本文選題：電影片名翻譯　切入點：接受美學(xué)　出處：《武漢理工大學(xué)》2012年碩士論文　論文類型：學(xué)位論文

【摘要】：電影是當(dāng)代人們生活中重要的組成部分,它融匯了很多藝術(shù)手段,能傳播信息、抒發(fā)情感、展現(xiàn)豐富多彩的生活,使觀眾得到藝術(shù)上的享受。當(dāng)今大量外國影片被引進(jìn)國內(nèi),那么如何讓觀眾在觀賞國外影片時獲得與本國觀眾產(chǎn)生同樣的藝術(shù)享受,影片的翻譯工作便成了關(guān)注的焦點。眾所周知,一部好電影之所以能吸引成千上萬的觀眾,除了演員的精湛演技、富有哲理的對話以及絢麗多彩的畫面外,與其寓意深刻、回味無窮的片名有著必不可分的聯(lián)系。片名是影片的品牌商標(biāo),看似簡單卻讓作者破費深思,寥寥數(shù)詞凝聚整個作品的精髓,起著導(dǎo)視的作用,是一部電影的“眼睛”,因此譯者要善于“畫龍點睛”。 本文運用接受美學(xué)理論研究國外電影片名的中文翻譯。電影片名具有信息功能、美感功能與祈使功能三大主要功能。它既要反映影片的主要內(nèi)容,暗示影片的類別,還要簡短醒目,別出心裁,最大限度地吸引觀眾,在觀眾心目中留下難忘的印象。做到先聲奪人,從而很好地為影片進(jìn)行廣告宣傳。因此,電影片名翻譯成為了翻譯領(lǐng)域中一顆新星。從電影片名翻譯所表現(xiàn)出的簡潔形式和蘊涵的豐富內(nèi)涵,人們能看到譯者智慧的結(jié)晶,它也是翻譯理論和方法靈活應(yīng)用的反映。但是,傳統(tǒng)的翻譯理論重視文本的產(chǎn)生和對文本本身的關(guān)注,而接受美學(xué)理論卻轉(zhuǎn)入了對文本的閱讀和接受,除此之外,觀眾的期待視野在接受理論中占據(jù)著重要位置。因此,本文選取了英語國家100部影片作為研究范例,從接受美學(xué)的角度探討電影片名的翻譯得失。通過對兩岸三地的不同譯名的對比,總結(jié)出電影片名翻譯的特征和技巧,結(jié)合現(xiàn)今社會趨勢,并指出影響選擇翻譯技巧的重要因素。 論文由五部分組成。第一章為背景介紹,簡要闡述了此研究的意義、目的和研究方法以及本研究有關(guān)語料庫的建立。第二章為文獻(xiàn)綜述,即從國內(nèi)和國外對此研究所作出的進(jìn)步以及不足。第三章的主要內(nèi)容是闡述電影片名的定義、分類、特征以及功能,還重點闡述了接受美學(xué)理論的定義、特征以及三個基本原則,最后還對接受美學(xué)如何應(yīng)用于翻譯乃至于電影片名翻譯作了詳細(xì)的闡述。第四章論述了在接受美學(xué)理論基礎(chǔ)上電影片名翻譯的技巧,影響翻譯技巧選擇的重要原因以及大陸、香港和臺灣對于電影片名翻譯的對比。最后一章歸納總結(jié)了全文。
[Abstract]:Film is an important part of contemporary people's life. It melts a lot of artistic means, can spread information, express emotion, show rich and colorful life, and make the audience enjoy art. Nowadays, a large number of foreign films have been introduced into China. Well, how to make the audience enjoy the same artistic enjoyment as the domestic audience when watching foreign films, the translation work of the film becomes the focus of attention. As we all know, the reason why a good film can attract thousands of viewers, In addition to the actor's consummate acting skills, philosophical dialogue and colorful pictures, there must be an inseparable connection with the film title, which has profound implications and endless aftertaste. The title is the brand trademark of the film, but it seems simple but it makes the author ponder over it. A few numerals condense the essence of the work and act as a guide, which is the eye of a movie, so the translator should be good at finishing. This paper applies the theory of reception aesthetics to the study of Chinese translation of foreign film titles. Film titles have three main functions: information function, aesthetic function and imperative function. It should reflect the main content of the film and imply the category of the film. Also want to be short and eye-catching, ingenious, attract the audience to the maximum extent, leaving an unforgettable impression in the audience's mind. Film title translation has become a new star in the field of translation. From the concise form and rich connotation of film title translation, one can see the crystallization of the translator's wisdom. It is also a reflection of the flexible application of translation theories and methods. However, traditional translation theories attach importance to the production of texts and their attention to the text itself, while the theory of reception aesthetics turns to the reading and acceptance of texts. The audience's vision of expectation plays an important role in reception theory. Therefore, this paper selects 100 films from English-speaking countries as examples. From the perspective of reception aesthetics, this paper discusses the success and loss of film title translation. Through the comparison of different translation names between the two sides of the Taiwan Strait, this paper sums up the characteristics and skills of film title translation, and combines with the current social trend. It also points out the important factors that influence the choice of translation skills. The thesis is composed of five parts. The first chapter is the background introduction, which briefly describes the significance, purpose and research methods of this study and the establishment of the corpus of this research. Chapter two is a literature review. In chapter three, the definition, classification, characteristics and function of film title are expounded, and the definition of reception aesthetics theory is emphasized. Finally, the author expounds in detail how reception aesthetics is applied to translation and even film title translation. Chapter four discusses the techniques of film title translation based on the theory of reception aesthetics. The main reasons that influence the choice of translation skills and the contrast between the mainland, Hong Kong and Taiwan in the translation of film titles are also discussed in the last chapter.
【學(xué)位授予單位】：武漢理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：H315.9

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