本文選題：目的論 + 電影標(biāo)題��； 參考：《吉林大學(xué)》2012年碩士論文

【摘要】：隨著全球化的日益加速，越來越多的優(yōu)秀外國電影被引進(jìn)中國，電影翻譯的重要性也相應(yīng)地日益突顯出來。電影標(biāo)題翻譯的質(zhì)量對于影片在國內(nèi)市場的宣傳起到重要作用。電影標(biāo)題是用簡潔的語言對電影的內(nèi)容和主題進(jìn)行高度概括。它包含豐富的內(nèi)容，是電影的精髓。在過去的三十年中，電影翻譯方面的研究，特別是電影標(biāo)題翻譯研究，還沒有得到相應(yīng)的重視。因此，怎樣翻譯電影標(biāo)題是非常值得研究。目的論是電影標(biāo)題翻譯的一種有效手段。 功能目的論于20世紀(jì)70年代出現(xiàn)在德國。根據(jù)目的論，翻譯是一種目的性行為，由四個(gè)原則指導(dǎo)，分別是目的原則、連貫原則、忠實(shí)原則和忠誠原則。最重要的是，翻譯是一種不同文化交流的行為，必須將它置于文化背景下。與傳統(tǒng)的翻譯理論不同，譯者可以自由地選擇最適合的翻譯策略來滿足目的文本的預(yù)期目標(biāo)，但是他們也不是完全地自由，忠誠原則限制他們的這種自由。按照目的論的要求，翻譯的標(biāo)準(zhǔn)是適合性，而不是傳統(tǒng)的對等性。目的論有四個(gè)指導(dǎo)性原則。目的原則被認(rèn)為是最重要的翻譯原則，它要求譯者應(yīng)該通過使用各種翻譯策略盡力滿足目標(biāo)文本的目的。另外連貫原則和忠實(shí)原則從屬于目的原則。連貫原則（文本內(nèi)原則）要求目的文本對于接受者來說應(yīng)該是有意義的，遵守接受者的文化習(xí)俗。忠實(shí)原則（跨文本原則）存在于源文本與目標(biāo)文本之間，，而連貫原則連接的是源文本的翻譯與翻譯目的。以上所提到的目的論的三個(gè)原則涵蓋了翻譯的整個(gè)過程，而忠誠原則則是作為以上三個(gè)原則的一種補(bǔ)充。忠誠原則涉及的是譯者、源文本的發(fā)送者、目的文本的接受者和傳授者不同人之間的關(guān)系。 本文根據(jù)布勒和雅各的語言功能理論，提出電影標(biāo)題的四大功能：信息功能、文化功能、美學(xué)功能和商業(yè)功能。電影標(biāo)題的基本功能是為觀眾提供有用的信息內(nèi)容。電影標(biāo)題常常帶有濃厚的文化氣息。好的電影標(biāo)題翻譯應(yīng)該擁有藝術(shù)特色,可以引起觀眾的共鳴，傳遞美學(xué)信息，喚起觀眾的想象力并激起觀眾去看電影的欲望。對于引進(jìn)的外國電影來說，電影標(biāo)題的翻譯就是電影的廣告，對電影的票房起到?jīng)Q定性作用。這是決定電影能否在海外市場獲得成功的關(guān)鍵性因素之一。眾所周知，英語和漢語在語言表達(dá)、思維方式和文化內(nèi)涵等方面有很大的不同，英漢電影標(biāo)題也是一樣，同樣具有各自的特點(diǎn)。 本文使用100個(gè)電影標(biāo)題實(shí)例構(gòu)建了一個(gè)小的數(shù)據(jù)庫，并使用四種研究方法來分析這些語言數(shù)據(jù)，這四種方法分別是質(zhì)和量的研究，共性和個(gè)性研究。根據(jù)數(shù)據(jù)的分析，本文得出一些結(jié)論。隨著不同國家之間越來越多的文化交流，很多優(yōu)秀的電影被引進(jìn)國內(nèi)，但是電影標(biāo)題的翻譯現(xiàn)狀還不是很樂觀的，誤譯的現(xiàn)象廣泛地存在�？偟膩碚f那些誤譯的實(shí)例可以分為三種：文化誤導(dǎo)、標(biāo)題格式化和一名多譯。電影標(biāo)題的翻譯就是兩種文化的交流。源標(biāo)題所承載的歷史、地理、氣候、政治、經(jīng)濟(jì)和道德風(fēng)俗的不同是誤譯的主要原因。在翻譯電影標(biāo)題的過程中，仍存在過度追求標(biāo)題的模式化的現(xiàn)象。同時(shí)電影市場也缺乏統(tǒng)一的管理,造成一部電影有很多種譯名的現(xiàn)象。很多西方電影還沒有在大陸影院上映，但在互聯(lián)網(wǎng)上已經(jīng)廣泛地流行，譯名也是各有千秋。 電影標(biāo)題誤譯的原因，主要闡釋有三點(diǎn)：第一，譯者缺少對于源語文化內(nèi)涵的理解，甚至誤解。如果譯者沒有意識(shí)到文化誤解，就很可能造成標(biāo)題誤譯。這就要求譯者關(guān)注標(biāo)題的文化內(nèi)涵，并在目的語中重構(gòu)譯語的文化內(nèi)涵。第二，電影譯名的信息對目標(biāo)受眾來說是不可接受的。譯者有時(shí)遇到不同國家間文化出現(xiàn)差異的情況，這種差異可能造成譯名不被認(rèn)可和接受。因此，在電影標(biāo)題翻譯的過程中譯者為了避免造成文化誤導(dǎo)，譯者應(yīng)該注意目標(biāo)受眾的接受性。第三，譯者為滿足電影片商過度的利益追求，造成片名誤譯。為了商業(yè)利益，一些電影標(biāo)題翻譯故設(shè)陷阱、放棄原則來迎合觀眾，這樣就導(dǎo)致電影標(biāo)題翻譯與電影內(nèi)容完全不相關(guān)。為了避免電影標(biāo)題誤譯，譯者應(yīng)該嚴(yán)格遵守翻譯的基本原則，適當(dāng)采用有效的翻譯策略，例如音譯，直譯，意譯，創(chuàng)譯，音譯與意譯的結(jié)合，直譯與意譯的結(jié)合。
[Abstract]:With the acceleration of globalization, more and more excellent foreign films have been introduced to China, and the importance of film translation is increasingly highlighted. The quality of the translation of film titles plays an important role in the publicity of the film in the domestic market. The title of the film is a concise language for the content and theme of the film. The content of the film is the essence of the film. In the past thirty years, the research on film translation, especially the study of film title translation, has not been paid much attention. Therefore, it is very worthwhile to study how to translate the title of the film.
Functional skopostheology appeared in Germany in 1970s. According to skopos theory, translation is a kind of purposeful behavior, guided by four principles, namely, goal principle, coherence principle, loyalty principle and loyalty principle. Most importantly, translation is a cultural exchange behavior, which must be placed under cultural background. The translator can freely choose the most suitable translation strategies to meet the intended target of the target text, but they are not completely free, and the principle of loyalty restricts their freedom. According to the requirement of Skopos, the standard of translation is fitness, not the traditional equivalence. There are four guiding principles in skopos theory. Purpose principle It is considered as the most important principle of translation, which requires that the translator should try to satisfy the goal of the target text by using various translation strategies. The coherence principle and the principle of loyalty belong to the purpose principle. The coherence principle (in text principle) requires that the text of the purpose should be meaningful to the recipient and observe the cultural customs of the recipient. The principle of faithfulness (cross text principle) exists between the source text and the target text, and the coherence principle connects the translation and translation purposes of the source text. The three principles of the skopos theory mentioned above cover the whole process of translation, while the principle of loyalty is a supplement to the above three principles. The principle of loyalty involves the translator and the source. The relationship between the sender of the text, the receiver and the instructor of the target text.
According to the linguistic function theory of bulller and Jacob, this paper puts forward four functions of Film Title: information function, cultural function, aesthetic function and commercial function. The basic function of the film title is to provide useful information for the audience. The film title often carries a strong cultural interest. Good film title translation should have art special. Color, which can arouse the audience's resonance, convey aesthetic information, arouse the imagination of the audience and arouse the desire of the audience to see the film. For the imported foreign films, the translation of the title of the film is the advertisement of the film and plays a decisive role in the box office of the film. This is the key factor determining whether the electric shadow can succeed in the overseas market. It is well known that English and Chinese are very different in language expression, way of thinking and cultural connotations. English and Chinese film titles are the same, and they have their own characteristics.
This paper uses 100 Movie Title examples to build a small database and use four methods to analyze the language data. The four methods are qualitative and quantitative research, generality and personality research. According to data analysis, this paper draws some conclusions. With more and more cultural exchanges between different countries, a lot of excellence is made. The film is introduced into the country, but the current situation of the translation of the title of the film is not very optimistic. The phenomenon of mistranslation exists widely. In general, the cases of mistranslation can be divided into three kinds: Cultural misleading, title formatting and one multi translation. The translation of the title of the film is the exchange of two cultures. The history, geography, and climate of the headlines The difference between political, economic and moral customs is the main reason for mistranslation. In the process of translating the title of the film, there is still a phenomenal phenomenon in which the title is overly pursued. Meanwhile, the film market lacks unified management, resulting in many kinds of translation of the film. Many western films have not been shown on the mainland cinema yet, but on the Internet It is widely popular, and the translated names are also different.
There are three main reasons for the misinterpretation of the film title: first, the translator is short of understanding and misunderstanding of the cultural connotation of the source language. If the translator does not realize the cultural misunderstanding, it is likely to cause the misinterpretation of the title. This requires the translator to pay attention to the cultural connotation of the title and reconstruct the cultural connotations of the target language in the language. Second, film translation. The translator is not acceptable to the target audience. Translators sometimes encounter cultural differences between different countries. This difference may not be recognized and accepted. Therefore, the translator should pay attention to the acceptability of the target audience in order to avoid cultural misguidance in the process of film title translation. Third, translators. In order to satisfy the excessive interests of the film makers, it causes the Mistranslation of the film titles. For the sake of commercial interests, the translation of some movie titles is set up in the trap, giving up the principle to cater to the audience, which leads to the complete unrelated content of the film title translation. In order to avoid the mismistranslation of the film title, the translators should strictly observe the basic principles of translation and appropriate adoption. Effective translation strategies, such as transliteration, literal translation, free translation, creative translation, transliteration and free translation, and the combination of literal translation and free translation.
【學(xué)位授予單位】：吉林大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：H059

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本文編號：2088917