目的論視角下的電影字幕翻譯以黑衣人三為例

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學(xué)校代碼：10036碩士學(xué)位論文目的論視角下的電影字幕翻譯—以《黑衣人》（三）為例培養(yǎng)單位：英語(yǔ)學(xué)院專業(yè)名稱：外國(guó)語(yǔ)言學(xué)及應(yīng)用語(yǔ)言學(xué)研究方向：翻譯學(xué)作者：閆佳音指導(dǎo)教師：徐珺論文日期：二〇一四年四月 MAThesisAStudyonSubtitleTranslationfromthePerspectiveofSkopostheory:AContrastiveAnalysisofTwoVersionsofMenInBlackⅢByYanJiayinAdvisor:Pro.XuJunSchoolofInternationalStudiesUniversityofInternationalBusinessandEconomicsApr.2014 學(xué)位論文原創(chuàng)性聲明本人鄭重聲明：所呈交的學(xué)位論文，是本人在導(dǎo)師的指導(dǎo)下，獨(dú)立進(jìn)行研究工作所取得的成果。除文中已經(jīng)注明引用的內(nèi)容外，本論文不含任何其他個(gè)人或集體已經(jīng)發(fā)表或撰寫過的作品成果。對(duì)本文所涉及的研究工作做出重要貢獻(xiàn)的個(gè)人和集體，均已在文中以明確方式標(biāo)明。本人完全意識(shí)到本聲明的法律責(zé)任由本人承擔(dān)。特此聲明學(xué)位論文作者簽名：年月日 學(xué)位論文版權(quán)使用授權(quán)書本人完全了解對(duì)外經(jīng)濟(jì)貿(mào)易大學(xué)關(guān)于收集、保存、使用學(xué)位論文的規(guī)定，同意如下各項(xiàng)內(nèi)容：按照學(xué)校要求提交學(xué)位論文的印刷本和電子版本；學(xué)校有權(quán)保存學(xué)位論文的印刷本和電子版，并采用影印、縮印、掃描、數(shù)字化或其它手段保存論文；學(xué)校有權(quán)提供目錄檢索以及提供本學(xué)位論文全文或部分的閱覽服務(wù)；學(xué)校有權(quán)按照有關(guān)規(guī)定向國(guó)家有關(guān)部門或者機(jī)構(gòu)送交論文；在以不以贏利為目的的前提下，學(xué)校可以適當(dāng)復(fù)制論文的部分或全部?jī)?nèi)容用于學(xué)術(shù)活動(dòng)。保密的學(xué)位論文在解密后遵守此規(guī)定。學(xué)位論文作者簽名：年月日導(dǎo)師簽名：年月日 ACKNOWLEDGEMENTSItismygreatpleasuretohavethisopportunitytogivemythankfulnessonpeoplewhosupportmeandhelpme.Firstly,atthecompletionofthisthesis,Iwouldliketoexpressmythankstomytutor,ProfessorXuofSchoolofInternationalStudiesatUniversityofInternationalBusinessandEconomics.Itisshewhodevotesherprofessionalknowledgeandprecioustimetomythesis.Shehelpsmetolayouttheframeoftheoryandchoosethetopic.Withoutherpatientinstruction,Iwouldnotfinishmythesisinsuchsmoothway.Besides,theprofessionaladviceonmytheory-choosingandanalysisisalsoanimportantfactorthatimprovedthequalityofmythesis.ApartfromProfessorXu,mybelovedschoolmateshavealsoshowedtheirattentionandhelptome.HereIwouldliketoshowmythankfulnesstomyroommateswhogivemeadviceandsupportonmythesis.Iwouldalsoliketogivemythankstomyfriend,YangWenjuan,whoencouragesmetofinishthethesisandbemycompanyintheprocessofwriting.Lastbutnottheleast,theprofessorsandteachersfromSchoolofInternationalStudiesalsoprovidetheirprofessionalknowledgeformeandinspiremetochoosethistopic.SowhenIamattheendofmymaster?sstudy,Iwouldliketothankallmyteachers,schoolmatesandfriendswhohaveaccompaniedmeinthesetwoyears.YanJiayinApr.2014 摘要近些年來(lái)中國(guó)經(jīng)濟(jì)取得了飛速發(fā)展，同時(shí)，文化產(chǎn)業(yè)也隨之搭上經(jīng)濟(jì)飛速發(fā)展的列車，取得了長(zhǎng)足進(jìn)步，電影產(chǎn)業(yè)亦是文化產(chǎn)業(yè)不可分割的一部分。隨著中國(guó)電影產(chǎn)業(yè)規(guī)模快速發(fā)展，無(wú)論是從電影引進(jìn)或是出口方面，都取得了喜人的成就。國(guó)內(nèi)觀影需求增大，市場(chǎng)繁榮，從而放寬了引進(jìn)電影的限制，引進(jìn)片數(shù)量呈增長(zhǎng)趨勢(shì)，國(guó)內(nèi)電影熒幕數(shù)量不斷增多。同時(shí)，北美及全球電影市場(chǎng)不斷擴(kuò)張需要也使得越來(lái)越多國(guó)外影片被引進(jìn)中國(guó)，由此，一場(chǎng)前所未有的文化融合正在醞釀。正因如此，國(guó)內(nèi)觀眾對(duì)電影的關(guān)注已不僅停留在劇情、視效、明星效應(yīng)等方面，電影字幕翻譯的質(zhì)量也逐漸成為觀眾評(píng)判電影好壞的標(biāo)準(zhǔn)之一。由此，越來(lái)越多的影視從業(yè)者或?qū)W者將其眼光投向電影字幕翻譯研究，以期為電影字幕以及電影產(chǎn)業(yè)注入新的活力。20世紀(jì)70年代伊始，主要以西方學(xué)者為主的影視字幕翻譯的研究開始興起。作為一項(xiàng)新興的研究領(lǐng)域，已經(jīng)引起越來(lái)越多學(xué)者的關(guān)注。西方學(xué)者所關(guān)注的包括字幕翻譯理論研究、翻譯策略、質(zhì)量控制、字幕標(biāo)準(zhǔn)化等方面，其研究成果促進(jìn)了電影字幕翻譯的規(guī)范，同時(shí)也為國(guó)內(nèi)研究者提供了理論支持及引導(dǎo)。另一方面，國(guó)內(nèi)學(xué)者對(duì)于電影字幕翻譯的研究雖已起步，但仍舊存在不足之處，例如研究的深度和廣度、對(duì)于國(guó)內(nèi)電影字幕翻譯標(biāo)準(zhǔn)的統(tǒng)一化，仍需提高。個(gè)別譯者的專業(yè)水平缺乏以及行業(yè)規(guī)范的缺乏都可能造成國(guó)內(nèi)對(duì)于此項(xiàng)研究的停滯。本研究以目的論作為理論指導(dǎo)，對(duì)電影字幕翻譯中的相關(guān)問題進(jìn)行探討，以期對(duì)電影字幕翻譯以及中國(guó)電影文化的傳播做出一點(diǎn)貢獻(xiàn)。因?yàn)殡娪白帜环g是一種根據(jù)電影觀眾需求而進(jìn)行的一項(xiàng)有目的的翻譯活動(dòng)。筆者試圖通過結(jié)合目的論的相關(guān)翻譯理論，對(duì)現(xiàn)今電影字幕翻譯現(xiàn)狀進(jìn)行回顧，并對(duì)影片《黑衣人》（三）的兩種不同版本中文字幕翻譯以詞、語(yǔ)句 和對(duì)話為單位進(jìn)行對(duì)比分析，結(jié)合譯者可能采取的翻譯“目的”，初步得出翻譯目的的選擇對(duì)字幕翻譯影響甚深，最終會(huì)影響翻譯質(zhì)量甚至導(dǎo)致錯(cuò)譯的結(jié)論。本文由五部分組成。第一章主要介紹了研究意義、背景，對(duì)研究此課題的相關(guān)回顧以及文章結(jié)構(gòu)。第二部分則是對(duì)字幕翻譯相關(guān)內(nèi)容進(jìn)行簡(jiǎn)要總結(jié)。第三章則陳述了功能學(xué)派目的論代表學(xué)者的相關(guān)觀點(diǎn)以及目的論的核心內(nèi)容。第四章通過結(jié)合對(duì)電影《黑衣人》（三）字幕不同的翻譯版本的對(duì)比，討論具體字幕翻譯策略的選擇以及字幕翻譯結(jié)果。最后則是對(duì)全文進(jìn)行總結(jié)，以期對(duì)當(dāng)今字幕翻譯提出合理建議。關(guān)鍵詞：電影字幕翻譯，目的論，黑衣人(三) ABSTRACTWiththerapiddevelopmentofChina?seconomy,Chineseculturalindustryhavealsoseenarapidincreaseofallfacets.Asaninseparablepartoftheculturalindustry,movieindustryalsodevelopedveryfastinthepastyears.Nomattermoviesimportingfromothercountriesorexportingtotheworld,theyallgrasppeople?seyes.InChina,thereisagrowingneedforexcellentfilms,andthemarketnourisheswiththeriseofwholeindustry,wecouldnowenjoymorefilmsandtheamountofbigscreensinmainlandChinaisheadingnorth.Asaresult,anunpredictableculturalexchangeishappening.Onlygorgeouscast,plot,visualeffectscouldnotsatisfythevarioustasteofChineseaudience,atthesametime,thequalityofsubtitletranslationisbecomingapartoftheirstandardtoevaluatethequalityofafilm.Somoreandmorepeople,includingpeopleworkinginmovieindustryandscholarswhostudyonthisfield,starttomakeresearchonmovieindustry,inordertocarryoutsomeimprovementstothewholeindustry.Asfarasstudiesareconcerned,westernscholarsin1970sbegantoshowtheirinterestinsubtitletranslation.Asarisingschool,scholarsfocusonsubtitletranslationtheories,translationstrategies,qualitycontrol,universalstandardsandsoon.Inspiredbywesternscholars,moreandmoreChinesescholarsbegintodotheirresearchesaswell.However,therearestillsomeinadequaciesintheirstudies.Besides,lackingofprofessionaltranslatorsandindustrystandardsmayalsodedicatetothedisadvantageofthisfield.Basedonskopostheory,theauthormakesacomparisonoftwodifferentsubtitleversionsofthemovieMeninBlackⅢinthehopeofproposingaproperwaytoimprovethequalityofsubtitletranslation. Keywords:skopostheory,subtitletranslation,movie ContentsChapterOneINTRODUCTION...................................................................................................11.1NeedfortheStudy..............................................................................................................11.2StructureofThesis..............................................................................................................21.3LiteratureReview................................................................................................................21.3.1StudiesAbroad.............................................................................................................21.3.2StudiesinChina...........................................................................................................3ChapterTwoSUBTITLETRANSLATION.................................................................................52.1BasicConceptsofSubtitleTranslation...............................................................................52.1.1Definition.....................................................................................................................52.1.2TypesofSubtitle..........................................................................................................52.1.3FeaturesofSubtitle......................................................................................................62.1.4RestrictionsofSubtitle................................................................................................82.2InadequaciesinSubtitleTranslation...................................................................................9ChapterThreeAREVIEWOFSKOPOSTHEORY..................................................................113.1IntroductionofSkopostheory............................................................................................113.2RulesofSkopostheory......................................................................................................133.2.1RuleofSkopos...........................................................................................................133.2.2RuleofCoherence.....................................................................................................133.2.3RuleofFidelity..........................................................................................................143.3TranslationalAction..........................................................................................................14ChapterFourACASESTUDYONTWOVERSIONSOFSUBTITLETRANSLATIONINMENINBLACKⅢ......................................................................................................................184.1ABriefIntroductionofMeninBlackⅢ..........................................................................184.2Analysisoftwodifferentsubtitleversionsunderthetheoryoftranslationalaction.........194.2.1JiaXiuyan?sversion..................................................................................................194.2.2Internetversion..........................................................................................................20 4.3Comparisonbetweentwoversionsofsubtitletranslation.................................................204.3.1Words.........................................................................................................................214.3.2Sentences...................................................................................................................254.3.3Dialogues...................................................................................................................27ChapterFiveCONCLUSION......................................................................................................30REFERENCES..............................................................................................................................32 ChapterOneINTRODUCTION1.1NeedfortheStudyWiththeriseofitsculturalindustry,Chinahasmadegreatprogressinmovieindustry.Forinstance,inmovieimportingandexporting,variouskindsofforeignmoviesaregettingaccepted,amongwhichmoviesfromHollywoodwithsplendidvisualeffectarepopularamongmoviefans.Ontheotherside,Chinesemovies,withitsspecialculturalbackground,aregainingmoreweightintheworld,whichhasstrengthenedculturalexchangesbetweenChinaandtheoutsideworld.Somepeopleexpectthatinthecomingfiveyears,Chineseboxofficewouldhittenbillion,whichequalstotheboxofficeofNorthAmericanow.Thuswecouldfindthatmovies?rolesharesmoreimportanceinpeople?sdailylifeandacountry?sindustry.Inaddition,withthedevelopmentofChineseeducation,moreChinesearegraspingexcellentEnglish.Thus,translation,nomattertitletranslationorsubtitletranslation,isgainingmoreandmoreattentionfromthemoviewatchers.Atthesametime,moreandmoreChineseandforeignresearchershaverealizedtheimportanceofthisfieldandfocusmoreonrelatedstudiesinthisarea.However,therearestillsomeinadequaciesinsubtitletranslations.Forinstance,culturalboundariesmayleadtountranslatabilityandmisunderstanding.Translatorsorsubtitlersdonothavesufficientprofessionalknowledgeandonlytreattranslatingsubtitlesasamethodofmakingmoney,whichcouldcontributetosomemistakesonbasictranslation,andthenmisunderstandingstothewholemoviecouldbeconceivedbythetranslatororsubtitler.Thelackingofuniversalstandardsisanotherproblemexistinginthisfield.Asfortheorystudiesonthisarea,therearestilllackingtheoriesuniquelyproposedforsubtitletranslationandmostscholarsstillusebasictranslationtheoriestostudyit.Besides,sometimesthereisagapbetweenscholarsandtranslators,whichmeanstranslatorsfilledwithexperiencemayhavefewstudyontranslationtheories,andscholarswhodorelatedresearchesmaylackabundanttranslationexercises.1 Sincemorepeoplefocusonthequalityofsubtitletranslation,itismoreimportantfortranslatorsandscholarstoimprovesubtitletranslation?squalityfromallthepossibleaspectstocontributetoChineseculturalspread.Therefore,thoseproblemsshouldbesolvedthroughtheendeavorofscholarswhopaytheirattentiononthisfield.Thesignificanceofthisthesisliesinofferingmoviefans,subtitlersandscholarsawayofjudgingwhetherasubtitletranslationisproperfromtheperspectiveofskoposthatasubtitlerchooses.1.2StructureofThesisThethesisiscomposedoffivechapters.Thefirstchapteristhepartofintroduction,whichprovidesanoverallsituationincurrentChinesemovieindustry?sdevelopmentanditstranslation.Theresearchbackground,significanceoftheresearchandliteraturereviewwillalsobegiveninthischapter.Inchaptertwo,theauthorwouldgiveareviewofsubtitletranslation,studiesbothinChinaandabroadwillbediscussedinthispart.Chapterthreeisthereviewofskopostheory.Thissectionwillcoversomebasicviewsfromafewofrepresentativescholarsinthisschool.Chapterfourmainlydealswithcasestudy,aftercomparingthesetwodifferenttranslationversionsofthefilm,sometypicalmistranslationandpropertranslationofthesubtitleswillbediscussedinthischapter.Thelastchapteristheconclusionpart.1.3LiteratureReview1.3.1StudiesAbroadInthebeginningof1950sand60s,anarticlenamedCinémaetTraductionpublishedonBable,whichisthefirstessaytodiscussAudiovisualTranslation(AVT).AccordingtoDries,therearetwocategoriesofsubtitle:“inter-lingualsubtitling”and“intra-lingualsubtitling”(1995).Thesetwocategoriescouldalsobeappliedtosubtitletranslations,thatis:“inter-lingualsubtitletranslation”and“intra-lingualsubtitletranslation”.Asforsubtitletranslation,inhisbookSubtitlingfortheMedia:AHandbookofanArt,JanIvarssongavehisponderingforindividualsinvolvedorinterestedinsubtitletranslation.Thisbookdealswiththestrategiestranslators2 adoptedandthepossiblelimitationsrelatedtothesetranslationmethods(1992).Apartfromtheoreticaldiscussions,analysesofcasesarealsofrequentlycombinedwiththeoreticalstudies.AgnieszkaSzarkowska,afterpresentingthemodeoffilmtranslation,theirworlddistributionandhistory,andananalysisofdubbingandsubtitlingfromtheperspectiveofdomesticationandforeignisation,demonstratedthepoweroffilmtranslation.Amongtheabovementioned,theimportantcontributionofAgnieszkaSzarkowskaisthatshedividedfilmtranslationintotwocategories:dubbingandsubtitling.Ononehand,dubbingmodifiesthesourcetexttoalargeextentandthusmakesitfamiliartothetargetaudiencethroughdomestication.Ontheotherhand,subtitlingistheformthataltersthesourcetexttotheleastpossibleextentandenablesthetargetaudiencetoexperiencetheforeignandbeawareofits'foreignness'atalltimes(Szarkowska,2005).1.3.2StudiesinChinaManyscholarsinChinahaveshowedtheirreflectiononsubtitletranslationswhenfilmindustrygaineditsprosperity.Therearefourpillarsinsubtitletranslationstudies:overallreviewofcurrentstudies,studiesbasedondifferenttranslationtheories,discussionsonsubtitlingstrategiesandtechniques,andcasestudies.LiGuoshunisoneofthefewoneswhointroducethelandscapeofsubtitletranslationstudiesfromtheperspectiveofcollectionsoffilms,criticism,initials,theoreticalbasesandhistorybackground(2008).DongHaiyamadeareviewofthedevelopmentofwesternstudiesandintroduceditsdifferentresearchperspectives(2007).ThiswouldcontributealottoresearchesinChinabutitisdifficulttomakeasystematiccomparisonbetweenwesternandChinesestudies.Onthecontrary,afewscholarsshowedtheirinterestinsummarizingtranslationpracticeofsubtitlers.Strategychoosingisalsoanimportantfocusofsomeresearchers.Strategiesormethodsthatoftenadoptedbytranslatorsareabridgement,elimination,usingdailytalkwordsandcombiningculturalelements.LiYunxingisthefirstprofessorwhodiscussedthestrategiesofsubtitletranslationinChineseTranslatorsJournal.LiYunxingbelievesthattherearethreelevelsinsubtitletranslation,whichareinterlingualexchangeofinformation,condensationordeductionandcolloquialwords3 towrittenlanguage(2001).Someotherfactorssuchastime-spaceconstraints,culture,andinformativefunctionarealsodiscussedandanalyzedinthisarticle.Atthesametime,choosingproperstrategiesfortranslationtasksareillustratedwithexamples.Apartfromthesefourstrategies,therearescholarswhoconcernabouthowtomakesubtitletranslationmoreacceptableundertheguidanceofcertaintranslationtheories,mainlyincludingdomesticationandforeignization,functionalequivalence,relevancetheory,andskopostheory.Inherarticle,HuangXiaoqin,citethetheoryofreceptiveaesthetictogiveheradviceonsubtitletranslation(2010).Shepointsoutthattheaudience?sreceptionandtheeffectivenessofinformationarekeyfactorsthatdeterminethetranslationstrategysincesubtitletranslationdemandsinformationbeconveyedmosteffectivelyinlimitedtimeandspace.ZhangYifeiandZhaoYuhongintroducedsomecaseswhichuseddomesticationandforeignization,suchasinmovieForrestGump,GhostTownandThePursuitofHappyness(2012).TangYuealsoexpressesherviewontheinteractionbetweenforeignizationandsubtitletranslation(2013).Sincesubtitletranslationisapracticalexercise,itismoreusefulwhenaspecificmovieisanalyzed.FormostofChinesescholars,moviesimportingfromHollywoodarepopulartopics,suchasKongfuPanda,MeninBlack,Inception，moviescontainChineseelementarealsofrequentlychosen,suchasHidenTigerCrouchingDragon,TheFlowersofWar（金陵十三釵）.4 ChapterTwoSUBTITLETRANSLATION2.1BasicConceptsofSubtitleTranslation2.1.1DefinitionAsarapiddevelopedbranchoftranslationstudies,subtitletranslationstudieshasgainedmuchweightinmainlandtranslationresearches.Subtitleisthewrittentranslationofthespokenlanguage(sourcelanguage)ofatelevisionProgramorfilmintothelanguageoftheviewingaudiences(thetargetlanguage).Differentscholarshavedifferentopinionsonthedefinitionofsubtitle.Luykendefinessubtitleas“Subtitlesarecondensedwrittentranslationsoforiginaldialoguewhichappearsaslinesoftext，usuallypositionedtowardsthefoottothescreen．Subtitlesappearanddisappeartocoincideintimewiththecorrespondingportionoftheoriginaldialogueandarealmostalwaysaddedtothescreenimageatalaterdateasapost-productionactivity”(1991,p.31).AccordingtoWebster,subtitleis“aprintedstatementoffragmentofdialogueappearingonthescreenbetweenthescenesofasilentmotionpictureorappearingastranslationatthebottomofthescreenduringthescenesofamotionpictureortelevisionshowinaforeignlanguage”(1997,p.1175).InSzarkows?sopinion,subtitlesarethewrittenversionofthedialogueinthetargetlanguage,andusuallyappearintwolinesatthefootofthescreensimultaneouslywiththedialogueornarrationinthesourcelanguage.(Szarkows,2005).2.1.2TypesofSubtitleAccordingtodifferentstandards,subtitlescanbecategorizedintodifferenttypes.Firstly,itcouldbedividedintointra-lingualsubtitlesandinter-lingualsubtitles.Intra-lingualsubtitlesrefertothosewhosetargetlanguageisthesameasthelanguageusedinsourceprogrammes.Suchsubtitlesareusuallyusedinhelpingthehearing5 impairedandlanguagelearners.Inter-lingualsubtitlesrefertothosewhosetargetlanguageisdifferentfromthesourcelanguage，andsubtitlersshouldtranslatefromtheoriginallanguagetotargetlanguage.Inter-lingualsubtitlesappearatthebottomofthescreenwiththecorrespondingpictureanddialogue.Atthesametime,itcouldalsobetreatedasintra-culturalsubtitlesandinter-culturalsubtitlesbecausealanguageisusuallyboundwithitsculture.2.1.3FeaturesofSubtitleAsabranchofliterarytranslation,subtitletranslationsharescertainsamebasicfeatureswithliterarytranslation.However,movieisaspecialformofart,itisacombinationoflanguage,voice,soundandsoon.Thepurposeofsubtitletranslationistomaketheaudienceunderstandandacceptthesubtitle,sosubtitletranslationhassomedifferentfeatureswhencomparedwithotherartforms.ColloquialismSubtitleisdifferentwithothertextforms,itservesforthespokenwordsandsentences.Ifthesubtitlesgiveaudiencethefeelingthattheywerereadingnewspapersornovels,itthenfailsitsmissiontohelptheaudienceunderstandthemovieeasily.Sothelanguagechoseninsubtitletranslationmustbecolloquial,easytounderstandandappliedwiththecharacter?spersonality.Languagesinmoviesareoftenvividandsometimescarryconnotation.Itisveryflexibleforthespeakerstochoosethewordsandmakethesentences．Apartfromthat,sentencesindailytalkareoftenfilledwithexpressions,posturesandemotionalsignals.SubsidiaryAsmentionedbefore,subtitlecouldbedividedintointra-lingualandinter-lingual.Foraudienceswhosharethesamelanguagewiththemovieorwhoarehearingimpaired,subtitlesserveassubsidiaryequipmentforthemtobetterenjoythemovie.Andforthoseaudienceswhospeakanotherlanguage,subtitleisalsoasubsidiarytoolbecauseonlythroughsubtitlesaudienceswhospeakanotherlanguagecouldunderstandthesentences,story,emotionandthenthewholemovie.Itisveryimportanttohavethistoolbecausewithitshelp,moviescouldnotonlybespreadtoanyplaceinthisworld,theculturecarriedbythemoviecouldalsobeacceptedby6 audienceswithotherculture.Inthisway,differentculturescouldemergewitheachotherandpeoplewithdifferentcolours,ethnicscouldalsolearnmoreabouttheworld.CharacterizationCharactersinamovieplayveryimportantroleinamovie?splot.Characterizationdemandsthatthetranslationcompliedwiththecharacteristicoftherolesinthemovie.Everyroleinamoviehasitssettledcharacteristicandmodeoflanguage,soitorderthattranslatorshouldchooseprecisewordseventonesinordertopreciselyexpresstherole?sfeelingandideas.Thesubtitlershouldthinkandfeelliketheroleitselftograsptherole?sdeepthoughtswhichareconsistentwithitsage,background,status，levelsofeducationandsoon.InstantaneousnessandPopularityTheoriginalsoundandvisualcontextarenotreplacedbytheexistenceofsubtitles,picturesandsubtitlesappearinstantaneously.Solackingofconnotationorintonationcouldbemadeupbytheoriginalsoundandvisiononthescreen.Itisthesubtitler?stasktomakethesubtitleandtheoriginalpictureexistharmoniouslyonthescreen.Onesubtitlerusedtoexpressthatwayofsynchronizinglikethis:duetothelinguisticandculturedifferencesbetweenEnglishandChinese,wesometimeshavedifferentwordordersandevendifferentgesturesforthesamemeaning.Besides,synchronizationbetweensubtitlesandsoundpicture,subtitlersalsomaintainstylisticfeaturesinoriginalutteranceduringsubtitling,andproperlypresentpersonalityofcharacters,intentionandsocio-culturalbackgroundsoffilmthatcharactersbuiltupfromsubtitlescanbeconsistedwiththoseintheoriginal.Popularitymeansthatsubtitlesshouldbeacceptedbymostoftheaudiencewhichdemandsthesubtitleshouldavoidunduewrittenwords.Thusthesubtitlecouldwinmuchacceptanceandwelcome.ComprehensivenessAsacomprehensivepartofamovie,subtitle,couldnotexistwithouttheinteractionofsound,vision,andcharacters?performance.Theyareknittedintoawholetorelateastoryandrevealatheme.Whensubtitling,subtitlersarerequiredtotakethewholemovieintoconsideration.Thustherequirementofasubtitlerisquite7 high.Thesubtitlershouldgrasptheabilityofdecodingthehiddenthoughtsbetweenthelinesandanalyzethevividfacialexpressiononperformers?face,theeffectofthesoundtracksorthepropertyappearsinamovie.Inotherwords,anexcellentsubtitlershouldnotonlybeanexpertintranslation,butalsohaveproperpercipienceonallfacetsofmovies.Thus，foursimultaneouspartsshouldbenoticedduringtheprocessofsubtitletranslation,“theverbalauditorypart，includingdialogues，backgroundvoiceetc;thenon-verbalauditorypart，includingmusicandsoundeffects,etc;theverbalvisualpart，includingsuperimposedtitlesandwrittensignsonthescreen;andthenon-verbalvisualpart,thatispicturecompositionandflow”(Baker,2001,p.75).Ifallthesefactorsaretakenintoconsiderationbysubtitletranslators,thevariousmessagesofamoviemaybetransmittedbyanexcellentsubtitlerandmaybeahitamongmoviefansandresearchers.2.1.4RestrictionsofSubtitleThefunctionofsubtitlesistohelptheaudiencebetterunderstandthemovie,andasaspecialformoftranslation,therearesomerestrictionsofsubtitletranslation.AccordingtoTitfort,verbalandvisualchannelaretwoelementsthatcouldaffectthesubtitletranslation(1982).Inotherwords,whenpeoplewatchamoviewithsubtitles,theyareunavoidablydistractedbythesubtitleonthebottomofthescreen,whichcouldseparatetheaudiencefromthepictureordetailsofamovie.Sothesubtitlemustappearsynchronouswithwhatishappeningonthescreen.Thiscouldbecalledtextualorqualitativerestriction.Subtitlesshouldnotserveasahinderofamovie,andshouldnotinterferewithmovie?seditpoints.Thewordschoseninsubtitlesshouldalsobeconsistentwiththeliterarystyleandpractice.Inaddition,spaceandtimearealsoimportantelementsrestricttheresultofsubititling.Thescreensizeisarestrictiontosubtitlebecauseinlimitedspacethesubtitlermustarrangethewordsperfectly.Generallyspeaking,thereshouldbeamaximumoftwolinesforEnglishandonelineforChineseatatime,sothechoosing,listingandamountofwordsareveryimportantintheprocessoftranslation.Ifsubtitlesonthebottomofscreenaretoolongortaketoomuchspace,theaestheticsandpersonalexperienceoftheaudiencemaybeweakened,andthewatcherscould8 notenjoythefilmastheyplanned.Sothesubtitlingmustbesimple,clear,adequateandconcise.Thesecondmajorrestrictionistime.Karamitroglouhasstatedsomeviewsontime?srestrictiononsubtitling.Firstly,timereferstothedurationofsubtitlesandtimeofdifferentmoviesvaryfromeachotherbecausedifferentmovieshavedifferentsubtitlerate,speakingspeed,lagging,delayorshortchangesinsubtitles.What?smore,thedurationofsubtitleisrelatedtotheamountofwords.Basicallyafulltwolinesubtitlecontaining14-16wordsshouldremainonthescreenforamaximumtimeofsomethinglessthan5l/2seconds.Therefore,theaveragetimeofbrowsingsubtitlesshouldalsobecontrolled(Karamitroglou,1998).Besides,Guardinibelievedthatthetimeofthepresentationofsubtitleismainlydeterminedbythedurationoftheutteranceintheoriginalversion,thereadingspeedoftheviewers,thevisualinformationgivenonthescreen,whichalsoneedstobeperceivedclearlybytheviewer,andtheutterancestyleadoptedinthefilm(Guardini,1998).2.2InadequaciesinSubtitleTranslationItisagoodsignalthatmoreandmoremoviesareimportedfromothercountriesandmorepeopleendeavourtoimprovetheindustry,includingthequantityofsubtitlersandthequalityofsubtitletranslation.Besides,theenormousimportedHollywoodfilmsverifyitsresearchvalue.Thesemoviesandprogrammesarethepreciousproductionofthousandsofstaffinmovieindustry,soaresponsibletranslatororsubtitlershouldengagedinre-expressingtheoriginalessenceoftheproductsandmakingtheirownculturewell-knownintheworld.However,therearestillsomeinadequaciesinthisarea.Basicmistakes,suchasmisunderstanding,choosingwrongwordsstilloccasionallyappearinsubtitleswhichhindertheunderstandingoftheaudienceandthenimpedethemovie?sspread.What?smore,boththequantityandthequalityofstudiesonfilmsubtitletranslationinChinaarenotsatisfying.Fromtheperspectiveofquantity,studiesonfilmsubtitlesconstituteaverysmallpartofthefilmtranslationstudies.Andfromtheperspectiveofquality,9 fewresearchesarepublishedonCSSCIorSSCIjournals.Apartfromthese,scholars?focusismainlyontitletranslation,dubbing,andsubtitletranslation.Amongthemtitletranslationgraspsmostattention:abouthalfoftheresearchesconcerningit,andnearlytwentypercentoftheresearchesareaboutsubtitletranslation.Translatorsorsubtitlers?capabilityplaysaveryimportantroleintheprocessofsubtitletranslation.Aresponsibletranslatorcouldnotonlyconveytheoriginalmeaningofthelines,butalsomakethesubtitlesconsistentwiththesound,picture,person?scharacteristicofthefilm.Sometimestranslator?sirresponsibilityandlackingofprofessionalknowledgemayleadtosomewrongtranslationorimpropertranslation.Sometimessometranslatorsareonlypursuingtranslationspeedortheyjusttreattranslationasatoolofmakingmoney,sothequalityofthesubtitletranslationisunavoidablynotsatisfying.Forinstance,insci-fimovieHollowMan?ssubtitle,thesentence“AndI'llassureyouourpatienceisrunningout”wasoncemistranslated.Theword“patience”wastranslatedinto“patient”bythetranslator,whichdefinitelydistorttheoriginalmeaningofthewordandtheaudiencewouldgetconfused,evenhaveawrongunderstandingofthemovie.Sowecouldseethatalthoughtheimportanceoffilmtranslationisrecognizedbyscholars,thequantityandqualityoftheresearchesofthisfieldarestilltobeimproved.10 ChapterThreeAREVIEWOFSKOPOSTHEORY3.1IntroductionofSkopostheoryIn1970sand1980s,somescholarsinGermanycasttheirglimpseonfunctionalismandcommunicativeapproachtoanalyzetranslation.Atthattimescholarsbegantoshiftfrompredominantlylinguistictranslationtheoriestofunctionalconceptoftranslation.Thisshiftdrewinspirationfromcommunicationtheory,actiontheory,textlinguisticsandtexttheory,aswellasfrommovementsinliterarystudiestowardsreceptiontheories(Baker,2004,p.235).AmongthemKatharinaReiss,Holz-M?ntt?ri,HansJ.VermeerandChristianeNordaretherepresentativesofthisschool.SkoposistheGreekwordfor?aim?or?purpose?andwasintroducedintotranslationtheoryinthe1970sbyHansJ.Vermeerasatechnicaltermforthepurposeofatranslationandoftheactionoftranslating(Jeremy,2001,p.79).Theskopostheoryispartofatheoryoftransaltionalaction.TherepresentativeworkonskopostheoryisGrundlegungeinerallgemeineTransaltions-theorie(GroundworkforaGeneralTheoryofTranslation?).ThepurposeofthetranslationisthecoreofSkopostheorybecauseitexertsalotofinfluenceonchoosingtranslationmethodsandstrategies.Aproperstrategycouldleadtoafunctionallyadequateresult.InVermeer?sopinion,translationisnotmerelyandnotevenalinguisticprocess.Translationisanactofhumanbeings,anactwithcertainpurpose,onlylinguisticscouldnotsolvetheproblems.Anyformoftranslationalaction,includingtranslationitself,maybeconceivedasanaction,asthenameimplies(Vermeer,2000).Thus,anyactionhasanaim,apurpose.What?smore,actioncouldnotexistalone,anactionleadstoaresult,anewsituationorevent,andpossiblytoa“new”object.Foranact11 ofbehaviortobecalledanactionthepersonperformingitmustbeabletoexplainwhyheactsashedoesalthoughhecouldhaveactedotherwise(Vermeer,2000,p.221).Whattheskoposstatesisthatonemusttranslate,consciouslyandconsistently,inaccordancewithsomeprinciplerespectingthetargettext.Thetheorydoesnotgiveadefiniteexplanationonwhattheprincipleis,whichmeansusingwhatprinciplemustbedecidedaccordinglyineachspecificcase.Besides,Vermeerpointsoutthreekindsofpurposesinthefieldoftranslation:thegeneralpurpose,thecommunicativepurposeandthepurposeaimedatbyaparticulartranslationstrategyofprocedure.ApartfromVermeer,ChristianeNordalsogivesherthoughtonthistheory.Accordingtotheculture-boundconceptofwhatatranslationisorshouldbe,people(i.e.initiators,readers,authorsoforiginals)infactexpectparticularrelationshipstoholdbetweensourcetext(ST)andtargettext(TT),whichoftenvaryaccordingtothetexttypeinquestion.Theseexpectationsmustbetakeninaccountbythetranslator.Soitisskopostheorythatfillsthegap.Notonlydiditaccountfordifferentstrategiesindifferenttranslationsituations,inwhichsourcetextsarenottheonlyfactorinvolved.Thisdoesnotmeanthattranslatorsarealwaysobligedtodoexactlywhatthereadersexpect,butthereisamoralresponsibilitynottodeceivethem(Nord,1991,p.94).Atthesametime,skopostheoryispragmatic,culture-oriented,consistent,practical,normative,comprehensiveandexpert.FromNord?sdescriptionwecouldfindthatinthismovie?ssubtitletranslation,thetranslatormaybelievethetexttypeisspecialandadoptsomespecificmeasurestotranslatethetranscript.Nordalsosayssomethingabouttheloyalty:IntroducingtheloyaltyprincipleintotheskoposmodelwouldalsosolvethesecondproblemIseein“radical”functionalism.ItconcernstherelationshipbetweentheSTauthorandthetranslator.Normally,authorsarenotexpertsintranslation,andthereforetheyarelikelytoinsistina“faithful”renderingoftheSTsurfacestructures.Onlyiftheybelieveinthetranslator?sloyalty,willtheyconsenttochangesoradaptationswhichmaybenecessaryinordertomakethattargettext“work”inthetarget-culturesituation.Andthisconfidencewouldagainstrengthenthetranslator?ssocialprestigeasaresponsibleandtrustworthypartner.Therefore,thefunctionalmodelpresentedhererestsontwopillars:“functioality”and“l(fā)oyalty”(seeNord1991:28ff.and1993:17ff.)12 3.2RulesofSkopostheoryInReissandVermeer?swork,theyproposesomebasicrulesofthetheory,aimingatsettingageneralrulefortranslators.Theserulesare:?Atranslatum(orTT)isdeterminedbyitsskopos.?ATTisanofferofinformationinatargetcultureandtargetlanguage(TL)concerninganofferofinformationinasourcecultureandsourcelanguage(SL).?ATTdoesnotinitiateanofferofinformationinaclearlyreversibleway.?ATTmustbeinternallycoherent.?ATTmustbecoherentwiththeST.?Thefiverulesabovestandinhierarchicalorder,withtheskoposrulepredominating(Reiss&Vermeer,1984,p.119).3.2.1RuleofSkoposAccordingtoNord,skopos,ortheTTfunction,isusuallyaffectedbythetranslationassignmentgivenbytheinitiator.Experiencedtranslatorssometimescouldalsodecidetheskoposaccordingtotheirplentyexperienceandthesituationoftheneedofthetranslation.Butforthosewholackexperience,a“translationbrief”isausefulforthemtoextractexpectedTTfunctionsfromthebrief.Thetranslationbriefshouldthereforeatleastcontainthefollowinginformation:thesender?sintentions;theaddressees;thetimeandplaceoftextreception;themediumoverwhichthetextwillbetransmitted;themotivefortextproductionorreception(Nord,1996).Besides,Vermeerstatesthattheskoposrulecouldbeunderstandinthisway:theruleofskoposdemandsthatthetranslationshouldbeacceptedbypeoplewhowanttouseitandthefunctionofthetranslationcouldbeusedinproperway.3.2.2RuleofCoherenceThecoherencerulestatesthattheTT?mustbeinterpretableascoherentwiththeTTreceiver?ssituation?(Reiss&Vermeer,1984).Thatistosay,theTTreceivers?background,knowledge,custom,andlanguageshouldbeconsideredandthetranslatedsubtitlesshouldbeconsistentwiththesefactors.IntermsofVermeer,thetargettextshouldconformtothestandardof“intratexturalcoherence”whichindicatesthatwhatthetranslatorcandoandshoulddoistoproduceatextthatisatleastlikelytobemeaningfultotarget-culturereceivers(2001,p.32).Asmentionedbefore,differenttranslationtasksmayhave13 differentends,nomatterwhatistheendofatranslationmission,andnomatterwhattheskoposatranslatorchoosesforthetranslationtask,thetexttranslatedshouldbeconsistentwiththetargetcultureandcouldbereceivedbythetargetreaders.3.2.3RuleofFidelityVermeerproposesthe“intratexturalcoherence”andtheruleoffidelitycouldbeseenasderivedfromtheruleofskopos.Fidelitydemandsthatthetranslatedsubtitlesadheretonotonlythesourcetextbutalsotargettextintheprocessoftranslating.Sometranslatorsbelievethatatranslator?sresponsibilityliesonlyintransferringtheoriginaltextintothereceiver?slanguagewithoutmakinganymistakes,thus,thefeelingofreceiversisignoredbythem.Theappearanceofskopostheoryhasbroughtreplenishmenttoothertranslationtheoriesanddemandedmorefromthetranslators.However,inNord?sopinion,fidelitycouldnotbeperceivedas“l(fā)oyalty”.Shebelievesthatloyaltyisoneofmanyresponsibilitiesthatatranslatorshouldpossess.Althoughloyaltyseeksabalancebetweenthesetwosides:thesourceandthetarget,itdoesnotmeanthatatranslatorshouldbeloyaltobothsourcetextandtargettextwhichshouldbeperceivedasfidelityorfaithfulness.Atranslatorwithloyaltyshouldfocusonthecultural-socialrelationshipbetweendifferentpeople.Itismorelikeaninterpersonalaction.Thethreerulesdiscussedabovecouldbeappliedtothewholeprocessoftranslation,andtheapplyingorderoftheserulescouldnotbebrokensincetheorderisarrangeaccordingtotheirimportance.3.3TranslationalActionBasedonVermeer?sskopostheory,Holz-M?ntt?riputuptheconceptoftranslationalaction.Holz-M?ntt?rigivesherdefinitionoftranslation,shestatesthattranslationisacomplexactiondesignedtoachieveaparticularpurpose.Shetreatstranslationinstrictsenseisakindoftranslationalactions.Thistheorycomesfromthecombinationofcommunicationtheoryandactiontheorywhichishopedtobeaguidanceanduniversalmodelfortranslationprocess.JustasNordputit,translationalactionistheprocessofproducingamessagetransmitterofacertainkind,designedto14 beemployedinsuperordinateactionsystemsinordertocoordinateactionalandcommunicativecooperation(1997).Translationalactionviewstranslationaspurpose-driven,outcome-message-transmittercompoundsinvolvinginterculturaltransfer:Itisnotabouttranslatingwords,sentencesortextsbutisineverycaseaboutguidingtheintendedcooperationoverculturalbarriersenablingfunctionallyorientedcommunication(Holz-M?ntt?ri,1984,pp.7-8;translated).Whenwelookatthewholeprocessoftranslationfromtheperspectiveoftranslationalaction,therearesomeimportantrolesandplayers,theyare:TheInitiatorEvidentlytheinitiatormeansthestarterofatranslationtask.Initiatorscouldbeaperson,agroupofpeople,anorganizationorotherswhoneedtranslation.Inmostcases,theinitiatorisapersonandcouldbecalledaclient.Aninitiatorcouldbefromthetargetculturebecauseheneedstheworktobespreadtootherculturalcommunity,sometimestheinitiatorcouldalsofromthesourceculture.Thustranslatorsarecommendedtojudgewhatkindofskoposisandwhatstrategytheyshouldtakeafterconsideringthepossibleintentionoftheinitiator.Asainitiator,heisresponsibleforofferingasmanyasdetailsaspossibleontheend,background,place,time,specialpoints,andthefunctionthetextisintendedtohave.Actuallytheseshouldappearinawellpreparedtranslationbrief.ThecommissionerAcommissioneristhepersonwhokeepsintouchwiththetranslatorandpassesthemassagebetweentheinitiatorandthetranslator.Liketheinitiator,commissionerscouldalsobepersonorcompanyandorganization.Peoplemayhavesomedoubtsabouttheexistenceofcommissioners.Infact,commissioner?sroleisalsoveryimportant.Commissionerscouldberegardedasthebridgebetweentheinitiatorandthetranslator.Initiatorscouldnotalwayspayattentiontoeverytranslationtaskandthelackofdetailscouldberemediedbytheexistenceofcommissioners.Inaddition,commissionerscouldalsoexerttheirinfluenceonchoosingproperskoposandtranslationstrategies.TheSTproducer15 Sourcetextproduceristhepersonwhoproducesthetextthatistoserveasthesourceforatranslationaction(Nord,2001).Sourcetextproduceristheoriginofthesourcetextsoheorshemaybeanindividualorinacompany.However,thesourcetextproducermaynotnecessarilyalwaysengageintheprocessoftargettextproduction.TheTTproducerThetargettextproduceristhetranslator.Thetranslatorplaysaveryimportantroleinthewholetranslationprocess.Inthewholeprocessthetranslatormayhavecontactswiththeentireroleintranslationalaction.Thetranslatorfirstreceivesthetranslationbrieffromtheinitiator,commissionerorthesourcetextproducer.Thenthetranslatedversionisformedthroughtheprofessionalknowledge.Holz-M?ntt?ristatesthattranslatorialactionfocusesverymuchonproducingaTTthatisafunctionallycommunicativeforthereceiver.Thismeans,forexample,thattheformandgenreoftheTTmustbeguidedbywhatisfunctionallysuitableintheTTculture,ratherthanbymerelycopyingtheSTprofile.Whatisfunctionallysuitablehastobedeterminedbythetranslator,whoistheexpertintranslationalactionandwhoseroleistomakesurethattheinterculturaltransfertakesplacesatisfactorily(Holz-M?ntt?ri,1984).AccordingtoVermeer,thetranslator?staskisto:?analyzetheacceptabilityandviabilityofthetranslationbriefinlegal，economicorideologicalterms；?checkwhetherthetranslationisreallyneeded；?specifytheactivitiesrequiredforcarryingoutthebrief；?performatranslationalaction，whichmayresultinatargettext，perhapsashortsummaryofthesourcetextor,inspecialcases,inadvisingtheclientnottohavethesourcetexttranslatedbecauseatranslationwouldnotservetheintendedpurpose(Nord,2001,p.21).TheTTuserTargettextuserisusuallythepersonwhousesthetext.Target-textuserisdescribedbyHolz-M?ntt?riastheonewhofinallyputittouse,perhapsastrainingmaterialasasourceofinformationorasameansofadvertising(Nord,2001).Thereisawiderangeofoccupationthatcouldhavetargettextuser.For16 instance,sometimesstudentsfromtranslationstudiesmayusethetranslatedmaterialastheirsourceofstudying.Teachersmayusethetranslatedtargettexttohelptheirteaching.Thetargetuserisunavoidablyanotherimportantfactorwhichcouldaffecttheskoposofatranslationcommission.Theage,sex,background,culturalenvironment,statusandsooncouldallbedeterminedfactorsthatcouldaffectthetargettextproducer?sresultofatranslation.TheTTReceiverThetargetreceiveristhefinalendoftranslationalaction.SomescholarsmaybelievethattheTTusermayoverlaptheTTreceiver,forexample,studentswhousethetranslatedmaterialforstudiesandwouldnotpassthematerialtoothersisatthesametimetheTTreceiver.Ontheotherside,aftertheTTuserusingthetranslation,theymaygivethematerialtootherpeople,thus,theTTreceiverappears.Targettextreceivermaybeareader,ascholar,acompanyoranorganizationandsoon.LiketheTTuser,theTTreceiverisalsoafactorthatatranslatorshouldtakeitintoconsiderationwhendecidingtheskopos,choosingpropertranslationstrategyandputupwithanacceptableresult.17 ChapterFourACASESTUDYONTWOVERSIONSOFSUBTITLETRANSLATIONINMENINBLACKⅢ4.1ABriefIntroductionofMeninBlackⅢMeninblackⅢisthethirdpieceoftheseriesmovies.ItispresentedbyColumbiaPicturesandstarredbyWillSmithandTommyLeeJones.TheboxofficeofMeninBlackⅠ(1997)andMeninBlackⅡ(2002)istotallyaboveonebilliondollarwhichmakesthecharacterinthismovie-JandKclassicfeaturesinmoviehistory.However,thesetwomoviecouldnotbebroughttoChina,sotheChineseaudiencearelookingforwardtothereleaseofMeninBlackⅢ.Finallythemoviethwasreleasedon25May,2012in3-DformatinChinamainland.IttellsastorythatBoris,thevillain,wantstogobacktothepasttokillAgentK,andAgentJ,inordertosaveAgentK,alsogoesbacktothepastandfightswithBoris.SincethefirsttwomoviesofthisseriesarenotreleasedinChina,thethirdmovieweightsalotinfansofthisseries.Definitelythesubtitlegetsalotofattentionbecausemostofthefansfirstconfrontwiththemovieonthescreen.TheversionreleasedincinemasistranslatedbyJiaXiuyan,atranslatorfromAugustFirstFilmStudio,whohastranslatedthesubtitlesofmanyfamousmoviessuchasPacificRim,Lilo&Stitch,andPrometheus.Besides,thesubtitletranslationisinitiatedbyChinaFilmGroupCorporation.Asanexperiencedtranslator,shehastranslatedmanysubtitlesofHollywoodmovies.WhatmakesherbeingdiscussedistheusageofinternetlanguagesorthelatestChineseslang.Thesubtitlestobediscussedinthefollowingpartarechosenfromtwodifferentversions.OneisJiaXiuyan?stranslatedversionandtheotherisfromtheinternet.18 4.2AnalysisoftwodifferentsubtitleversionsunderthetheoryoftranslationalactionIntranslationalactiontheory,therearesomeimportantroleswhichcouldexertinfluenceontranslationprocess.Theyaretheinitiator,commissioner,STproducer,TTproducer,TTuser,andTTreceiver.4.2.1JiaXiuyan’sversionInJiaXiuyan?stranslatedversion,theinitiatoristhecompanythatimportsandreleasesthemovie.Afterimportingthemovie,thecompanypursuesthebiggestprofitandtheaudience?sacceptance,sothecompanywillstartthetranslationaltaskandfindthemostpropertranslator.Inthisprocess,thecompanymaycombineitsownrequestonthetranslationwiththeplotofthemovieandthendemandsthetranslatorofferappropriatetranslation.Thus,thechosentranslatormaybrewsomebasicideasontheskoposofthetask.Thecommissionerofthisversionmaybestafffromthefilmcompany,othercompanieswhichisprofessionalatdoingrelatedjob,evenindividualcouldbethecommissionerinsomecases.AsfortheSTproducer,thescriptwriterofthemovieisplayingthisrole.Infact,therecouldalsobeotherpossibilities.Forinstance,therearenoembeddedsubtitlesinthismovieandothertranslatorswhohavealreadysortedthesubtitleinEnglishwithouttranslatingit,andthenthetranslatorchosenbythecompanyisgoingtotranslateaccordingtotheEnglishsubtitle.TheTTproduceristhetranslatorherself,i.e.JiaXiuyan.Thetranslatorneedstotaketheskopos,translationstrategies,thefeelingsoffansandotherfactorsintoconsiderationsoastoproduceawell-acceptedsubtitletranslation.InChina,animportantprocedurethatcouldnotbeomittediscensorship.Aftertheproductionoftranslation,themovieshouldbedeliveredtoofficesinchargetobecensored.Sointhisprocess,stafffromofficesthatisinchargeofcensoringandfromthefilmcompanywhodeliversthemoviecouldberegardedastheTTuser.ThefinalreceiveristheTTreceiver.Sincemoviesincinemasarefor19 entertainment,theveryreceivermustbetheaudience.Inmostcases,subtitletranslationservesforthem.Sowemaycallthemadeterminantofchoosingskoposoftranslation.Otherslikestudentsorteacherscouldalsobeasubtitletranslation?sreceiver.4.2.2InternetversionDifferentversionsofsubtitletranslationmayresultfromdifferentfactors.Thesubtitletranslationfromtheinternetalsohasdifferentrolesfromtheperspectiveoftranslationalaction.Firstofall,theTTproducer,orthetranslatoristotallydifferent.Thepurposeofthesetranslatorsmaynotonlybeearningaliving.Sometimestheytranslatejustbecausetheyhavestronginterestintranslatingsubtitles.Sowhenchoosingtheskopos,theymaybenotinfluencedbythetranslationbriefortheideasoffilmcompany.However,wemustadmitthatsomepeoplemaydoubttheirprofessionalknowledgeorexperience,andindeedtherearesometranslatorswhoarenotthatcompetent.Sothetranslationqualityofthewholeindustryshouldbeimproved.Theinitiatorofthisversionisuncertain.Thetranslatorcouldchoosetotranslateamovieoutofinterest,sointhissituation,theinitiatoristhetranslatorhimself;aheadofacompanyororganizationmaytreattranslatingsubtitlesasataskwhichshouldbefinishedbytranslators;teacherscouldalsoassigntheirstudentstodothis.Atthesametime,thecommissionerisuncertainaswell,peoplewhohavecontactswiththeinitiatorandthetranslatorcouldbethecommissioner.TheTTuserandreceiverofthisversioncouldbethesameorbedifferent,dependingontheparticularrolesthesetwokindsofpeoplewanttoplayintheprocess.4.3ComparisonbetweentwoversionsofsubtitletranslationTranslatorsmaychoosedifferentskoposforatranslationtask,sothechoosingwords,translationstrategiesmayvaryaccordingtodifferenttranslators,whichcouldcontributestodifferenttranslationofsentences,paragraphsandeventhewholetext.Thecomparisongoingtobemadeinthefollowingwillconcentrateonthetranslator?s20 translationfromtheperspectiveofwords,sentences,dialogues.4.3.1WordsThechoosingofcertainwordscouldconveythethoughtofthetranslator,itcouldalsoformthesmallestunitoftranslation.HeretheauthorpickedoneconversationbetweenJandKfromthemovieandthencomparethetwotranslator?schoiceonChinesewords.4.3.1.1Tooth&Claw&Hoof(Originalsubtitle):J:Seriously,I?mnotevensurethat?smeat.IthinkIjustsawatoothinthatthing.Oraclaw,hoof.K:Thanks.Manny.J:Thatdoesnotbelonginapita,itbelongsinacasket.K:Youknow,whatwouldgogoodwiththiswouldbesilence.J:See,hereistheproblem.Youcan?tsmellitbecauseyournosehasalreadysmellslikethat,butmynosedoesn?t.K:Silencegoesgoodwithalotofthings.(Jia’sversionofsubtitles):探員J:我說過幾遍了，別隨便吃路邊攤。我真懷疑他們用的是地溝油、瘦肉精。探員K:謝謝。再見。探員J:真的，別吃了，想想都惡心。探員K:別讓我倒胃口，我在吃東西。探員J:我是認(rèn)真的，你聞不到那些臭味，那是因?yàn)槟憷铣?，吃的太多，可是我能聞到。探員K:沉默是金難道你不懂嗎？(Versionfromtheinternet):特工J:我說過幾遍了，別隨便吃路邊攤。我真懷疑他們用的是地溝油、瘦肉精。特工K:謝謝。再見。21 特工J:真的，別吃了，想想都惡心。特工K:有點(diǎn)眼力價(jià)好嗎，我在吃東西。特工J:我是認(rèn)真的，你聞不到那些臭味，那是因?yàn)槟愠缘奶嗔?，但是我聞得到。特工K:沉默是金難道你不懂嗎？看你，話癆一個(gè)。InJia?sversion,thetranslationofthefirstlineofJhasarousedmanydebatesbecauseoftheuseof“地溝油”and“瘦肉精”.Ifweexaminethosetranslationswiththestandardof“faith”,thenwecouldfindthereisnowordlike“路邊攤”intheoriginaltext,instead,theoriginaltextsays“I?mnotevensurethatismeat”,andthesentence,iftranslatedliterally,shouldbe“我都不確定那玩意是肉”.What?smore,theoriginaltext“itistooth,orclaworhoof”istranslatedas“地溝油”and“瘦肉精”,butweallknowthereisnotalittlebitlinkbetweenthosewords,inotherwords,theoriginalsentenceischangedbythetranslator.Accordingtothestandardof“faith”,thismeansthetranslatorbetrayedtheoriginalauthorandbreakstheruleofloyalty.However,intheprevioussection,functionalistsaysthattranslatorsarenotalwaysobligedtodoexactlywhatthereadersexpect,butthereisamoralresponsibilitynottodeceivethem.Soifwelookthetranslationfromtheperspectiveoffunctionalism,itmaynotbesoinappropriate.Astheauthorsaidbefore,thefunctionalistsbelieveifcertaintextsbearsomespecialfunctions,thenthetranslatordoesnothavetotranslateexactlyasthereceptorexpects.Thesubtitlehereservesnotonlyaslanguagetransmitter,butalsotheculturetransmitter,sothetranslatormaythinktranslatingtooth,clawandhoofliterallyintoChinesecouldnotcomplywiththepurposeofapopcornmovie—entertainment.Thatistosay,thetranslatorholdstheviewthattheskoposliesinentertainment,notintranslatingwordbywordbecausepeopleincinemasarenotscholarswhostudyintranslationtheoryortranslationstrategies.Coincidentally,“地溝油”and“瘦肉精”weretalkedbythecrowdsinceaseriesoffoodscandalshadbeenexposedbythemedia,sothetranslatormaybelievethatthosewordscouldnotonlyexpresstheideaofuncleanfood,butalsomakethefilmmoreinterestingandcaterforthetasteofChineseaudience.22 Aswecansee,thetranslatorfromtheinternetalsochooses“地溝油”and“瘦肉精”toreplace“tooth”,“claw”and“hoof”intheoriginalsubtitle.4.3.1.2Hot(Originalsubtitle):Boris:Ratherhotinhere.MindifIopenawindow?(Jia’sversionofsubtitle):鮑里斯：穿這么多很熱吧！讓我?guī)湍銈冮_窗涼快一下。(Versionfromtheinternet):鮑里斯：很熱吧。讓我?guī)湍銈冮_窗涼快下。Inthissentence,theword“hot”istranslatedasputtingontoomuchclothebyJiaXiuyan,andtheothertranslatorjusttranslatesitasthetemperatureishigh.Evenweassumethatthemeaningofputtingontoomuchclotheistranslatedunderspecialskopos,itstillcouldnotbeseenasapropertranslation.4.3.1.3TheArcNetTheArcNetinthemovieisadefensesystemdesignedbyAgentKtoprotecttheearthfromtheattackofaliens.HereJiaXiuyantranslateditinto“Ａ網(wǎng)防御系統(tǒng)”,othertranslatorstranslateditas“阿瑞克網(wǎng)防御系統(tǒng)”.Hereboththetranslatedversionscouldnotexpresstheexactmeaningoftheword“acr”.“Arc”meansacurvedshape.SothetranslationofJia?sversionjustusesthefirstletterofthiswordtorepresentit,theaudiencecouldnotunderstandrealfunctionofthisdefensesystem.Likely,thetranslationof“阿瑞克網(wǎng)防御系統(tǒng)”isjustatransferofpronunciation.4.3.1.4SugarHereisaconversationbetweenJandKafterJaskinghimaboutthepastofBoristheanimalandK.(Originalsubtitle):K:Youknowthemostdestructiveforceintheuniverse?J:Sugar?K:Regret.(Jia’sversionofsubtitle):23 探員K：你知道什么東西可以摧毀整個(gè)世界嗎？探員J：原子彈。探員K：是悔恨。(Versionfromtheinternet):特工K：你知道什么東西可以摧毀整個(gè)世界嗎？特工J：糖果？特工K：是悔恨。Thetranslationof“sugar”variesmuchinthesetwoversions.Fromtheworditselfitshouldbetranslatedas“糖果”.However,inJia?stranslation,itgoeslike“原子彈”.Iftheword“sugar”doesnotcontainspecialculturalbondinthismovie,thenthetranslationof“糖果”mayconfusetheaudiencemore,soundertheskoposofmakingtheaudienceunderstandandacceptthemovie,thetranslationof“原子彈”maybetterservethepurpose.4.3.1.5TimeTravel(Originalsubtitle):AgentO:Timetravel,timetravel.AgentJ:There?snosuchthingastimetravel.(Jia’sversionofsubtitle):探員O：就是穿越，穿越！探員J：噢，你穿越劇看多了吧。(Versionfromtheinternet):特工O：就是穿越時(shí)空！特工J：根本就沒有時(shí)空穿越這回事。ThisconversationhappenswhenJtalkedaboutthestrangethingshappenedonhimselfandhisoffice.AgentOsaidthatit?sbecauseJhasbeenthroughtimetravel.ThereactionofJtotimetravelisthathedoesnotbelieveinit.Jiatranslatedit“穿越劇看多了”,whichsoundslikequiteclosetoyoungpeople?slanguage.Infactthiscouldleadtopopularityamongtheaudienceifevaluatedbytheskoposofaudience-oriented.However,comparewiththeotherversion,theoriginalmeaningoftimetravelhasdistortedanditbetraystheoriginalculture.24 4.3.1.6TimeJumpInthisdialogue,thetranslationoftime-jumpcouldbeseenasagoodtranslation,nomatterfromthepurposeofentertainmentorfromtheangleoftranslating.TheEnglishsubtitlesareasfollows:Jeffrey:Nowtakethis.Itgetsprettywindyonthewaydown.J:Thewaydown?Jeffrey:Witheyestearingup,it?shardtoreadthedial.Plus,ithelpsyoulooklikearealtimetraveler,whichiscool.J:I?mnotjumpingoffofthisbuilding.Jeffrey:Time-Jump!(Jia’sversionofsubtitle):杰弗瑞：給，拿著。從這跳下去一路風(fēng)挺大的。探員J：從這跳下去？杰弗瑞：如果眼睛太疼就看不清數(shù)字了，而且戴上這個(gè)就更像穿越者了，酷斃了。探員J：我就是死也不要從這跳下去！杰弗瑞：穿要靠“躍”！Firstly,thetranslatorborrowedaChineseword“穿越”intothisversion.Besides,theoriginalEnglishword“jump”istranslatedas“躍”inChinese,and“躍”hasthesamepronunciationwiththeword“越”in“穿越”.Homophonyisperfectlyusedinthisword?stranslation.Theskoposofthetranslatorcouldalsobeappliedhereappropriately.Sothisversionoftranslationisbetterthanthatfromtheinternet.4.3.2SentencesAsinglesentencecouldsometimesconveythetranslator?sidea.Likethesentencebelow:(Originalsubtitle):J:Man,Iamgettingtoooldforthis.Icanonlyimaginehowyoufeel.(Jia’sversionofsubtitle):25 探員J：我已經(jīng)老得受不了這種刺激了。你是怎么扛到現(xiàn)在的?(Versionfromtheinternet):特工J：我已經(jīng)老得受不了這刺激了。你怎么干到現(xiàn)在的?BothJia?sversionandversionfromtheinternetchoosetotranslate“Icanonlyimaginehowyoufeel”intothemeaningof“你是怎么干到現(xiàn)在的”,whichsomehowmis-translatetheoriginalsubtitle.Skoposisjustareferencethatguidesthetranslatortoproducethebestsubtitletranslation,itshouldnotaffecteverychoiceofatranslatorwhointendstogettheaudience?sattentionbymakingamoviecontroversial.Hereisanexampleofover-translation:(Originalsubtitle):K:No.Leaveitalone.It?saboveyourpaygrade.J:Wehavethesamepaygrade.K:Ithasnothingtodowithyou.Mindyourownbusiness.(Jia’sversionofsubtitle):探員K：不，你別管。你還沒到那個(gè)級(jí)別。探員J：咱倆是搭檔，級(jí)別一樣啊。探員K：各家自掃門前雪，休管他人瓦上霜。(Versionfromtheinternet):特工K：不，你別插手。你級(jí)別還不夠。特工J：咱們倆的級(jí)別一樣啊。特工K：這事跟你沒關(guān)。管好你自己那攤事兒吧。ThecontroversyappearsinK?slastsentenceinthisconversation.Theyaretwonormalsentencesindailytalk.Sothetranslatorfromtheinternetchosetotranslateitinanormalwayandtriedtokeeptheoriginalmeaning.Itcouldbeeasilyunderstoodbytheaudience.AsforJia?stranslation,aChineseslangisusedinhertranslation.Foraudienceincinemas,itmaybeafreshexperience,butafterthelaugh,itmakestheaudienceuncomfortableaswell.ItisundeniablethatthissentenceisclosetoChineseaudiencebyusingslang,butthetranslatorignoresanimportantfactor—theaudienceiswatchingaHollywoodfilm.Sotheover-translationherebringsbadeffectontheaudienceexperiencewhichbetraysthepurposeofamovie.26 Thenextexample,asfarastheauthorconcerned,couldnotberegardedasover-translationbutmistranslation.Theconversationgoeslikethis:(Originalsubtitle):J：Howdidyougettobelikeyou?Somethinghappened?K,whathappened?K:YouknowhowIlivesuchahappylife?J:Howyoulivesuchahappylife?K:Idon?taskquestionsIdon?twanttoknowtheanswerto.(Jia’sversionofsubtitle):探員J：你怎么會(huì)是這種性格？年輕的時(shí)候受過什么刺激嗎？探員K：我只是活得有原則而已。探員J：你的原則就是沉默是金？探員K：對(duì)于我不想知道的答案我從來(lái)都不去問。(Versionfromtheinternet):特工J：你怎么會(huì)是這種性格？是受過什么刺激嗎？特工K：你只是活得有原則而已。特工J：你的原則就是沉默是金？特工K：對(duì)于我不想知道的答案我從來(lái)都不去問。Firstofall,thesetwoversionsallused“刺激”totranslate“whathappened”whichcouldnotbestexpresstheoriginalmeaning.Besides,thereisnosignthatsomethinghappenedwhenKisyoung.Thenthenextsentence“YouknowhowIlivesuchahappylife?”istranslatedas”我只是活得有原則而已”byJiaXiuyan,whichtotallydeviatestheoriginaltext.AndtherhetoricalquestionofJistranslatedintoadifferenttoneandmeaning,whichcouldmaketheaudiencemoreconfused.Forthistranslation,thetranslatorfailstotranslatethebasicmeaningofasentence,nottomentionspecialskoposofthetranslationtask.4.3.3DialoguesOneofthesentencesfromJia?stranslationalsoarosealotofcontroversyanddiscussionamongtheaudience.Theoriginalsubtitleislike:O:AgentKisdead.27 J:Well,Ijusttalkedtohimlastnight.O:Youareimagining.J:I?mnotimagininganything.O:Ineedapsychteamuphererightnow.OtherAgent:Yes.Ma?m.J:AquaVelvaAftershave.Ididn?timaginethat.Well,everystakeout,endlesshoursofcowboymusic.Everymorningwithhiscoffee,andhe?dsay,“Itellyousome,slick.Thiscoffeetastedlikedirt.AndIwassupposedtosay,“Whatdoyouexpect?”“Itwasjustgroundthismorning”.(Jia’sversionofsubtitle):探員O：Ｋ探員已經(jīng)死了。探員J：我昨天晚上還在和他說話呢。探員O：你出現(xiàn)幻覺了。探員J：我沒有。探員O：馬上讓心理小組上來(lái)。其他探員：是，長(zhǎng)官。探員J：K喜歡用維爾瓦剃須水。這不是幻覺吧？K每次出去執(zhí)行任務(wù)的時(shí)候，永遠(yuǎn)聽著牛仔音樂。每天早上喝咖啡的時(shí)候，他都說：“不是我說，為什么要喝咖啡呢，里面有股土味兒”。當(dāng)你問：“那你還喝？”他就會(huì)說：“如人飲水，甘苦自知?！?Versionfromtheinternet):特工O：Ｋ探員已經(jīng)死了。特工J：我昨晚還跟他說話了呢。特工O：那是你的幻覺。特工J：那不是。特工O：馬上讓心理小組上來(lái)。其他特工：是，長(zhǎng)官。28 特工J：刮完胡子后用維爾瓦剃須水。這不是幻覺吧？每次跟他執(zhí)行任務(wù)的時(shí)候，沒完沒了的鄉(xiāng)村音樂。每天早上他端著咖啡就會(huì)說：“不是我說，這咖啡里面有股土味兒”。當(dāng)你問：“那還想怎樣？”他就會(huì)說：“也是，早上才現(xiàn)磨的嘛?！盩hisdialogueisbetweenAgentOandJ.JsaidsomehabitsofKtoshowAgentOthatheisK?spartner.Hementionedthateverymorningwithhiscoffee,KwouldsaythecoffeetastedlikedirtandrepliedJ?squestionwith“Itwasjustgroundthismorning”.Herethesentenceistranslatedinto“如人飲水，甘苦自知”.Jia?stranslationofthissentencebringsusnowherebutconfusingbecausethereisnolinkbetweentheimageofcoffeeandtheinsidemeaningofthisChineseslang.InChinese,“如人飲水，甘苦自知”meansthattheindividualexperienceofapersoncouldnotbeimitatedorjudgedbyothers,onlythepersonhimselfcouldknowtherealfeelingofhisownlife.HeretheoriginallineonlyexpressedthecommentKhasmadeonthecoffee.Jia?stranslationcouldnotmakesenseevenfromtheperspectiveofspecialpurpose.Socomparedwiththeinternet?sversion,itcouldnotberegardedasaexcellenttranslation.29 ChapterFiveCONCLUSIONItisgoodtoseethatChineseculturecouldserveasaweapontoshowtheworldthepowerofChina,amongwhichmoviesconsumeapartofit.ApartfromChinesemovies,thosefromHollywoodorothercountriescouldalsoberegardedasthemessengeroftheirculture.Therefore,theimprovementofsubtitletranslationqualitygraspsalotofattentionfromscholarsandthemoviefanssincetherearestillsomeinadequaciesinsubtitletranslations.Theimprovingoftranslationqualitiescouldnotbeachievedwithoutthesupportofrelatedtheories.Accordingtoskopostheory,everytranslationalactionhascertainpurposeandthechoosingoftranslationstrategiesandtheresultoftranslationtasksarelargelyinfluencedbytheskoposchosenbythetranslator.Sothisthesisaimsatpointingouttheexistingproblemsinsubtitletranslationundertheframeofskopostheory.Accordingtoskopostheory，subtitletranslationisanactivitywithcertainpurposes．Theskoposofatranslationtaskcouldbeinfluencedbyafewfactors,sowithintherestrictionspaceandtime,subtitlersshoulddecideaproperskoposandchooseacorrecttranslationstrategytofulfillthetask.Amongmanytranslationtexts,subtitleisakindofspecialformbecauseitisrestrictedbytimeandspace,inaddition,sometimesamoviecarriessomeculturalsignals,whichwillexertinfluenceonthechoiceofskoposforsomesubtitlers.Soacomparisonmadebetweentwodifferentsubtitlesofonemoviewouldrevealtherelationbetweenthechoiceofskoposandtheresultoftranslatingsubtitles.ThemovieMeninBlackchosenbytheauthorhasarisenmuchcontroversysinceitsrelease.ThemaindiscussionaboutitliesintheusingofinternetwordsandChineseslang.Somebelieveit?sinterestingandveryclosetothecurrentsituationin30 China,theinternetlanguagealsobringsnewideasintosubtitletranslation.Othersmaythinkthatthisleadstoover-translationorevenmis-translation.Throughthecasestudy,somefindingscouldbesummarized:firstly,differentinitiatorsmayhavedifferentinfluenceonthechoiceofskopos.TranslatorsfromcertaincompaniesororganizationslikeJiaXiuyanmaybeinfluencedbythepurposeofmakingprofitforthecompany,sotheskopossettledforaHollywoodmoviemaybepopularityandcontroversy.Translatorsserveonlyastheintermediarybetweenmoviefansandoriginalmoviesmayberesponsibleforexpressingtheoriginalideastotheaudience.Secondly,differentskopossettingtheninfluencesthechoosingoftargetlanguage.InJia?scase,thetendencytotargetlanguageisslangorinternetlanguage.Attheend,thechoiceoftargetlanguagefinallydecidestheacceptanceofamovieamongtheaudience.However,thecasestudyheremadebytheauthorcouldnotcoverallthesubtitlesinthemovieandtheskopostheoryonlyservesasareferenceforstudiesonthissubject.ThemovieMenInBlackⅢhereisonlyastandardproductionofHollywood,itcouldhardlyrepresentallkindsofmoviesandallthesituationsinsubtitletranslation.What?smore,itisdifficultforallthetranslatorsandscholarstoreachanagreementonuniversalstandardsofanexcellentsubtitletranslation.Asaresult,morestudiesandendeavourshouldbemadeonspecificsubtitletranslationtheoriesanduniversalstandardsfortranslatingsubtitleinordertobringmoreinsightanddevelopmentintothisfield.31 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