform．thetranslatedfilmtitleistoachieveinformativeentertainment；bywellelaboratingtranslationinformandcontentthroughdiverserhetoricdevicestopleasetheaudience’Ssense，achievingaestheticentertainment；byfulfillingthefirsttwofunctionsandwellmatchingthepsychologyoftheChineseaudiencetorealizethecommercialvalue，becomingabox-officehit．Theaboveanalysismani触sthatinordertoachievetheSkoposofentertainmenttheChinesetranslationsshouldfulfilltheinformative，theaesthetic，andthe(appellative)functionatthesametime．Inotherwords，theSUCCESSofEFlvrdependsontheharmoniousintegrationofthethreefunctions．4．1．2EFTTasanInterpersonalInteractionAshasbeenstatedinthepreviouschapter,translatingisaninterpersonalinteraction,inwhichmanyagentsareinvolved，havingcertainfunctions．Asakindofspiritualproduct，theprocessoffilm-makingisascomplexasothercommodities锄岛consistingofseveralsteps：writingthescript，makingpreparationsin．preliminarystage，shooting，editingandrearranging．Therearesomerolesinvolvedinthiscommunicativeinteraction．In．theprocessofmakingfilm，producerCanberegardedastheinitiator,whooccupiesanimportantpositioninthewholeoperatingprocess，especiallyunder·theHollywoodfilmproductionmechanism．Hehasadecisiveinfluenceontheproducingandthestyle-shapingofthefilm，becauseheisthemoneyraiserandtheissuerofthefilm，beingresponsiblefortherewardingoftheinvestment．Director,whoCallbecomparedtothebossofthewholecast，playstheroleofcommissionerandtarget—textuserinoneperson．Sinceinmanycases，directoroftencooperateswithscreenwriterfinishingthescriptor-sometimeswritesithimself,itisthedirectorwhosetsthetuneandthemeforaspecificfilmanddecideswhatthefilmwilldelivertotheaudienceandtheextenttowhichitwilldelivertothem．Thedirector'sinterpretationofthe39 山东人学硕上学位论文themdofafilmcomposesatranslationbrief．Forthisthesis，inthecas6oftranslatingEnglishfilmtitles，theauthorregardsthatitistheChinesefilmcompanywhobuysthe亡-hglishfilmplaystheroleofinitiator,commissionerandt备get．textuser．AccordingtoSkopostheory,differentagentrolesCanbefulfilledbytheoneperson．Thescreenwriter,i．e．theoriginalscriptmaker,actsasthesource-textproducer,whowillnotbeinvolvedintheactionoftranslatingfilmtitles．TheChineseaudiencesarethetarget-textreceiver,andthetranslatoristhetarget—textproducerinthiscase．Suchrolesareinterconnectedthroughacomplexnetworkofcommunicativerelations．Generallyspeaking，thereisapairofsuchrelations，namely,therelationbetweenthefilmcompany(theinitiator,commissionerandTTuser)andthetranslator(TTproducer)，andtherelationbetweenthetranslatorandtheaudience(TTreceiver)．ForNord，‘'theinitiatoristheperson，grouporinstitutionthatstartsoffthetranslationprocessanddeterminesitscoursebydefiningthepurposeforwhichthetargettextisneeded，andthecommissioneristhepersonwhoasksthetranslatortoproduceatargettextforaparticularpurposeandaddressee．”(Nord，2004：20)．Ashasbeenanalyzedintheabove．theSkoposandtheforemostgoalofEFlvristoentertaintheChineseaudienceandattractthemtogotothecinema．TheChinesefilmcompanyactuallyneedsthetranslatedfilmtitleto伽nllthethreefunctionstoattracttheaudiencetowatchthefilm，whichCanberegardedasthetranslationbriefinthiscase．Thenthecompanyasksthetranslatortotranslatefilmtitlesanduseittomakethefilmdialoguesacceptabletotheaudience．Thetranslator,employedbythefilmcompany,血stactsasthereceiverofboththetranslationbriefandthesourcetext．Afteragreeingwiththecommissionerontheconditionsinvolved，thetranslatortrieshisbesttomeetthetranslationbrieftomakethefilmcompanysatisfiedbyproducingthecorrespondingChinesefilmtitlethatheregardsasfunctionalinthesensethatitmeetsthedemandsofthetranslationbrief．Besides，inanotherrelationshipthetranslatormustattachmuchimportancetotheaudience(TTreceiver)，because‘'theintendedtarget-textreceiveristheaddresseeofthetranslationandisthusadecisivefactorintheproductionofthetargettext．”(ibid．：22)．Theaudiencearefromallwalksoflife，differentinage，vocationandeducationallevel．Basically,theintended。audienceare 山东大学硕士学位论文ordinarypeople，whowatchafilmmainlyforentertainment．However,therearealsoviewersseeingthefilmforbotkentertainmentandbroadeningtheirvisions．Forthisreason．,thetranslgtorshould车；takeintoconsiderationoftheexpectations,th．ecommunicativeneedsandtheculture—specificworld—knowledgeoftheaudienceinordertotranslateafilmtitlewhichisattractiveenoughandcouldtriggerthem．tobuy血eticket．Inpractice，．theprocessofsuchtranslationalactionmaybemuchmorecomplicatedthanwhathasbeenstatedintheprecedingparagraph．Notbeingexpertininterculturalcommunication,thefilmcompanymaydisagreewiththetranslatorastowhatkindoftranslatedtextwouldservetheintendedpurposebest．Theymayhavedifferentopinionsonhowtotranslateafilmtitle，forexample，whentranslatingafilmtitlethecompanymayaskthetranslatortotranslateitliterally,whilethetranslatormayregardtheliberaltranslationtobeabetterchoice．Inthiscase，insteadof．succumbingtotherequirementsofthefilmcompany,thetranslatorcouldexplainthistothefilmcompanyandgiveadviceaboutwhatkindoftranslationmethodshouldbeladoptedinsuchspecificcase，since‘'thetranslatoristheexpertintranslationalaction'’。(Munday,2001：77)．Fromthisonemayeasilydrawaconclusionthattranslatingfilm．．titleisnotasimpletask,whichrequiresthatthecommunicativerelationsinvolvedin；thetranslationprocessshouldbewelldealt、枷m．Onlythroughthegoodcooperationofallsidescananexcellenttranslatedworkbeproduced．4．13EFTTasanInterculturaIActionAccordingtoBassnettandLefevere，“culture’’refersto‘'thetotalpatternofbeliefs，customs，institutions，objects，andtechniquesthatcharacterizethelifeofahamancommunity．”(Bassnett&Lefevere，2001：123)．PeterNewmark(2001a：94)definescultureasthe‘‘wayoflifeanditsmanifestationsthatarepeculiartoacommunitythatusesaparticularlanguageasitsmeansofexpression．’’Asanactofcultural-specificcommunication,‘'translationisnotamatterofwordsonly,butamatterofmakingintelligibleawholeculture．”(Schaffner,1995：4)．Similarly,Vermeerholdsthattranslationisprimarilyacross—culturaltransfer．‘‘Translatingmeanscomparingcultures．”(Nord，2004：34) 山东人学硕上学位论文Withtheculturalexchangebetweenfiationsbecomingmoreandmoreprosperous，eachyearhundredsofEnglishaudiovisualproductsentertheChinesemarket．Beingthesocialproductofculturalplienomenaandideologicaltrend，films．，·aboundinculturalelements，whichenabletheordinaryChinesepeopletoexperiencetheexoticismsuchasdifferentlifepattems，uniquesocialcustoms，valuesystems，etc．．Asapartoffilms，filmtitlesareinevitablybrandedbythetypicalnationcharacteristicsandculturalvalue．Itisacommonpracticeforthescreenwriterstopresentfilmtitles谢thcultural-loadedwords，typicallyidioms，slangandallusions．Therefore，filmtitletranslationisacross—culturalactivityinnature．WiththeincreasingexposuretotheEnglishculture，theinfluenceofcultureonfilmtitletranslationmustbecarefullyconsideredinthetranslatingprocess．Foralongtime，bilingualcompetencehasalwaysbeenregardedasanessentialrequirementfortranslator；however,beingareceiveroftheSTaswellastheproduceroftheTT,thisisreallynotenough．InhisbookTransculturation：TheCulturalFactorsinTranslationandOtherCommunicationTasks，R．DanielShawpointsoutthattranslatorshouldknowwelltheculturesofbothsourcelanguageandtargetlanguage．Intheprocessoftranslation，thetaskofatranslatoristobeacommunicatorbetweenthesetwocultures．Heholdsthatthetranslatorshouldfirstunderstandboththesurfaceanddeepstructureoflanguagesinordertotransferthemeaningsofthemessagesinthesourcetext．Inthiscase，thesurfacestructurereferstotheformallinguisticfeatureswhilethedeepstructurereferstotheintendedmeaningscarriedbysuchfeaturesincludingallkindsofculturalfactorssuchasworldview,values，thinkingways，andSOon．Generallyspeaking，beingimplicit，thedeepstructure，whichCanbeuniversallyacknowledgedbymembersofsourceculture，maybedifficulttobeunderstoodbyreadersfromthetargetculture．Therefore，tobeafullycompetenttranslator,oneneedstobebiculturalinordertoreadbetweenthelines．HeshouldbeabletosensewhatisleftimplicitintheSTandtoexpressitclearlyandcorrectlyintheTT．IIlthespecificcaseoftranslationofEnglishfilmtitles，whatthetranslatordealsw池isvariousfilmtitles，butwhatheactuallyconfronts晰thistwodifferentcultures．42 山东大学硕十学位论文Translatorsshouldnotjustdealwithwords；mostimportantlytheyshouldtakethecultu。．ralaspectintoaccount．AshasbeenstatedinChapterTwo，film：．titlesarecloselyrelapdtovariousaspectsofsocieties，％Rchasreligion，history,philosophy,socialcustoms，andSOon．Moreoftenthannot，culturalfeaturesarecloselyrelatedtothequotationofidiomsandallusions，whichconveyrichculturalmeanings．ThefilmOneFlewOvertheCuckoo"sNest《飞越疯人院》servesasagoodexample．ThetitleWasoncetranslatedinto《飞越杜鹃窝》，whichsoundsstrangeandpointlesstotheChineseaudience．Actually,thephrase“cuckoo’Snest'’isanEnglish．idiom,meaning‘mentalasylum’．Itisobviousthatifthetranslatorisnotfamiliarwiththesourcecultureorisunawareoftheimportanceoftheculturalbackgroundknowledge，hewillcertainlymakeamistakeandsometimeevenbecomealaughingstock．4．2ApplicationofFunctionalistPrinciplestoEFTT4．2．1Target-textOrientationJustasVermeerputs，theoverallframeofreferenceforthetranslator．shouldnotbetheoriginalanditsfunction,．asequivalence-basedtheorywouldhaveit,butth．efunctionorsetoffunctionsthetarget-textistoachievein．thetargetculture．Basedon．this，thefunctionaltranslationtheorydethrones．theauthorityoftheSTandtheoriginaliSnolongertheonlycriterionfortranslation．Inordertomeetthedemandsofthetarget-text’Sfunction，newcommunicativesituationandthetargetreaders，thefunctionaltranslationtheoryrequiresthatthetranslatorputhimselfinthepositionofthetargetreadersanddecide．histranslationstrategiesaccordingtothetarget—text’SintendedfunctionSOthatthetranslationcancoherentlyexpressthesource—text’Sintentioninconformitytothetarget-language’Snormsandculturalconventions．Thisisespeciallytrueinfilmtitletranslationwhenthefeelingofthetargetaudienceisprioritized．Afterreceivingthesourcetext，thetranslatorproceedstoinformtheaudiencelocatedundertarget—cultureconditionsabouttheofferofinformationmadebythesourcetext．Sinc．esource-text．addresseesandtargetaddresseesbelongtodifferentculturesandlanguage．communities，thetranslatorcannotofferthe—sameamountand43 山东大学硕十学位论文kindofinformationasthesource—textproducer．Whatthetranslatordoesistofocushisattentiononthe-targetaudience，makingassumptionsabouttheirneeds，expectations，previousknowledgeandSOonandmakesomeadequatemodificationstotheoriginalfilmtitles．Inthisway,thetranslatorcanmakethetargetaudienceunderstandthetextintermsoftheirownculturalcontextbycateringtotheirinterestsandfulfilltheultimatepurpose．4．2．2TheSourceTextasan0fferofInfolrmationFromthepreviousanalysisinChapterThree，onecalleasilydrawthatinSkopostheory,insteadofbeingthefirstandforemostcriterionforthetranslator’Sdecisions，thestatusofthesourcetextismuchlowerthaninequivalence-basedtheories．However，‘'thepriorityofthetarget—textpurposedoesnotmeanthesourcetextiscompletelyirrelevant，asissometimesassumed．Thesourcetextprovidestheofferofinformationthatformsthestartingpointfortheofferofinformationformulatedinthetargettext．”(Nord，2004：62)．Asforthecaseoffilmtitletranslation,theinformation，‘‘formulatedinthetargettext'’refersnotonlytotheoriginaltitlebutalsotothefilm’Scontentorplotinsomecases．Thatistosay,infilmtitletranslating，theconceptof“SOurCetext'’isnolongerconfinedtotheoriginalfilmtitle．Inaddition，themovie’scontentshouldbeincludedintheconceptof“SOurCetext”．WhentranslatinganEnglishfilmtitle，ifthetranslatorcouldnotproduceasatisfactoryversiononlyonthebaseoftheoriginaltitle，heshouldconsulttheplotofthefilm．Let’Slookatallexampleinordertomakethispointclear．ThefilmErinBrockovich，basedonatruestoryhappenedinAmerica,tellsastoryofErinBrockovich，adivorcedmotherofthreekids晰thnoemployableskills，whostrugglesforherdailylifeandfinallymakesabigSUCCESS．AfterlosingapersonalinjurylawsuitagainstadoctorinacaraccidentsheWasin，sheasksherlawyer，EdwardL．Masry，ifhecanfmdherajobincompensationfortheloss．Edgivesheraworkasafileclerkinhisoffice，andsherunsacrosssomefilesonaprobonocaseinvolvingreal—estateandmedicalrecordsagainstPacificGasandElectricCompany．AsErinbeginsdiggingintotheparticularsofthecase，sheisconvincedthatthefactssimplydonotaddup，andpersuadesEdtoallowherfurtherresearch．Afterinvestigation，she discoversasystematiccover—upoftheindustrialpoisoningofthetownofHinkley’Swatersupplythatthreatensthehealthofanentirecommunity．ShefindsthatPG&Eisresponsibleforthe．extensiveilln．essesresidentsofHinkleyhavebeendiagnosedw．i．thandfightstobringthecompanytojustice．AlthoughinthisprocessErinencountersmanydifficulties，includingthemisunderstandingofthelocalresidentsofHinkleyandtheresistancefromPG&E，Erinnevergivesup．ErinBrockovich，thislow-bomwoman，dependingonherownuntiringefforts，finallyachievesherself-worth．Theoriginalfilmtitleistakenfromthenameoftheheroine，谢tllwhichthesourceaudiencemayquitefamiliar．However，formostChineseaudience，theymayknownothingaboutit．Ifthetitleweretranslatedinto‘《埃琳·布罗克维奇》literally．theChineseaudiencewouldonlyregarditasabiographyofapersonnamedFainBrockovichandmayhavelessinterestinseeingit．Inthiscase，thetranslatorshould．firstgettoknowthemainplotofthefilminordertoproduceasatisfactoryversiort．；《永不妥协》isthefmaltranslatedtitleanditisconsideredasasuccessfulone．．“永，不妥协”showsthefinecharacterandthenever-giving-upspiritoftheheroine，whic岫aretherun-throughthemethefilmisdesignedtopraise．ItisthegrittinessthatleadstothefinalSuccessofErin，whichcanalsoinspirestheordinarypeoplegreatly．Thisexampleshowstheimportanceofanalyzingtheotheraspectofthesource_；Itextinfilmtitletranslation：thefilm’Splot．Sincetranslationis‘‘anewofferofinformationinthetargetcultureaboutsomeinformationofferedinthesourcecultureandlanguage(Nord，2004：26)”，thetranslatorCan，throughanalyzingtheplotofthefilm，selectthecrucialinformationoftheSTandmakesomeadaptationstoproduceanexcellentversionwhentheliteralmeaningoftheEnglishtitledoesnotmakemuchsensetotheChineseaudience．，．4．2．3,Translator’SRoleandResponsibilityinTranslatingProcessFromthepreviousanalysis，itiseasilyseenthatintheframeworkofSkopostheorythestatusoftranslatorsisgreatlyelevated．Atranslatorisregardedasexpertbyfunctionalistswhiletraditionaltranslationtheoriesemphasizetheinvisibilityoftranslatorandthusneglectthetranslator’Sinitiative：AlthoughtheSkoposisdeterminedbytheinitiator’Sneedsandwisheswitll45 山东大学硕士学位论文regardtothecommunicativeactiontheyintendtorealizebymi：ansoftheTT,theresponsibilitiesforthetranslationwillalwaysrestwiththetranslatorandtheactualproceduresareentirelyuptothetranslatorasacompetentegbertintranslation．Translatorsarenotonlyresponsiblefortransferringlinguisticcodesthroughdifferentcultures，butalsoallowedtodecidewhichapproachwouldworkthebestintranslatingagiventextinagivensituation．AsfarasEnglishfilmtitletranslationisconcerned，translatorsaresupposedtobenotonlybilingual，butalsotopossessotherqualities．Firstly,thetranslatorshouldknowwellthecharacteristicsandfunctionsoffilmtitles，whicharequitedifferentfromotherkindsofliteraryworks．Beingtherepresentationofafilm，thetitleanditsversionshouldbeconciseinitsspellingandpronunciation，whichmakesiteye-catchingforpeopletoreadandsonorousforpeopletoread．Furthermore，itshouldgeneralizethecontentofthefilmterselyandsuccinctlymadatthesametimegivetheaudienceaestheticenjoyment．Ashasbeenstatedabove，thesuccessofEnglishfilmtitletranslationalsodependsontheharmoniousintegrationofthethreefunctions．GuidedbytheSkoposofentertainment,thetranslatorshouldtrytofulfillthethreefunctionsatthesametimeorwithparticularemphasisononeoftheminsomecases．Theinformativefunctionrequiresthatthetranslatorentertaintheaudiencethroughtheconveyanceoftheinformationoftheoriginalfilmtitle，suchasthegeneralizationoftheplot，thehighlightofthemaincharacter,theclueofthedevelopmentoftheplotandthebackgroundofthefilm．Titlesofdifferentcinematictypebeardifferentstylisticfeatures，eitherfullofromanticcharm，heart—stirringatmosphereorcomicflavoLThetranslatorshouldhaveagoodeyetodistinguishthem，andtransplanttheaestheticvaluebyadoptingdifferentmethodsflexibly．Commercialismistheinnatefeatureofthefilm．Therefore，thetranslatormusthaveagoodsenseofthecommercialvalueoftranslatedfilmtitlesinorderthattheyCanbecomeabox·officehitandbringlargeprofits．Secondly，beingallimportantlinkinthenetworkofthecommunicativeinteraction，thetranslatorshouldbeawareoftheroleoftheinitiator(theChinesefilmcompanyinthiscase)andtargetaudience．Initiatoristheonewhostartsthetranslationprocessanddeterminesitscourse．Ononehand，employedbythefilm 山东大学硕上学位论文company,，thetranslatorshouldtakecarefulaccountoftherequirementsofth．ecompanyandtryto,producethecorrespondingChinesefilmtitlethatmeetsthedemands．o，fthetranslationbrief．Ontheotherhand，sinc．ethefilmcompanyisanon—expertorevenaIaymanintranslation，thetranslatorhasmorefightstodiscusswitllandgiveadvicetothefilmcompanyaboutwhatkindofmethodwouldworkbestintranslating．Thetargetaudienceisanotherimportantfactorthetranslatorshouldtakeintoconsideration,theimportanceofwhomhasbeenemphasizedforseveraltimespreviously．Theintendedaudienceoffilltitlesisthegeneralpublic，．whichdecidesthatthelanguageoffilmtitlesshouldbepopularandeasytounderstand．Thetranslatorshouldusesimplewordsifpossibletoguaranteethatmostaudiencescouldcomprehendtheliteralmeaningandtheconnotationofthetranslatedfilmtitle；Basicallyspeaking，theintendedaudienceisthegeneralpublic，whodonotknowmuchornotatallforeignlanguage．Aimingatthisgroup，thetranslatorCallmainlyadoptdomesticatingmethod．Besides，therearealsoviewerswhohavec．ertainamountofknowledgeofforeignlanguageandwhoseeaforeignfilm洫ordertoimprovethemselves．Forthisgroup，completedomesticatingmaynotbesatisfying．Giventhis}thetranslatorshouldmakeseveralassumptionsaboutthetargetreadershipandadoptdifferentmethodstobettermeetthedemandsofthetargetaudience．Thirdly,acompetenttranslatorshouldbebicultural，sincefilmtitletranslationisaninterculturalactivity．Thispointhasbeenmadeclearlyin4．1．3，andinthisparttheauthorwillnotgivemoredetails．Thepointtheauthorwantstoemphasizeisthatthecultureisall-embracingandacomplexknowledgesystem．Beingatransmitterbetweendifferentcultures，the．translatormustmakehimselfamaster．ofthesourceculture．Onlypossessingthesuperficialforeignknowledgethetranslatorwillnotdoagoodtranslationjob，．．、Besidesallthese，atlastitiswellworthwhiletomentiontheproblemofvulgarizationinfilmtitletranslation，sinceseekingmoneyisofutmostimportanceforsomedistributorswhocarefornothingbutprofit．Aimingtoseekthecommercialvalue，sometranslatorsdeliberatelyuse‘‘shocking’’wordstodrawtheaudience’seyeballs．Tobespecific，bloody,wild，violent，and‘‘fn'e”．and‘‘killing"．relatedwords47 山东大学碛‘土学位论文oftenappearinthetranslation，eventhodghtheoriginaltitledoesnotcontainsuchimages．Forinstance：AvahmcheExpress《血腥快车》，TheTrueaboutCharlie《迷情追杀》，IntheHeat∥theNight《丹黑风高杀人夜》．Wordsexpressing·love，passion,intimacyandevensomeeroticwordsareafashion：Who童AfraidofVirginiaWooly《灵欲春宵》，Disclosure《叛逆性骚扰》．Besides，theimageof“神，鬼魂，魔”arealsoprevalentandwordslike“终极，致命，灭口，绝”andSOonareoverused．Forexample：TheTerminator《魔鬼终结者》，SomewhereintheNight《惊魂骇魄》，《致命恋人》．Theentertainmentnatureoffilmdeterminesthattheversionshouldbetothetasteoftheaverageaudience．However，vulgarizationdoesnotmeanpopularization．Thevulgaritynotonlyrunscountertothepurposeoftranslation，butalsodoesgreatharmtolanguageandculture．Therefore，thetranslator,、^，itllhighsenseofresponsibility,shouldhavepopularityandeleganceharmoniouslyintegrated、Ⅳimeachotherandoffergoodversionsthatsuitbotllrefinedandpopulartaste．4．3TranslationStrategiesAdoptedinEFTTThissectionwilldiscussvarioustranslationtechniquesandmethodsadoptedinEnglishfilmtitletranslationwithrichexamplestoseehowtheyareusedtofulfilltheintendedfunctionsoffilmtitles．Therearefourtypesoftranslationstrategiesaltogetherinthepresentthesis，namely,transliteration，literaltranslation,liberaltranslation(includingthecombinationofliteralandliberaltranslation)andadaptation．4．3．11rransliterationInfilmtitletranslation，transliterationmeanstoseekphoneticcorrespondence，thatis，todescribetheEnglishsyllablesthroughthecorrespondingChinesecharacterscarryingsimilarsounds，whichisusuallyusedinthetranslationofpropernames，thenameofpersonsandplacesinfilmtitles．Althoughthisapproachisnotwidelyusedinfilmtitletranslation，itturnsouttobeindispensable．Ithelpstokeeptherhythmandformoftheoriginaltitleandattracttheaudience’Sattentionbyitstypicalforeignflavor．Filmtitlesarenotonlyfortheeyesbutalsofortheears．Byshowingthetargetl8 山东人学硕十学位论文audiencethephoneticsonority,thetranslatedtitlesmaybesoporousforthemtoreadandeasytoremember．Besides，theforeignnessmayarousethe．audience’Scuriositytoexplorewhatisexoticandunknow．n．tothem．thustheappellativefunctionmaybe如lfilled．WhenthenameofthepersonorplaceinvolvedinthetitleisveryfamiliartotheChineseaudienceorfullofhistoricalandculturalconnotations，theyshouldbetransliteratedinthiscase．Forexample，Titanic《泰坦尼克号》，Mulan《花木兰》，Patton《巴顿将军》，Chicago《芝加哥》．Inparticular,thenamesinfilmtitlesadaptedfromworld—famousnovelsshouldbetransliterated，becausesuchtitlesarealreadyofgreatcognitivevaluetotheviewerswhohavealreadyreadsuchclassicalnovels．Forinstance，RomeoandJuliet《罗密欧与朱丽叶》，JaneEyre《简爱》，Tess《苔丝》．Transliterationcanenablethetargetaudiencetoknowmoreabouttheonginalhistoryandculture．Bycontrast，iftheyaretranslatedinotherways，坊弓viewersmaytakeitasanordinaryfilmandmayfeelnointerestinit,whichwillinturndogreatharmtothebox-officevalueofthefilm．TheabovestatementdoesnotnecessarilymeanthattransliterationCanbeusedinallsuchcases，becauseinsomecasesitmaymakenomuchsensetothetargetaudiencesincethetitlegivesliRleinformationaboutthefilmbutasheerforeignnameThispo硫callbeexemplifiedinthetitleEr／nBrockovich，whichhasbeenmentionedin4．2．2．IfErinBrockovichistransliteratedinto《埃琳·布罗克维奇》，itwillquitepossiblybeunderstoodonly舔aforeignpeople’Sname．Consequently，itwilllosetheopportunitytoreachalargergroupofaudience．Thereareothersimilarexamples：．t·‘Cleopatra《埃及艳后》not《克利奥帕特拉》KateandLeopold《隔世情缘》not《凯特与莱波得》Annastasia《真假公主》not《安娜斯塔西亚》4．3．2LiteralTranslationFunctionalismdoesnotexcludeequivalenceSOlongasitisadequateto一“aSkoposthatrequiresthatthetargettextservethesamecommunicativefunctionorfunctionsasthesourcetext．”(Nord，2004：36)．Infilmtitletranslation，literaltranslationstrivestoachievetheSkoposbyreproducingbothformandcontentoftht49 山东大学硕十学位论文originalinmostc≤ises．SinceChineseandEnglishculturessharesomesimilarities，somefilmtitlescallbetranslatedliterally．Therearethreekindsofliteraltranslationinthisthesis．4．3．2．1Word．for-wordTranslationWord-for-wordtranslationrequiresprecisefidelitytothewordingoftheoriginaltitle．Whentitlesreflectalmostexactlythecontentandthemeofafilm，theycouldbetranslatedwordforword，foritscorrespondingexpressioninthetargetlanguageCanachievethesameinformative，expressiveandappellativefunctionsoftheoriginalfilmtitle．Underthiscircumstance，theaudiencecanfindaperfectmatchbetweenthecontentandthefilmtitleandaleinterestedintheforeignelementsinthetitle，thusattractedtogotothecinema．Forexample：FourWeddingsandaFuneral《四个婚礼和一个葬礼》Schindler蟹List《辛德勒的名单》WhenHarryMetSally《当哈里遇上莎莉》PearlHarbor《珍珠港》MyBestFriend'sWedding《我最好朋友的婚礼》Pan'sLabyrinth《潘神的迷宫》4．3．2．2AdjustmentofWordOrderorStructureThetargetlanguagehasdifferentlayersintermsofquality．Whenliteralapproachisappliedinfilmtitletranslation，thetranslatorneedstopayattentiontothewordingoftheChineseversion．Word—for-wordtranslationmayviolateChineseidiomaticwaysofexpressionandtheiraesthetictaste，thereforethewordorderorstructureoftheEnglishtitlehastobeslightlyaltered．AcaseinpointisthefilmAWalkintheClouds《云中漫步》．Ittellsabeautifulromanticstoryinwhichtwoyoungpeoplefallinlovewitheachotherinthevineyard．ThevineyardiscalledLasNubes，whichstandsfor‘'theclouds”．Basedontheinformationprovidedbytheoriginalfilmtitleandthelyricnatureofthisromancefilm，theChineseversion《云中漫步》betterconformstotheChineseaudience’Saestheticjudgment，thusproducingbettereffectcomparedtotheversion《走在云中》． 山东人学硕t学位论文Theformerversionfirstinvertsthepositionoftheadverbialmodifier,putting“云中”inthefrontinsteadoftranslatingin!．inearorder．Intermsofwording，theChineseversionchanges“walk”intheoriginaltitlefromanounintoaverbandtranslat．esinto“漫步”insteadof“走”，whichmaysoundplainandunromantictotheaudience．Inthisway,theChinesefour-characterexpressionconveysnotonlythemainplotofthefilmbutalsothelyrictoneinaconciseandpopularphrase，producingaromanticandelegantatmosphere．Besides，thereareotherexamples：AStreetcarNamedDesire《欲望号街车》，WomeninLove《恋爱中的女人》，ARoomwithaHew《看得见风景的房间》andSOon．4．3．2．3TransliterationplusParaphraseLiteraltranslationhastheadvantageofretainingaunityoftheformandcontentbetweentheversionandtheoriginal．ThemethodoftransliterationmentionedopreviouslyCanberegardedasaformofliteraltranslation．Inthispart,．throughpreservingthepronunciationoftheEnglishfilmtitleandaddingsomenecessary，informationwhichisnotincludedintheoriginaltitle，theapproachoftransliterationplusparaphraseaimsathelpingtheaudiencegrabthemeaningofthetitleandhave-．abettercomprehensionofthecontentofthefilm．；TakethefilmShrek《怪物史莱克》asanexample．Bythe．meansoftransliteration,thepronunciationofthenameispreservedtomaketheChineseaudienceknowsomethingaboutthemainfigureinthefilm．Atthesametimethetranslationisparaphrasedbythenewinformationofamodifier“怪物”toexplaintheidentityof‘‘Shrek”，whoisananimatedfigure．IfShrekisliterallytranslated，theaudiencewouldhavenowaytoknowthatitisafilmtothetasteofthechildren．Once“怪物”isadded，itproducessomekindoffantasticatmosphere，thusattractingtheeyeballoftheaudience．Throughthewayoftransliterationplusparaphrase，theChineseversionofthistitleisclearinmeaningandfacilitatestheinformativefunctionandcommercialvalueoffilmtitle．Therearealsootherexamples：Bambi《尘盛班比》，Tarzan《厶猿泰山》，Patton 山东大学硕上学位论文《巴顿j经》，Ali《耋堑阿里》，Titanic《泰坦尼克昱》；4．3．3L；beraITranslationSincenotwolanguagesareidentical，it．isimpossiblefortranslatortofindequivalentexpressionsinthetargetlanguageallthetime．TomaketheChineseversionfulfilltheSkoposoffilmtitletranslation，thetranslatoroftenresortstoliberaltranslationwhenandwherenecessary．Liberaltranslationisastrategythatseekstoconveythemeaningandthespiritoftheoriginaltitlewithoutstickingtotheformmechanically．Theliberaltranslationinthisthesisinclinestowardsthecombinationofbothliteralandliberaltranslationsincetheyhavebeen‘twosisters’eversincetheworkoftranslationcameintobeing．ThestrongpointofthistechniqueisthatsuchcombinationCantransmitthemessagetothemostextentandaddtotheartisticappealofthetitlesinceliteraltranslationCandelivertheliteralmeaningofthetitleatsurfacelevel，andatthesametimeliberaltranslationexpressestheimpliedmeaningofthetitleinadepth．AtypicalexampleisthetranslationofWaterlooBridgeinto《魂断蓝桥》，whichtellsatragiclovestory．Theword‘bridge’iskeptandtranslatedliterally,foritplaysaconsiderablyimportantpartinthefilmwherethestorytakesplaceandtheheroineeventuallycommitssuicide．Takingtheculturalconnotationintoconsideration，thetranslatorskillfullyresortstotheChinesefolktaleofBlueBridge(蓝桥相会)，implyinganemotionofdeparture，whichmayeasilyarouseresonanceamongtheChineseaudience．Consideringthemoodofthestory,thetwoChinesecharacter‘魂断’areaddedtoconformtothetragicatmosphereofthefilm，whichCaneasilykindletheaudience’Scuriosityaboutaheart—stirringlovestoryhiddenbetweenthelines．Inaddition，theselectionoftheChinesefour-characterstructurewellsuitsthetasteoftheChineseaudienceandisinaccordancewiththeChineseaestheticstandard，thushavingagreatattractiontotheaudience．Forthesereasons，compared埘tlltheslavishlytranslatedversion《滑铁卢桥》，whichsoundslifelessandtastelessandwhichmaycausetheChineseaudiencetoassociateitwithahistoricalfilmaboutNapoleon,theversion《魂断蓝桥》surpassesinsuccessfullyachievingtheinformative．aestheticaSwellaStheappellativefunctions． 山东大学硕上学位论文Moresuccessfulcasescouldbefoundinfilmtitletranslationpractice，sudaasMadisonCountyBridge《廊桥遗梦》，Ghost《人鬼情未了》，BathingBP口“劬i《出水芙蓉》，Forre墨tGump《阿甘正传》，TheDevilWearsPrada《时尚女魔头》aI}dSOon．Duetolimitedspace，theauthorwillnotelaborateonthemrespectively．4．3．4AdaptationUnliketraditionallinguisticequivalence-orientedtranslationtheories，Skopostheorygivesamplespacefortranslators’creativity．InSkopostheory,translatorsareviewedastargettextauthorsandarereleasedfromthe‘‘limitationsandrestrictionsimposedbyanarrowlydefinedconceptofloyaltytothesourcetextalone"(Sch￡iffner2005：238)andhavetheinitiativeintranslation．IntheprocessofEnglishfilmtitletranslation，sometimesitmayOCCUl"tothetranslatorthatneitherliteraltranslationnorliberaltranslationworksinsomecases．Insomecascs．theChineseversionsturnouttobeeitherobscureandmisleadingorflatandordinaryonlythroughthecombinationofthesetwomethods．Inthissituation,thetranslatorhastogivefullplaytohisinitiativeandcreativitytofulfilltheultimatepurposeoffilmtitletranslation．．Adaptationisverycreativeinthatitcompletelyabandonstheformandcontent．oftheoriginalfilmtitleandmakesafreshstartbasedonthecontentof．thefilm．That．istosay,byusingadaptation．．translatorsplacemoreemphasisonthecontentoftheoriginalfilmthanonthetitleitself．Inthissense，toalargeextent，adaptationinfilmtitletranslationCanbeviewedasaprocessofgeneralizationandsummarizationofth．econtentofthefilm，andaprocessofreproductionandrecreation．Thismethodaimsnotonlytransferring．theinformativevalue，butalsoreproducingtheaestheticandappellativevalueofthefilm．Sincethefilmplotactsasanimportantinformationoffer．thetranslatormustfirstunderstandthecontentandthecinematicgenresof．theoriginalthoroughly,andthencreativelyreproduceitbased011hiscomprehension．Intranslationpractice，therearemanysuccessfulcreativeChineseversionsofEnglishfilms，inwhichthethematicmeaningisdeeplyexploredtoachievetheinformativefunction，thedictioniscarefullyweighedtocatertothetargetaudience’Sconvention,andtheaestheticconceptionisvividlyreproduced．toarOUSetheaudience’Sinterest，achievingtheappellativefunction．TheoldfilmLeontells．astory53 一山东大学硕士学位论文concerninganItaliankillercalledLeonanda12-year—oldgirlMathilda．Leonistrulyexceptionalathisjob，whodoe：·abidebythetraditionalhonorcodeof“nowomen，nochikken”．Theybecomeclost．；Afriendsbyaccidentanddependon．eachotherforsurvival．Inordertosavethegirl’Slife，intheendLeonsacrificeshimself,leavingherapeacefullifeforever．Insteadofacceptingtheinformationofferedbytheoriginalfilmtitle，theChineseversion《这个杀手不太冷》regardsthefilmitselfastheinformationprovider．Firstofall，thetranslationgivesaclearandbriefintroductiontothemainplotofthefilm．“杀手”explmnstheidentityofthemaincharacterinthefilm,andtheaudiencemaygetahintthatthisisafilmconcerningaspeciallifestoryofakiller．Secondly，throughtheuseofmodifier“不太冷”，theChineseversioncreatesakindofunconventionalandromanticatmosphere，becauseinpeople’Smind，thewordkillerusuallyrelatestocrueltyandcold-bloodedness．However，thekillermoldedinthisfilmisquitedifferentfromthoseconventionalones．ThereissomethingpureandnobleintheinnerpartofLeon’Sheart，whichcanbefeltthroughthewholefilm．Inshort，thetranslationtotallyshakesofftheyokeoftraditionaltranslationprinciples，providingtheChineseaudiencewithbothinformativeandemotionalentertainment．《料理鼠王》，theChinesetitleforthelatestcartoonfilmRatatouille，isanothercaseinpoint．RatatouilletellsastoryaboutaratnamedRemy,whoconstantlyriskshislifeinanexpensiveFrenchrestaurantbecauseofhisloveofgoodfoodaswellasadesiretobecomeachef．Thetranslationisapparentlypreferablethantheslavishlytranslatedversion《蔬菜杂烩》，inwhichthecomicatmospherehasbeenlostandtheartisticappealhasbeenspoiledtoalargeextent．Withtheinvolvementofcreativework,thetranslatorofferstheaudienceaversion,whichiswidelydivergentfromtheliteralmeaningoftheoriginalfilmtitlebutfullyconveysthethematicmeaningofthefilm．Basedonthecontentofthefilm，theword“料理”，tosomeextent，indicatesthesubjectofthefilm，whichisconcernedaboutfood，thethreadrunningthroughthewholefilm；inaddition，“鼠王”helpstheaudienceassociatethetranslation谢thacartoonfilmatthesightoftheword．Atlast，thetranslationadoptsaconciseformofafour-characterphrase，whichcaterstotheChineseaudience’Sconvention，givingthem 山东大学硕上学位论文aestheticenjoyment．．Therearemanyotherexamplesofsuccessfuladaptation：MissionImpossible《碟中谍》，Sabrina《情归巴黎》，Airport《九霄惊魂》，Th．．eGeneral'sDaughter《西点揭秘》，Volcano《地火危城》andSOon．FromtheaboveoneCanseethatthetechniqueofadaptationworkswellinmanycasesinfilmtitletranslation．Withthedependenceontheplotofthefilm，adaptationoffersthetranslatorgreatfreedomandspacetoproduceacompletelynewfilmtitleforentertainingtheChineseaudience．However,itisacontroversialissue．Somepeopleareagainstthisapproachforitsometimesgoestoofarasatranslation，andforsometimesitisspoiledbytheSO—called‘creation’，whichspoilstheartisticpowerofthefilm，tryingtocatertothelowtasteofsomepeople．Thispointhasbeenmadeclearin4．2．3(theproblemofvulgarizationinfilmtitletranslation)．Inthissituation，itisreallyaviolationagainsttheartoffilmtranslation．Therefore，thisthesissuggests。that‘adaptation’nevermeans‘randomtranslation’，andthatsuchtechniqueshou．1dnotbeoverusedforthepursuitofsensationaleffectandbox·officehit．4．4SummaryFromth．e．previousanalysisandexamples，onemay．concludethatallthetranslationmethodsare．indispensableandsupplementarytoeachother．Itseems．unrealistictoadvocateanyofthemastheuniversalmethodoftheE-CfilmtitletranslationbecauseoftheirOWnlimitations．Actually,formanyversions，itishard．totellexactlywhatspecificmethodisemployed．Nosinglemethodcanalwayss01．veal，ltheproblemsinfilmtitletranslation．Forthisreason，thetranslatorshouldhaveadeepunderstandingoftheessenceofeachmethodandmakethebestuseofthemina、flexibleandappropriate．wayjc0meetthedesiredpurpose．Inaddition,thetranslatorshouldalsohave。acomprehensiveunderstandingofthewholefilmincludingplot，theme，andculturalbackgroundandSOontofullytransfertheinformative,aestheticaswellascommercialfunctionoffilmtitles．55 山东大学硕士学位论文ChapterFiveConclusionFilmisoneofthemostinfluentialmassmediaproducts．Thefilmtitle，asallimportantpartofthefilm，notonlyattractstheeyeball，butalsohelpsthefilmwinalleverlastingfame．Translatingfilmtitlesisaninteresting，meaningfulaswellaschallengingactivity．However,currentlyEnglishfilmtitletranslationisstillaproblematicissueandlessexploredsubject．Thepresentthesis，mainlyfromafunctionalistperspective，exploresEnglishfilmtitletranslationinChinaundertheguidanceofSkopostheory．Inthepreviouschapters，theauthorhasdiscussedindetailtheSkopostheoryanditsapplicationtoEF丌．Basedontheactiontheoryandotherfunctionalisttheories，Skopostheorystandsataheightthatallowsittodrawitsattentionfromtherestraineddisputesinvolving‘‘free”VS．“faithful’’axistoabroaderviewofthewholeprocessofcommunication．Itfleespeoplefromthetraditionaldisputesonconceptsbyprovidingthemanewwayofthinkingandshedslightonthetranslationfieldastowhataspectsthetranslatorshouldbeconcemedwitllintheprocessoftranslating．Throughanalyzingauthenticexamples，ittamsoutthattheapplicationofSkopostheorytofilmtitletranslationisveryenlighteninginbothpracticeandtheoreticalstudy．Inthefirstplace，SkopostheorypointsoutthattheprimeprincipledeterminingthetranslationactionistheSkopos(purpose)ofthetargettextaccordingtotheneedsandexpectationsoftheintendedreceiver．Forthisreason，makingclearoftheSkoposofEFTTisofvitalimportanceinthetranslatingprocess．FortheChineseaudience，theygotothecinemamainlyforentertainment．Theultimatepurposeoffilmtitletranslationistowintheheartsoftheaudienceandberewardedbythebox-officehit．Therefore，fromtheverybeginningthetranslatorshouldalwaysbearthispointinmindandtryhisbesttoachievesuchpurpose．Secondly,inthecourseoftranslation，Skopostheoryregardstheintended 山东大学硕十学位论文functionofthetargettext嬲thepriorcriteriaforjudgingwhetherthetranslationissuccessfulornot．Translatedfilmtitles，aSnewfilmtitlesinthetargetlanguage，shouldalsopossesstheintendedfunctionsofthetargettext．Afterdiscussingthegenreoffilmtheauthorintroducesthelinguistic，aesthetic，culturalandcommercialfeaturesofEnglishfilmtitles．Inlightoffunctionaltheories，theauthoranalyzesandsummarizesthefunctionsofEnglishfilmtitles：theinformativefunction,aestheticfunction，andcommercial(appellative)function．ThesethreefunctionsoperatealltogetherwithinafilmtitlewithanemphasisononeortwoaSpectsofthethree．TheyarenotseparatebutintegratedasawholetoseinetheSkoposofentertainment．Therefore，thepresentthesisholdstllatthetranslatorshouldtranslatefilmtitlesunderthebasicprincipleoffulfillingthespecificfunctionsoffilmtitles．Thatistosay,whentranslatingthetranslatorshouldtransferboththeinformationofthefilmandemotionaltoneofthefilminconciseandpopularwordsinordertomaketheaudienceobtaintheinformative，emotionalandaestheticentertainment,thusbecomingabox-officehitandachievinggreatcommercialvalue．Thirdly,sincegreaterimportanceshouldbeattachedtothetargettextandtheintendedreaders，consequently,thesourcetextservesasonly“锄offerofinformation'’fromwhichthetranslatorselectsinterestingandimportantinformationfortheintendedreaders．InthecaSeofEnglishfilmtitletranslation，apartfromtheEnglishfilmtitle，thefilmitselfisthesourceofinformationthatthetranslatorcalluse．BaSedonsuchsourcesofinformation，theChineseversionsmayprovidenewoffersofinformationindifferenttranslationstrategies，namely,bypreservingthe．totalsourcetextinformation，byselectingthepartialsourcetextinformation，byaddingsomeinformationtotheSOurCetext，orevenbycompletelygettingridoftheSOurCetextinformation．Fourthly,accordingtoSkopostheory,thestatusofthetranslatorisgreatlyelevated．Thetranslatorplaystheroleofexpert、析mresponsibilityfortheperformanceofthecommissionedtaskandthefinalproductoftheprocess．HeiSnotonlyresponsiblefortransferringthelinguisticcodesthroughdifferentcultures，butalsoallowedtodecidewhichapproachwouldworkthebestintranslatingagiventext57 山东大学硕十学位论文inagivensituation，andthusisallowedmoreinitiativethaninprevioustranslationstudies．Facingthesourcefilhatitleandtheplotasanofferofinformation，differenttranslatorscanchoosedifferenttranslationtechniquestogaintheinformative，aestheticaswellasappellativefunctions．ThentheauthoranalyzesthetranslationtechniquescommonlyemployedinEnglishfilmtitletranslation,namely,transliteration，literaltranslation，liberaltranslationandadaptation．Sinceeachmethodhasitsownadvantagesaswellaslimitations，thisthesisholdsthatallthesetranslationmethodsareindispensableandsupplementarytoeachotherandthatnosinglemethodCanalwayssolvealltheproblemsinfilmtitletranslation．Forthisreason，thetranslatorshouldhaveacomprehensiveunderstandingofthewholefilmandtheessenceofeachtranslationmethod．Whenonemethoddoesnotworkwell，thetranslatorshouldturntootherones．Fromtheabove，tosomeextent，Skopostheoryprovidestheoreticalsupportforsomeexcellentversionsoffilmtitletranslationthatusedtoberegardedasatraitortotheoriginal．TranslatingEnglishfilmtitleslookseasy,butittakesalotoflearning．Theworkneedstobedealt、析tllandstudiedcarefullyandconscientiously．ThepresentthesisisatentativestudyofEnglishfilmtitletranslationinthehopethatitcanmakeafurthercontributiontothisfield．AlthoughsuggestingaworthytheoreticalframeworkforEnglishfilmtitletranslation，thisthesisisfarfromaperfectone，anditalsohassomelimitations，bothintermsofquantitativeanalysisandspecificexplanations．Regardingquantitativeanalysis，duetolimitedtimeandspacemoreusefulfilmtitlesandversionsarenotincluded．Theanalysiscouldbemoreaccurateifthesamplescouldbemorecomprehensive．Asfarasspecificexplanationsareconcerned，duetolimitedtimeandenergy,insteadofconductingapublicsurvey,theauthorofthisthesismainlyadoptsthespeculationmethodandmayinevitablyhavemoreorlessherjudgmentontheeffectivenessofcertainversions．Besides，thisthesisisonlytargetreceiver-orientedanditcannotcoveralltheaspectsofEnglishfilmtitletranslation．Forthesereasons，thepresentthesisisfarlessthancomingtoanendandneeds58 山东大学硕上学位论文furtherattentionanddevotion．Consideringthelimitations，theauthorhopesthatinthefuture，、researchersequippedwithmoretheoreticalcompetencecoui‘lachievemorealong,thepath．59 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山东大学硕上学位论文Acknowledgements1wouldtakethisopportunitytoexpressmyheartfeltthankstoallthosewhosupportandcareformeinthepastthree—year’SstudyFirstandforemost，IowespecialgratitudetomysupervisorProf．SunYingchun，withoutwhoseinspiringinstruction，l(indsupportandconstantencouragementthisthesiswouldhavebeenimpossible．Ithankhimforhisilluminatingadviceandinsightfulsuggestiontoeverychapterofmymanuscript．Hisrespectablestrictattitudetowardsstudyandprofoundknowledgeimpressmedeeplyandwillcontinuetoexertgreatinfluenceonmyfuturestudy．MyheartfeltthanksalsogotoalltheprofessorsintheSchoolofTranslationandInterpretation，whohavetaughtmeandhelpedmeinmypastthreeyears’studyand：whoseinsightfullectureshavebroadenedmyvisioninthefieldoftranslation．Sincerethanksgotomyclassmatesandfriendswhopointedouttheshortcomingsofmythesisandofferedmevaluablesuggestionsduringthecourseofwritingthisthesis．Finally,Ianlalsothankfultomyparentswhoalwaysgivemeboundlessloveandencouragementalltheseyears．Iamdeeplyindebtedtothemfortheirwhole-heartedsupportduringmywritingthisthesis． 山东大学硕士学位论文ListofPublishedPapers1．礼貌原则与商务信函的翻译，《科技信息》，2006(7)：116，独立作者。2．网络聊天语言与会话合作原则，《理论探讨》，2006(3)：173—4，第一作者。 英语电影片名的翻译作者：丁进学位授予单位：山东大学相似文献(10条)1.期刊论文王建军.方文览从纽马克的交际翻译理论谈英语电影的片名翻译-电影评介2007(2)本文以纽马克的交际翻译理论为基础,探讨了电影片名翻译的基本原则.2.期刊论文李琴英语电影片名翻译中的文化因素——归化与异化策略在片名翻译中的应用-河南商业高等专科学校学报2008,21(3)以英汉两种语言文化及审美心理差异为出发点,对大量英文电影片名的翻译实例进行分析,从语言文化的角度来探讨电影片名翻译中归化与异化策略的应用,以寻求一种将审美与文化完美结合的英文电影翻译方法.3.学位论文周莹英语电影片名翻译的描述性研究2003随着中国对外开放进程的加快以及中外文化交流的发展，英语电影正越来越多地涌入中国大陆市场。特别是从1995年起，中国电影公司开始引进所谓的好莱坞娱乐大片，使得中国观众有更多的机会接触英语电影。作为英语译制片不可或缺的部分，中文译名架起了一座把电影和观众初步联系在一起的桥梁。英语电影片名翻译也就自然而然地成为一个有趣的话题，同时也引起了中国翻译界一定的关注。但是这方面的研究远远不够全面和充分。本文以1995年至2002年间在中国大陆影院公映的英语电影片名的中文译名为研究对象，尝试从功能翻译理论中的目的论和语言功能的角度对英语电影片名翻译进行进一步的描述性研究。目的论认为，决定翻译行为的首要原则是译文潜在接受者的期望和需要所决定的译文的目的。中国观众看电影的主要目的是为了娱乐，而作为译制电影的一个重要组成部分，中文译名也应满足娱乐的目的。此外，在目的论中，与译文接受者、时间、地点、场合、交际手段以及译文所要实现的功能相关的所有信息构成了具体的翻译要求。因此，要想有一个完整的片名翻译要求以实现娱乐观众的目的，就需要确定中文译名的功能。和目的论的性质一样，奈达和纽马克曾提出面向接受者的八种语言功能。本文对在影院公映的中文译名实现这些功能的实际情况进行了分析研究，提出了英语电影片名翻译实现娱乐目的的具体要求，即中文译名同时实现信息功能、情感功能、审美功能。信息功能是指译名传递原电影片名的信息或者关于电影情节的信息，使观众对电影内容有初步的了解。情感功能是指译名传递出它们所属电影类型的特定的感情基调，从而让观众感受到各类电影的独特氛围。审美功能是指译名简洁、通俗，符合中文语法规则和大陆观众的表达习惯，让观众领略中文语言的优美。中文译名用简洁、通俗的语言来传递电影的主要内容和情感，这样中国观众能从译名中得到三方面的娱乐，即信息娱乐、情感娱乐和审美娱乐。这三方面相辅相成，缺一不可。基于上述目的和翻译要求，本文论述了中文译名所使用的翻译策略，其中包括回译、音译加释义、直译、意译、另译等五种。这些翻译策略对原英语片名提供的信息进行了不同的处理，即完全保留、适当选择、全部抛弃和增加信息。由此看出，原英语片名只是信息提供者之一。除了原电影片名，电影本身也可以提供信息。因此，本文认为，译名与原名是否对等并不十分重要，充分满足信息、情感、审美三个功能的要求才是英语电影片名翻译达到娱乐观众目的的首要标准。译名可采用各种灵活的翻译方法，只要这些方法符合上述标准。4.期刊论文张健.唐悦.ZHANGJian.TANGYue汉语四字格在英语电影片名翻译中的运用-湖北教育学院学报2007,24(11)汉语四字格具有言简意赅,铿锵动听,富于表现力的特点.本文以奥斯卡金像奖最佳影片的片名翻译为主线,旨在讨论翻译中汉语四字格的运用.5.期刊论文李悦.LIYue英语电影片名汉译探幽-湘南学院学报2008,29(4)电影片名,犹如电影的品牌商标,有极强的"导视"作用.电影片名翻译应以影片观众的感受为重点,以观众是否理解接受乃至喜欢为主要衡量标准.而英语片名的汉译则应以中国电影观众的审美期待和文化心理为出发点,依据翻译中的功能对等理论,结合英语电影片名的特点,英语电影片名汉译有音译、直译、意译、创译等方法.译者应尽可能遵循简洁、适度、创新的翻译原则,以期吸引观众注意,获得票房成功.6.期刊论文徐佳莉略谈英语电影名翻译-科技信息（科学·教研）2007(33)本文从英语电影片名翻译现状,常见的电影名翻译方法以及同一电影名不同的翻译比较三个方面阐述英语电影名的翻译.7.期刊论文杨清宇.YangQing-yu英语电影片名的翻译策略与方法研究-电影评介2009(1)电影片名兼有艺术欣赏和商品广告的双重功效,直接起着导视和促销的作用.英文片名翻译属于跨文化交际活动,要求译者能跨越中西文化障碍,不简单机械地照搬原片名的内容和形式,运用恰当的翻译策略如直译.意译、直译加意译等翻译技巧传达主题信息,展现其文化特色,并符合目标语观众的语言文化特征和审美习惯.8.学位论文毕建静从目的论的角度探讨英语电影片名的汉译2008电影是一种集艺术性和商业性于一体的艺术形式，是最具有魅力和影响力的媒体之一。随着全球化的步伐日益加快，越来越多的国外优秀影视作品引进中国，影视翻译的重要意义也日益突显出来。电影片名是电影的重要组成部分，具有传达信息，表现美感和吸引观众的功能，电影片名翻译的质量对影片在国外市场的推广具有举足轻重的作用。在过去的二三十年中，影视翻译的研究工作尤其是片名翻译的研究工作没有得到相应的重视。国内外研究的专著及近十年的外语核心期刊中探讨片名翻译的理论撰写甚少。英语电影片名的汉语翻译是具有挑战性的，目前还无人提出比较完整的翻译原则。本文旨在探讨指导英语电影片名汉译的理论和方法。从目的论的角度讨论英语电影片名的翻译问题，提出电影片名翻译的目的是为了吸引观众观看电影。通过案例分析，作者着力阐述了译者应充分实现的电影片名的四个价值，即：文化、信息、美学和商业价值。本文还就大陆、香港和台湾三地译名各具特色的情况进行了比较，并分析了产生差异的原因。提出由于译名是为当地群众服务的，只要能满足当地群众的审美情趣和情感需求即可，所以可以保留三地在片名上的差异性和特色。全文共分六章。第1章是引言，介绍了本文的研究的课题及意义，理论框架，要解决的问题及研究的目标，研究方法及行文结构。第2章对电影及电影片名作了总体上的介绍，包括电影的类型，电影片名的命名方法、特色、功能、地位等。第3章是全文的理论框架部分，重点介绍了目的论和行为理论。提出电影片名翻译的目的就是为了让观众去欣赏电影，一切策略方法都是为这一目的服务的。第4章阐述如何把理论应用到实践，从文化、信息、美学及商业四个价值的实现来具体阐述。第5章比较了海峡两岸三地片名翻译的异同，探讨了产生差异的原因。最后一章是结论章节，对全文进行了总结概括。影片译名既要忠信于原文，又要符合本国观众的语言文化习惯和审美情趣；既要有一定的文化品位，又要有良好的商业效应.翻译电影片名应考虑当时所处的时间、所在的地点和所面对的观众等因素。随着经济文化交流的不断增强，两岸三地的英语片名译者应该互相学习借鉴，为观众献上质量上乘的电影译名。9.期刊论文张燕电影片名翻泽策略杂谈-成才之路2008(28)电影片名翻译是一项重要而富有创造性的工作,它作为一种鲜活的语言运用实例,体现着整个社会的文化理念、文化价值趋向及审美习惯.电影片名翻译作为翻译的一个类别,要遵循翻译的一般原则和方法,采用适当的翻译策略.本文试从中国内地与中国港台译本的比较中,从直译和鳊译的利弊中,探讨影片名的翻译方法和策略.10.期刊论文田霞.TIANXia从翻译的"哥德巴赫猜想"看英语电影译名-怀化学院学报2007,26(6)运用翻译学上的"哥德巴赫猜想",结合奈达先生的语言交际功能的观点,从电影片名的特点,文化的可译性限度,以及动态对等理论对英语电影片名翻译的策略进行探讨.指出译者应充分发挥其创造性,集技术与艺术性为一体,灵活处理因东西方文化、思维的差异造成的陌生化表达,努力实现译文和原文的语言、文化交际功能的等值.要立足于译语观众,从观众欣赏译制片的角度出发,用语言交际功能的理论来作为指导,做到正确阐释它们的文化现象,在 译名中忠实、通顺地表达原片的内容,再现原文的语言特色和艺术形象,使译语符合时代潮流和语言习惯.本文链接：http://d.g.wanfangdata.com.cn/Thesis_Y1348776.aspx下载时间：2010年4月17日
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