【摘要】： 影視藝術以其豐富的表現(xiàn)形式、無限的藝術魅力成為人類永恒的探索領域。電影片名作為其重要一環(huán)，則被認為是整部影片的“向導”，俗話說“片以名揚”。影視片名的翻譯是一項重要的創(chuàng)造性工作，佳譯能為影片錦上添花，對新片的推介具有舉足輕重的作用，反之，拙譯能令佳作黯然失色。影視片名的翻譯在影視藝術再創(chuàng)作中展示出更為艱深、更為復雜的科學藝術性，這不僅是不同語言間的符號轉換活動，也是一種藝術再創(chuàng)造活動和一項跨文化交流活動。 本文旨在探討英語電影片名漢譯的理論方法以及其中的有意識誤譯現(xiàn)象。過去的二三十年中，影視翻譯取得了很大的發(fā)展，但作為翻譯領域一個重要的組成部分，其研究工作還做得遠遠不夠。國內外相關研究的專著甚少，有的只是在一些專著的個別章節(jié)中有所涉及。近十年的外語核心刊物中探索影視翻譯，尤其片名翻譯的理論撰寫甚少。目前似乎還沒有一套比較完整可行的原則指導片名翻譯。英語片名翻譯的問題目前主要表現(xiàn)為譯名不統(tǒng)一的狀況，這被傳統(tǒng)的翻譯理論視為“一名多譯，良莠不齊”、甚至是“亂譯”。由于不同題材的作品有不同的功能和目的，不同時代的譯作亦有不同需求，翻譯電影片名的功能是宣傳產(chǎn)品“電影”，目的是提高上座率、增加利潤。從這點看來片名翻譯與廣告翻譯異曲同工、不謀而合。 傳統(tǒng)的翻譯理論認為最理想的目標是忠于原文，翻譯時不遭受任何損失并達到等值，但這只是一種理想狀態(tài)。在實際翻譯中，由于語言和文化的差異、讀者的期待視野和接受反應，，以及影視片名翻譯自身的特點等諸多因素的存在，譯者在翻譯時，很難達到絕對忠實和完全對等，為了呈現(xiàn)給讀者成功的譯作，有時不得不進行有意識的“誤譯”。 與傳統(tǒng)的作者中心論和原作中心論不同，接受美學提出讀者中心論�？梢哉J為，讀者是譯文的審美主體，他們在閱讀時不是被動地接受譯文的信息，而是以其固有的審美意識積極地參與并創(chuàng)造。不可想象一部作品的歷史生命如果沒有讀者的參與會是如何延續(xù)。如果說，人類社會中傳播無處不在，那么，受眾也就無處不在。在傳播學的演進歷史中，人們的研究中心發(fā)生著由傳者中心至受者中心的轉移。因此，受眾研究的地位也逐漸從效果研究中凸現(xiàn)出來，成為傳播學體系中重要的組成部分。接受理論和傳播學使我們在電影與觀眾的關系上有新的思維視角。在片名翻譯中，譯者應把握潛在觀眾的期待視野、審美趣味及其能力、先在知識、心理需求等，同時也應考慮其傳播模式、傳播媒介、接受效果等因素。 本文結合接受美學和傳播學的主要觀點，分析并探討了英語影視片名翻譯中的有意識“誤譯”現(xiàn)象，其中包括它形成的必然性、具體表現(xiàn)、技巧方法等。結論是：英語影視片名翻譯中的有意識“誤譯”是一種不可避免的現(xiàn)象，但這一點是以與原文文本保持聯(lián)系為基礎的，它是實現(xiàn)翻譯目的的一種手段而決非是為了商業(yè)目的而進行的天馬行空的“亂譯”，其作用和意義也不是一成不變的，應在歷史語境中考察。英語片名翻譯就像一場“拉鋸戰(zhàn)”，在直譯和意譯、形似與神似、藝術與商業(yè)間尋求一個平衡點。影片譯名既要有一定的文化品位，又要有良好的商業(yè)效應；既要忠于原文，又要符合本國觀眾的語言文化習慣和審美情趣。
[Abstract]:The film and television art, with its rich expression, has become the eternal exploration area of mankind. The film name, as an important part of it, is regarded as a guide to the whole film, as the saying goes as" famous". The translation of the film name is an important creative work, which can be added to the film, which plays a very important role in the promotion of the new film. On the contrary, the translation of the film is overshadowed by the translation. The translation of the name of the film and television shows a more difficult and more complex scientific artistry in the re-creation of the film and television art, which is not only the symbol conversion activity between different languages, but also an art re-creation activity and a cross-cultural exchange program. The purpose of this paper is to study the theoretical method of the Chinese translation of English film title and some of them In the past two decades, the translation of film and television has made great development, but as an important part in the field of translation, its research work also It's not enough to do it. There are few monographs of relevant research at home and abroad, some of which are only in the individual chapters of some monographs. To explore the translation of film and television in the core journal of foreign languages in the last decade, especially in the form of a translation. The theory is very little. There seems to be no more complete set of principles. The problem of the translation of the English title is mainly manifested as the non-uniform condition of the translation, which is regarded as a "There's a lot of translation. I'm not good." by the traditional translation theory, and even the "to be transferred into one" ". Due to the different functions and purposes of the works of different subjects, the translation of different times also has different requirements. The function of the title of the translation film is to promote the product "a film", with the aim of improving the upper seat." Rate, increase the profit. From this point of view, the title translation is the same as the advertisement translation. The traditional translation theory holds that the most desirable goal is to be faithful to the original text and to do not suffer any loss during translation The equivalent, but this is only an ideal state. In the actual translation, due to the differences of language and culture, the reader's expectation of view and the acceptance, and the characteristics of the translation of the film and television, the translator is difficult to achieve the absolute fidelity and complete equivalence in the translation. In order to present the successful translation of the reader, it is sometimes necessary to make a conscious "misinterpre" The ".................................... The reader is the aesthetic subject of the translation, and they are not passive in reading the information. Instead, it is actively involved and created with its inherent aesthetic consciousness. A work cannot be imagined The history of life, if there is no reader's participation, will continue. If it is, the human society In the course of the evolution of the communication, people The center of the study has been transferred from the center of the recipient to the recipient's center. Therefore, the role of the audience is gradually emerging from the effect study. It is an important part in the communication system, which is the important part of the communication system. We have a new perspective of thinking on the relationship between the film and the audience. In the title translation, the translator should grasp the expected visual field, the aesthetic taste and the ability of the potential audience, first in the knowledge, the psychological demand, etc., at the same time, should also Taking into account the factors such as the mode of communication, the media, the receiving effect and so on, this paper analyzes and discusses the "miscommunication" " to be used for commercial purposes. be translated into one '", its function and meaning is not the same, it should be studied in the historical context. The translation of the English title is like a "to draw a saw" The translation of the film has a certain cultural taste and a good commercial effect.
【學位授予單位】：中南大學
【學位級別】：碩士
【學位授予年份】：2007
【分類號】：H315.9

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本文編號：2487819

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