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1、TheJournalofSpecialisedTranslationIssue17–January2012CreativityinTranslatingCartoonsfromEnglishintoMandarinChineseCuiSong,TheOpenUniversityofChinaABSTRACTCartoontranslationappearstobeaspecialfieldinscreentranslation.Itcanbearguedthatwhentranslatingcartoons,especiallythoseforchildren,creativityinuse
2、ofthetargetlanguagecouldbeexplored,andacertaindegreeofre-writingofthelanguageinthedialoguecouldbeacceptable,sothatstrategiesshouldbeappliedtoachievetheeffectthatthetranslatedversionsoundsnatural,educationalandentertainingtothetargetlanguageaudience.Thispaperexaminessomeaspectsofthisspecialfieldoftr
3、anslation,includingideologyissues,domesticcultureawarenessandthetranslator'sactivechoiceofcreativelanguageintheirtranslation,tosuggestthatapproachessuchasdomestication,or“excessivedomestication”astheauthorofthispaperdefines,andculturaladaptationprovidewaysinwhichtranslatorsimplementtheircreativityw
4、hentranslatingcartoons.ThediscussionisexemplifiedbyexcerptsfromcartoontranslationfromEnglishintoMandarinChinese.KEYWORDSScreentranslation,ideology,creativity,domestication,cartoon,dubbing.1.IntroductionThereseemstobenodisagreementoninterlingualdubbingforcartoons,especiallythosetargetingchildaudienc
5、e,thoughintherealmofscreentranslationoflive-actionfilmsforadults,somecountriesprefersubtitlingwhilesomechoosetomaintaintheirtraditionofdubbing(IvarssonandCarroll1998:6).Itappearstobewidelyagreedthatamongalltypesofscreentranslation,translationofcartoonsisaformthatcanandperhapsshouldberealisedbydubbi
6、ng.Eveninthesubtitlingcountries,animatedprogrammesaimingatyoungchildrenaredubbed(Gottlieb2004:83).Itisself-evidentthatoneofthemajorreasonswhybothdubbingcountriesandsubtitlingcountrieschoosetodubthetranslatedcartoonsratherthansubtitlethemisthatchildren,themostlikelytargetaudienceofcartoons,ingeneral
7、,havenotdevelopedtheirreadingcapacityasfullyasmostadultshavetofocustheirattentiononreadingsubtitlesallthroughthelengthofthefilms.Childrendonotreadsubtitlesasadultsdo,especiallywhenwatchingcartoons,whichusua