最新英语专业全英原创毕业论文,都是近期写作
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42 An Analysis of Symbols in Young Goodman Brown 浅谈英语广告的特点及翻译 儒家文化与和谐世界的构建 欧?亨利短篇小说中幽默的翻译 Comparative Study of Metaphor in English and Chinese Animal Words 女性主义家园乌托邦思想的构建--论夏洛特?吉尔曼在《戴安莎的作为》 《推销员之死》的文化解读 从感观的角度看汉语外来词的翻译 如何提高小学生对英语学习的兴趣 文档所公布均英语专业全英原创毕业论文。原创Q 805 990 74 9 On Alice Walker’s Womanism in The Color Purple 从语用学的角度谈美剧中的言语幽默——以《老爸老妈浪漫史》为例 浅谈自有品牌在中国零售企业的发展 汉语无主句英译方法探析(开题报告+论) An Analysis of the Problems on Chinese Early Childhood Education 从关联理论解读《家庭战争》的幽默 论中美商务谈判风格的差异 歇斯底里的舞台自语者——《寻找格林先生》主题解读 模因论视角下的中国网络新词翻译策略 《绝望主妇》人物语言个性化翻译浅析 澳洲土著语言的演变及原因 论《爱玛》中的反讽 从文化角度看品牌名称翻译 The Essence of Love——An Interpretation of Persuasion 东西方文化中团队意识的差别 暗喻的英汉对比翻译 中西谚语的文化比较研究 《人性的污点》中主要人物的悲剧命运与社会原因的分析 英汉“拉”类动词的语义成分和词化模式的对比分析 金钱与婚姻—论《傲慢与偏见》中的婚姻价值与导向 分析鲁滨逊克鲁索的人物形象 涉外商函的特点及其翻译 中西文化中婚礼的对比研究 《呼啸山庄》的叙事策略 群体隐私和个体隐私——中美家庭中隐私观念的对比研究 A Study on Fuzziness of Advertising Language 《冰与火之歌》的人文主义分析 中美饮食文化的差异 英语委婉语的语用分析 简?奥斯丁的女权主义在《理智与情感》中的体现 在现实与理想间挣扎——论巴比特的无助与无奈 透析《劝导》中的新女性形象
43 《傲慢与偏见》中的灰姑娘情节
44 论“看,易,写”方法在旅游翻译中的应用
45 从语言功能考察汉语公示语英译
46 中国茶文化和西方咖啡文化对比研究
47 浅析英汉颜色词的文化内涵及翻译
48 中学英语教师课堂反馈对学生焦虑的影响
49 中国民俗词语汉译英初探
50 A Comparative Study on the Symbolic Meanings of Color Red Between The Scarlet Letter and Tess of the D’Urbervilles
51 伯莎梅森形象分析
52 人称代词与情态动词在英语政治演讲中的人际功能
53 从引进好莱坞大片看中国意识形态转型: 从集体主义到个人主义(开题报告+论) 54 宗教在世界战争史中扮演的角色
55 简爱与电影《音乐之声》中玛丽亚冯特拉普性格分析比较
56 浅谈英汉谚语的翻译——从跨文化角度出发
57 哈里的迷惘与自我救赎——《乞力马扎罗的雪》的哲学解读
58 汉英亲属称谓词的文化差异及翻译
59 Advertising Language: A Mirror of American Value
60 英语写作中的母语迁移作用及教学启示
61 《三国演义》不同译本中回目英译比较研究
62 《鲁滨逊漂流记》中殖民文化对殖民地文化影响解读
63 美国C标准对中国英语教育的影响
64 华盛顿?欧文与陶渊明逃遁思想对比研究
65 《呼啸山庄》男主人公希斯克里夫的性格分析
66 孤独而坚强的灵魂--《被遗弃的韦瑟罗尔奶奶》中爱伦?韦瑟罗尔的性格分析 67 浅析文化因素对商标翻译的影响
68 英汉习语文化差异之原由
69 福克纳小说中的圣经意象
70 英汉动物词语文化内涵的差异
71 浅析托尔金在《魔戒》中的创作特色
72 基于跨文化视角文化全球化的分析
73 论中英思维方式差异对主语翻译的影响
74 中英诗歌及时行乐主题比较
75 浅析《德伯家的苔丝》中两位男主人公
76 The Pursuit of Freedom and Love in E.M. Forster’s A Room with a View
77 An Interpretation of Death in Jack London's Short Stories
78 目的论指导下的导游词英译策略研究
79 浅析英文爱情诗的特点与翻译方法
80 民族文化差异与广告语言创意
81 从寂寞到超然—索尔?贝娄的《赫索格》中书信体的内心独白
82 以姚木兰和斯嘉丽为例看东西方女性意识差异
83 中美饮食文化差异及其相互影响
84 卡特福德的等值翻译理论与名词化翻译——以《入乡随俗》英译汉为例
85 中英基本颜色词比较和翻译
86 论《小妇人》中的超验主义思想
87 On Translation of Symbolism in Pop Songs with a Case Study of Hotel California
88 The Application of Situational Teaching Approach in the Lead-in of Middle School English Classes
89 高中英语阅读教学中学生自主学习能力的培养
90 英语广告中双关语的运用及其翻译研究
91 外交辞令中模糊语言的语用分析
92 艾米莉?狄金森死亡诗歌中的性别歧义及其原因探析
93 A Comparison of the English Color Terms
94 爱恨共辉煌——浅析《呼啸山庄》中的男主人公
95 传统道德与时代新意识之战―论林语堂在《京华烟云》中的婚恋观
96 基于对爱伦坡文学作品及心理的兴趣
97 文化差异对英语学习的影响
98 小说《忠犬八公的故事》和电影《八公》动物叙事技巧的比较
99 The Cultivation of English Teachers on the Basis of Multiple Intelligences Theory 100 网络环境下英语专业学生学习策略研究
101 Sister Carrie:a Girl with Ascending but Unfulfilled Desires
102 纽马克交际翻译理论指导下的外宣材料英译
103 日用品广告语言中中西方价值观差异比较研究
104 中西美食文化差异与翻译策略
105 论英语课堂教学中的非语言交际
106 《老人与海》中的象征主义
107 汉语请求策略的分析
108 A Contrast of Two Chinese Versions of The Scarlet Letter
109 A Comparative Study of Coincidental Plots in Jane Eyre and Tess of the d’Urbervilles 110 The Archetype of the Ugly Duckling in The Secret Garden
111 论《绯闻女孩》中的美国社会文化特征
112 Analysis on the Picaresque Elements in The Adventures of Huckleberry Finn
113 理想政体的历史超越性探因——《理想国》、《乌托邦》和《新亚特兰蒂斯》中哲学家的自我中心共性
114 Where Should Gone With the Wind Go?——Study on The Disputes Among Critics of Gone With the Wind
115 从《永别了,武器》试析海明威心目中的理想女性
116 A Comparison of the English Color Terms
117 回译在翻译教学中的作用
118 英汉习语的文化差异及翻译对策
119 凯瑟琳?曼斯菲尔德《苍蝇》反映的人性创伤分析
120 《咏水仙》两个翻译版本的文体分析
121 浅议英汉习语翻译中文化语境的制约作用
122 《红字》中霍桑的女性观
123 对小说《野草在歌唱》的功能文体分析
124 The Significance of Westward Movement in FormingWestern States Multi-culture in the U.S. 125 从电影《国王的演讲》看平民情结
126 《织工马南》中马南的性格
127 从“啃老”现象看后啃老族的生活态度
128 小学英语教学中的体态语应用
129 浪漫主义天性和实用主义个性之间的冲突——评《呼啸山庄》中凯瑟琳人性的矛盾 130 从《红楼梦》和《罗密欧与朱丽叶》看中西方爱情悲剧的异同
131 中英文化中寒暄语的比较
132 《远大前程》的叙事技巧
133 从语用学角度分析美剧《绝望主妇》中的委婉语
134 论英语专业八级口语测试的内容效度
135 试论用英语电影进行英语文化教学
136 On the Functions of Metaphor in Obama’s Inaugural Address
137 The Characters and Personality of American Slang
138 中式菜肴名称的语言特点及其英译
139 论《红字》中丁梅斯代尔的双面性
140 《麦田里的守望者》中霍尔顿的性格分析
141 从狼人电影解析狼文学
142 从情景喜剧《生活大爆炸》看违反合作原则的言语幽默
143 对中英组织文化差异的跨文化研究
144 浅析《飘》中斯嘉丽的婚姻观
145 体态语在中美交际中的差异及原因
146 从美国新闻理念的发展看例外主义的嬗变
147 男权社会下康妮女性身份的诉求--D.H.劳伦斯《查泰莱夫人的情人》的研究 148 论中美商务谈判中的文化冲突
149 《纯真年代》中的女性主义
150 Cultural Differences in Business Negotiations: East and West
151 浅析英语动物类习语的翻译
152 《永别了,武器》的意象分析
153 论例句在中学英语课堂中的应用
154 新闻英语中的委婉语及其翻译策略
155 透过《老人与海》看海明威的人生哲学
156 《蝇王》中的人性因素
157 从生态和消费的角度解读《瓦尔登湖》中梭罗的思想
158 论《永别了,武器》中战争对人物的影响
159 用功能对等原则分析广告标语的英汉互译
160 浅析澳洲英语词汇文化的特色
161 交际法在中学英语教学中的应用
162 论马克?吐温的种族观--以《哈克贝利?芬历险记》为例
163 魔法世界的双重间谍——《哈利波特》西佛勒斯?斯内普的矛盾形象分析
164 简奥斯汀对英国小说的贡献——以《傲慢与偏见》为例
165 从美学角度分析英文电影《阿凡达》的汉语翻译
166 从《老人与海》看海明威小说中的英雄式人物的刻画
167 中国后与美国迷惘一代文化认同感的比较
168 On Womanism in Alice Walker’s The Color Purple
169 A Research on Vocabulary Learning Strategies Employed by Non-English Majors in the CALL Environment
170 《美国丽人》中的伦理主题研究
171 从《寻找格林先生》看索尔?贝娄对生命意义的探寻
172 汉英谚语中关于文化价值观的比较
173 Comparison between High and Low-context Culture in Language Expression
174 外贸英语函电的文体特征及翻译对策
175 英汉动物习语的文化差异研究
176 英语环境公示语翻译中的问题以及解决方法
177 从英汉广告语言特点分析中西方文化价值观
178 A Study of Beauty in Sound, Form and Meaning Displayed in Zhang Peiji’s Prose Translation 179 谈品牌广告文体特点及其翻译
180 凯瑟琳?曼斯菲尔德短篇小说中的意识流技巧研究
181 黛西在《了不起的盖茨比》中的作用
182 商标翻译中的功能对等
183 论远大前程中皮普的道德观
184 《喜福会》中的中美文化冲突
185 中西方文化差异对代沟的不同影响研究
186 影视英文在初中口语教学中的运用性研究
187 论《杀死一只知更鸟》中的象征
188 对《呼啸山庄》中女主角的女性哥特情结分析
189 《达洛维夫人》中的生死观初探
190 庞德《诗经》英译研究
191 英汉招呼语差异探析
192 英汉化妆品说明书对比及汉译策略
193 《第十二夜》中女性人物特征分析
194 高中英语写作中母语负迁移现象分析
195 浅析英语语言中的性别歧视及消除语言歧视的策略
196 An Analysis of Conflict Images in Invisible Man
197 论《弗罗斯河上的磨坊》中的人物关系及象征意义
198 论“孔雀东南飞”英译本的译者主体性
199 交替传译中笔记的作用
200 美国梦的破灭——约瑟夫?海勒《第二十二条军规》中的黑色幽默解析
中国海洋大学
硕士学位论文
从目的论的角度探讨英语电影片名的汉译
姓名:毕建静
申请学位级别:硕士
专业:外国语言学及应用语言学
指导教师:梁晓鹏
20080601
从目的论的角度探讨英语电影片名的汉译
摘要
电影是一种集艺术性和商业性于一体的艺术形式,是最具有魅力和影响力的媒体之一。随着全球化的步伐日益加快,越来越多的国外优秀影视作品引进中国,影视翻译的重要意义也日益突显出来。电影片名是电影的重要组成部分,具有传达信息,表现美感和吸引观众的功能,电影片名翻译的质量对影片在国外市场的推广具有举足轻重的作用。在过去的二三十年中,影视翻译的研究工作尤其是片名翻译的研究工作没有得到相应的重视。国内外研究的专著及近十年的外语核心期刊中探讨片名翻译的理论撰写甚少。
英语电影片名的汉语翻译是具有挑战性的,目前还无人提出比较完整的翻译原则。本文旨在探讨指导英语电影片名汉译的理论和方法。从目的论的角度讨论英语电影片名的翻译问题,提出电影片名翻译的目的是为了吸引观众观看电影。通过案例分析,作者着力阐述了译者应充分实现的电影片名的四个价值,即:文化、信息、美学和商业价值。本文还就大陆、香港和台湾三地译名各具特色的情况进行了比较,并分析了产生差异的原因。提出由于译名是为当地群众服务的,只要能满足当地群众的审美情趣和情感需求即可,所以可以保留三地在片名上的差异性和特色。
全文共分六章。第1章是引言,介绍了本文的研究的课题及意义,理论框架,要解决的问题及研究的目标,研究方法及行文结构。第2章对电影及电影片名作了总体上的介绍,包括电影的类型,电影片名的命名方法、特色、功能、地位等。第3章是全文的理论框架部分,重点介绍了目的论和行为理论。提出电影片名翻译的目的就是为了让观众去欣赏电影,一切策略方法都是为这一目的服务的。第4章阐述如何把理论应用到实践,从文化、信息、美学及商业四个价值的实现来具体阐述。第5章比较了海峡两岸三地片名翻译的异同,探讨了产生差异的原因。最后一章是结论章节,对全文进行了总结概括。影片译名既要忠信于原文,又要符合本国观众的语言文化习惯和审美情趣;
既要有一定的文化品位,又要有良好的商业效应.翻译电影片名应考虑当时所处的时间、所在的地点和所面对的观众等因素。随着经济文化交流的不断增强,两岸三地的英语片名译者应该互相学习借鉴,为观众献上质量上乘的电影译名。关键词:电影片名翻译;目的论;文化;四个价值的实现II
OnTranslatingEnglishFilmTitles
—-?-?---FromthePerspectiveofSkopostheorie
Abstract
Thefilm,thepopularart、)l,ithbothartisticandcommercialvalues,isoneofthemostcharmingandinfluentialmassmedia.Asthedevelopmentofglobalization,moreandmoreexcellentforeignfilmsareintroducedintotheChinesemarket.Andthefilmtranslationisbecomingmoreandmoreimportant.Thefilmtitle,as
andvocativefunction.A
aailimportantparttitleofthefilm,iSofinformative,expressiveplays
twoatranslatedfilmverythreeimportantroledecades,film
atwhenthefilmisintroducedtoforeignmarket.Inthepastortranslationisanarfiathatisfarfrombeingexplored.Fewmonographshomeandabroadhavediscussedthistopic.Intheforeignlanguage
amasterjournalspublishedinthepastdecade,itisnoticedthatthereis
paucityoftheoreticalwriting
Englishonrelativefilmtitletranslation.afilmtitletranslationischallengingjob.Uptillnow,nosystematic
theperspectivetheory
ofonithasbeenputforward.ThisthesisdiscussesthistopicfromSkopostheorie.The
uponaudiencetoauthorproposesthattheskoposoffilmtitletranslationistothefilm.Throughproperexamples,theauthordetailsoncallseetheconsiderationtranslatorsneedtofullyrealizethefourvalues,namely
acultural,detailedinformative,aestheticandcommercialvalues.Thethesisalsopresents
analysisoftheuniquefeaturesofdifferentversionsin
potential
carlMainlandChina,HongKongandTaiwanrespectivelyandthereasons.Thetranslatedfilmtitlesservelocalpeople.Aslongastheversionsmeetlocalpeople’Saestheticandemotional
shouldneeds,disunityofversionsinthethree
Thisthesisisdividedintosixregionsbekept.1ischapters.Chapterabouttheintroduction,includingthetopicandsignificanceoftheresearch,theoreticalfranlework,researchgoals,researchmethodologyandthestructuresofthisthesis.Chapter2givesageneralintroductiontothefilmandfilmtitles,includingfilmgenres,thenamingIII
methods,features,functionsandpositionsofEnglishfilmtitles.Chapter3laysthetheoreticalframeworkforthewholethesis.Skopostheorieandthetheoryofactionarebeingemphasized.Theauthorproposesthattheskoposoffilmrifletranslationsistocalluponaudiencetoappreciatefilmsandallthemethodsandstrategiesservethisskopos.Chapter4isaboutputtingtheoriesintopractice.Itisproceededfromtherealizationofcultural,informative,aestheticandcommercialvalues.Chapter5isthecomparisonoffilmtitleversionsinMainlandChina,HongKongandTalwan.Thepotentialreasonsareproposedaswell.Thelastchapteristheconclusion,givingthesummaryofthewholethesis.
The
totranslatedversionsshouldnotonlybefaithfultotheoriginal,butalsocatertasteoftheiraestheticthetargetlanguagespectatorsandsatisfytheirpsychologicalneeds.They
ofshouldhavebothculturalsavorandgoodcommercialappeal.Thefactorstime,placeandaudienceshouldbetakenintoconsideration.Besides,thisthesissuggeststhat、)l,imtheever-growing
regions,translatorsacrosscommunicationandexchangesamongthethreeSOtheStraitsshouldlearnandbenefitfromeachotherthatmoreexcellentversionsoffilmtitlescouldbeofferedtoaudienceinthethreeregions.KeyWords:filmtitletranslation(hereafterFTT),Skopostheorie,culture,
realizationoffourvaluesIV
独创声明
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ChapterIIntroduction
1.1Introducingthetopicandsignificanceofwriting
Filmisoneofthemostcharmingandinfluentialmassmedia.Itcallnotonlyreflectdifferentaspectsofsocietyanddemonstratedifferentculturesbutalsopsychologicallyfulfillthedemandsofaudiencebyhavingthemexperiencelifeofdifferentpeople.Agoodfilmisartwhichisathought-provokingandgivesenlightenmenttoaudience.
Fillisgainingever-growingpopularityaroundtheworld.Theyearlytheglobalattention,isthebestproof.Withthecarryingoutofreformandopeninguppolicy,
themorefrequentculturalwiththerapiddevelopmentofChina’Seconomyandwith
exchangeswithforeigncountries,moreand
Chinaonamoreexcellentforeignfilms,especiallyEnglishfilmsareintroducedtolargescale.IthasmetChinesepeople’Sincreasing
demandsforlearningabout
Itisaandkeepingpacewiththeworld.factthatonlyasmallpartof
apeople啪understandoriginalEnglishfilms.SotranslatingEnglish
Undersuchafillshasbecomesignificantactivityinpromotingculturalexchanges.situation,filmtranslationshouldhavebeenattractedincreasingattention,however,itisfarfrombeing
andexplored.EspeciallyFTT,ithasbeenignoredforalongtimelacksdulyattention.
anThefilmtitleisindispensablepartofafilm.Ithasitsownlinguistic,aestheticand
culturalfeatures,whichdeservescarefulinvestigationTheandconsiderationfromtranslators.vocativefunctions.Itdeliversthefilltitleisofinformative,expressive,aestheticandmostimportantinformationaboutthefilmtoaudience.AgoodfilmtitleCanalsoarouseaudience’S
onimaginationandcuriositytowardsthefilm.Thefilm’Sboxofficedependsgreatlythequalityofthetranslatedfilmtitleintheforeignmarket.
Inthisthesis,thisauthorwillexaminethedifferentversionsinMainlandChina,Hong
adopted.ItKongandTaiwan,andanalyzethepotentialreasonsandcorrespondingstrategies
isanalyzedthatthesocio-culturalcontextofeachregionisthefactorresultinginthisdisunityinversions.
1.2Theoreticalframework
ThethesisisbasedonSkoposthoerieproposedbyHanJVermeer.Accordingtothistheory,‘'theendjustifiesthe
translationisallmeans”(Nord1993:29).Inaccordance谢t11thetheoryofaction,intentional,communicativeandinterculturalinteraction.
productisproducedtogenerateprofitsfortheproducer.FTT
seeasFilmasacommercialthedirectchannelistocalluponaudiencetothefilm.ThusFTTinChinaservesthisvery
purposentocalluponChineseaudiencetowatchtheimportedEnglishfilmandduringthistranslationprocedure,thetranslator
culturecommunicates诵廿1boththefilmproducerinthesourceandthetargetaudienceinthetargetculture.
1.3Researchgoals
●Based
attractingSkopostheorie,tryingtofindtheaudiencetowatchthefilmintermsofFTT.onthewaytoachievetheskoposof
●Probingintothewaysofrealizingthefourvaluesin
informative,aestheticandcommercialvalues.F兀,namely,cultural,
●TryingtoexplaintheexistenceofdifferemtranslatedversionsofthesamefilmtitleinMainlandChina,HongKongandTaiwan
or●TryingtoexploretheFTTinthethreeregionsshouldbeunified
givethereason.remaindiversifiedand
1.4Researchmethodology
1.4.1Researchapproaches
TllisthesisfirstlyaimsatreviewingandprobingintotheissueofEnglishFTTinChina.Therefore,thestudyisbasicallyanalyticalanddescriptive.Furthermore,thisthesisintendstomake
SOacomparativestudyontheEnglishFrTinMainlandChina,HongKongandTaiwan,qualitativeandquantitativeanalysiswill
ofthebeadopted.Especiallythecomparativestudyisinthethreecarriedoutinthisthesis.Features
throughversionsculturalregionswillbeanalyzedcomparison,andSOwillbetheandsocialcontexLOnthewhole,acomparativestudybased
getaonquantitativeresearchandqualitativeanalysiswillbehopedtomoreobjectiveconclusion.2
1.4.2Themainobjectofthestudyandthereason
T1listhesisfocusesonthetitlesofOscarfilmsandtheirChinesetranslationsasthemainobjectofstudy.EnglishtitlesofalltheBestMotionPictureWinnersoftheAcademyAwardsfrom1927-2008withtheirChineseversionsarelistedintheappendix.Thesetitlesandversionsserveasthemainsourceforthestudyandparticularlythebasisofquantitativeanalysis.nlereasonofchoosingtheAcademyAwardsWinnersasthemainsourcesisthatfirstly,AcademyAwardsisregardedasoneofthehighestawardsworldwidetohonorthebestachievementsinperformanceandfilmmakingforeachyearwithintheAmericanfilmindustry.Hundredsofmillionsofpeoplearoundtheworldwatchthisevent,makingitaworldsensation.Oscarisareliableindicatorofafilm’Severlastingartisticvalue.
1.5Thestructuresofthisthesis
Thisthesisisdividedintosixchapters.Chapter1isabouttheintroduction,includingthesignificanceoftheresearch,theoreticalframework,researchgoals,researchmethodologyandthestructuresofthisthesis.Chapter2givesageneralintroductiontothefilmandfilmtitles,includingfilmgenres,thenamingapproaches,features,functionsandpositionsofEnglishfilmtitles.Chapter3laysthetheoreticalframeworkforthewholethesis.Skopostheorieandthetheoryofactionarebeingemphasized.TheauthorproposesthattheskoposofFTTistOcalluponaudiencetoappreciatefilmsandallthemethodsandstrategiesservethisskopos.Chapter4isaboutputtingtheoriesintopractice.Itisproceededfromtherealizationofcultural,informative,aestheticandcommercialvalues.Chapter5isthecomparisonoffilmrifleversionsinMainlandChina,HongKongandTaiwan.Thepotentialreasonsandcorrespondingstrategiesareproposed觞well.Thelastchapteristheconclusion,givingthesummaryofthewholethesis.3
Chapter2ProfileofEnglishFilmTitles
ItseemsthatFTTis
a
simpleandeasytaskbutinfactitis
notthatcaseata11.
While
doingsuch
translation,wemustpayattentionto
itsstylistic,linguistic,
a
aestheticandculturalfeatures.Itisquitenecessaryforustomakeoftheprofileoffilmrifles
SO
detailedanalysis
as
togetageneralidea
US
beforeweprobeintothetopicof
a
thisthesis,whichwillbeveryhelpfulfor
nature.
tohave
beretunderstandingofits
Thischapterisdevotedtotheanalysisof
film
titlesinfiveaspects,namely,the
filmgenres,namingmethods,features,functionsandpositionsofEnglishfilmtitles.Beforethedetailedintroduction
to
theprofileoffilmtitle,itisnecessary
toknow
SOmethingaboutfilmgenresSO
as
topavethewayforlaterdataanalysis.
2.1Filmgenres
Filmshavetheirownuniquestylisticfeatures,althoughthey
are
considered
asa
kindofliterarywork.AccordingtoHeY'mginherarticleTheoryand
Film
Title
MethodGuiding
Translation,films
call
be
dividedinto
three
categories,namely
documentaryfilms,scienceandeducational
Thefirsttwotypes,that
serve
filmsand
featurefilmsfile2001:57).
is,documentary
films,scienceandeducational
popularityofscience,thus
offilmsis
are
films
plain
thepurposeofinformationtransmission
or
instyleandformalin
specificpurposes
wording.Thenon-fictionaluse
usually
intendedfor
andfor
relativelysmallandspecializedaudience,whereasthe
usuallyintendedto
fictional
films(featurefilms)are
reach
wide
andvaried
audience.
Limitedbyspace,thepresentpaperconfinesitsstudyonlytothetitletranslationofthefeaturefilmswhichnormallyincludefoursub—categories:adventurefilms,fantasy
films,comedyfilmsandlyricfilms.
2.1.1Adventure
rims
or
horrorfilms
Adventurefilmsinclude
action(Kong力u)films,horror
4
films,westernfilms,
disasterfilms,spyfilmsandgangster(crime)films.Titlesofthiskindofmainlytohighlightthefilmsaresoul-stirringatmosphereandfeatureemotion—stirringeffect.
in60ExamplesareTheThiefofBagdad(1940)andGone
2.1.2Fantasyfilmsorseconds(2000).sei-fifilms
areThefantasy
yet,ormayorsci?-fifilmsthosepresentingallideaoratechnologythatisnot-neverbe,scientificallypossible.Theyareusuallyscientific,visionary,comic—strip—like,andimaginative
ofthistypedealwitllspacetravelwi廿1sci—fifilms孙themainorcomponent.Manyfilmsonthearrivalofalienspeciesearth.Thetitlesofthesefilmsaresupposedtoexposethestrangeideasoffilmsandattractaudience’Sattention.Ahostoffilmsbelongtothisgroup,suchasStar
JudgmentWars(1977),Terminator-2Day(1991)andAlienAgent(2007)
2.1.3Comedyf'flms
Comedyfilmsaledesignedtoelicitlaughterfromaudience.Comediesarelight-hearteddramas,craftedtoamuse,entertain,andprovokeenjoyment.鼬ch洫
such雒Thehumorousandcomicflavoristhefeatureoffilmtitlesofthistype.Films
Mask(1994),200American(2003)andBoychick(2003)belongto
2.1.4LyricFilms
Alargenumberoffilmscanthiscategory.becategorizedintothistype,includingfilmsoflovestory,familymoral,drama,musical/dance
inandWar.Thesekindsoffilmtitlesarequiteclosetothestyleofprose,plainwordingwhilerichinromantic,lyricand
emotionalflavor.ExamplesareGonewiththeWind(1939),&嘲增intheRain(1952)andLegendsoftheFall(1995)etc.
2.2NamingapproachestoEnglishfilms
Inordertohave
forabetterunderstandingofthenatureoffilmtitles,itisnecessaryofEnglishUStoknowthesourcesfilmtitles,inotherwordstoknowhowEnglishfilmsarenamed.ThenamingapproachestoEnglish
thefollowingfouraspects.filmtitlesCanbecategorizedinto
5
2.2.1Namingbymaincharacters
Alargeproportionoffilmsarenamedafterthemaincharactersinthefilms.
orAdjectivedescriptionsabouttheircharacteristicspersonalitymaybeaddedinfront
oftheirnames.Forexample,Hamlet(1948),Gandhi(1982)and而胱sfGump(1994)etc.belongtothistype.
2.2.2Namingbyplace
Anotherpopularnamingapproachistheindicationofplacewherethemainplottakesplace.Thiskindoftitlesprovidebackgroundinformationoftheevensdepictedinthefilmthustoarouseaudience’Smemoryandimaginationofimportantplacesorhistoricaltime.ExampleslikeCasablanca(1942),OntheWaterFront(1954)andTitanic(1997)etcCalldemonstrate
2.2.3Namingbythemethispointwell.
Somefilmsarenamedinallattempttoprovideaudience、历廿ltheinformationof
serveasathemainthemelyingbehindthestory.Suchnames
story.Desiretoknowwhatisreallygoingonsummarizingoftheinthefilmwillbearousedbythisthought-provokingnamingapproach.AhostoffilmtitlesCanbeusedtoillustratethispo缸suchasTheSoundofMus/c(1965),BraveHeart(1995)andTheBeautifu,Mind(2002)etc.‘
2.2.4Naming
Itisonebyplotofthemostfrequentlyadoptednamingapproaches
ofthemainsourcesbecausetheplotofthefilmisoneconcretingthestory.Therealesomeexamplesas
OvertheDeadfollows:Aroundthe
Line(1996).World伽80Days(1956),OutofAfrica(1985)and
2.3FeaturesofEnglishfilmtitles
Conciseness
valuesandandvividnesscharacterizefilmtitles.Besides,tlleyhaveaestheticmanyofthemareculturallyloaded.ToknowthefeaturesofEnglishfilmtitlesanddetectthedifferencesbetweenEnglishand
helpChinesefilmtitlesintermsofourdiction,structureandculturalconnotationsCanustoeonducttranslation6
OnTranslatingEnglishFilmTities—fiomthePerspectiveofSkopostheorie
willbeapproached
activitymoresmoothly.TheoverallfeaturesofEnglishfilmtitlesfromthelinguistic,aestheticandculturalperspective
2.3.1Linguisticfeatures
Ingeneral,Englishfilmtitlesfeatureconcisenessandbriefness.They
ale
as
follows.
richin
meaningandthoughtprovoking.Mostmovies
adopt
no
morethanfourwordsastheir
or
titles.AlargeproportionofEnglishfilmtitlesalecomposedofeithertwowords.Possiblereasonsmaybe
theintentionby
four
thescreenwriterstokeepthe
Furthermore,mostEnglish
phrases
film
titlesale
nouns,noun
phrases,prepositional
possessiveforms
andgerunds.Restrictive
wordslike
nouns
adjectives,articlesand
noun
havebeenfrequentlyusedbefore
and
phrasesin
film
titlestomakethem
moreeye-catchingandvivid.ExamplesaleBraveHeart(1995),My跆秽.BestFriend
(1997)and
attemptto
A
Beautifu,施耐(2001).There
alesomefilmswithlongtitlesin
all
arouse
audience’Scuriosity,suchas,HowtoLoseYour
Allthe
Wife
andFind
a
Mistress?(1990),WhereHave
tale
MenGone?(1985),etc.However,this
typeis
in
numberandmostofthemappearinthe
formofquestions.
2.3.2Aestheticfeatures
Asiswell.known,filmis
a
modem
art
andhas
itsownaestheticfeatures.As
an
are
indispensablepartof
generallyreflectedindevices.
Rhetoric
devices
a
film,thetitlealsobearssuchaestheticfeatureswhich
itsform,soundeffect,rhythmandapplicationofrhetoric
are
worthpaying
more
attentionto,including
metaphor,
are
onomatopoeia,alliteration,repetition,contrast,oxymoronandirolly,etc.They
widelyusedinfilmtitlessuchasSenseandalliteration,办≥a
Sensibility(1996)withtheadoptionof
Mad,Mad,Mad,MadWorld(1963)is
Wolves(1993),True
Lies
bymeansofrhetorical
repetition.Danceswith
and
CrystalHeart
ale丽ththe
adoptionofpersonification,oxymoron
andmetaphorrespectively.
The
sound
or
use
ofrhetoricaldevicesin
film
titleaimsateitherachievingbeautyin
vividnessinimagedepiction
SO
astoentertainaudienceaesthetically.
2.3.3Culturalfeatures
Culturedeals、^,itllthewaypeopleliveandfilms
are
mainlyadaptedfromstodes
a
inpeople’Sdailylives
and
reflecttheirambitionanddreams.Sofillis
as
a
cultural
productandhasculturalfeatures.Englishfilmtitlecontains
partofthisculturalproduct
manyculturalelements.Itsculturalfeaturesarereflectedinthefollowing
aspects:
Firstly,someEnglish
fill
titlesori毋"natefrom
a
legend
or
a缅ry
tale.For
example,Sirens(1994)is
mythology,SirensWas
one
takenfrom
Greekmythology
sea
Siren’S
Song.Inthis
ofthemythicalfairieswhohadthepowerofcharming
tO
cast
allwhoheardhersong,SOthatthemarinerswereirresistiblyimpelled
themselvesintothe
seato
theirdestruction(Deng2002:20).
Secondly,mostwesternershavetheirreligiousbeliefs.Religiouscultureisoften
reflectedinEnglish
filltitles.For
examples,Seven《七宗罪》,Ten
Commandments
《十诫》andEasterParade《复活节游行》
Thirdly,somefilmtitlesareadaptedfromEnglishidioms.For
Seven-year
example,
Itch(1955)isanEnglishidiomreferringto‘‘asupposed
tendencyto
infidelityafterseVenyearsofmarriage”(Pearsall
thegenuinearticle
or
2003:1703).TheReal
McCoy
(1993)refers
is
to
Something
a
ofgoodquality.Another
or
example
The
BoyinBlue.’’Blue’’hereIndicatesperson’Slowspirit
badmood.Inthe
fi虹thehero
Was
onceS
boyina
sadmood.That’Showthetitleis
adopted.
2.4Functionsoffilmtitles
Vermeerdefinesfunctionas‘‘what
receiver’S
a
textmeansoris
intended
to
meanthe
po血ofview'’fNord,2001:28).111eEnglishfilmtitlesgenerallyinclude
fourprincipalfunctions,theinformative,expressive,aestheticaswellasthevocmive
or
commercialfunction.
2.4.1Informativefuncfion
The
a
core
oftheinformativefunctioniStheexternalsituationwhichiSthefactsof
topic
and
realityoutsidelanguage,includingreportedideas
or
theories(Newmark
8
OnTranslatingEnglishFilmTities—fromthePerspectiveofSkoposthcoric
2001:40).Itisthebasiconeamongthefourfunctions.Itissupposed
towhatisgoingonintoshedlightonthemessageofthefilm,togivehintthestory,thushelpsthe
audiencetounderstandthefilmmorereadily.
Theinformativefunctionoffilmtitleisreflectedonitsroletohelpaudiencetoknowaboutsomefactsandrelevantinformation
toinaboutthefilm.Informationmayinclude:thefilmgenre,eventsreferred
2.4.2Expressivefunctionthefilmandthemainplotofthefilm.
Theexpressivefunctionis
keytoitscommunicative
aesthetic
ofthetosetthefeeling-toneforthewholefilm,whichistheeffectiveness.Thecoreofexpressivefunctionisthedimensionoflanguage.Theyexpresstheirthoughtsandfeelingsirrespectiveresponse.Thelanguagewithexpressivefunctionisnormallyself-expressive,creative,figurativeandsubjective.(Newmark2001:39).The.expressivefunctionof
orfilmtitleistoleadaudiencetobeinfected、析tllstronglyricflavor,heart-stirring
comicatmosphere.
2.4.3A懿theticfunctiOn
Thisislanguagedesigned
andsecondlytopleasethesenses,firstlythroughitsactualorimagined
contrastssoundthroughitsmetaphors.Therhythm,balanceandpart.Theirsound—effectofsentences,clausesandwordsalsoplaytheir
consistsofonomatopoeia,alliteration,assonance,rhyme,meter,intonation,stress…
2001:42)
functionistopleasethe(NewmarkTheaestheticsenses.Therhythm,balance,soundeffects,
athecolorwordsandtherhetoricdevicesinvolvedallplaytheirpartinadding
theartisticappealofthetitles.GoodlottofilmtitlesCanalsoperformaestheticfunctionin
wordsthewaytoprovideaudienceaesthetic
soundenjoymentthroughcolorfulwith
unevennesswithmusicalandtheapplicationofrhetoricaldevices.Titlesaestheticfunctionpleasethesensesofaudiencethroughtheirinintonation,smoothnessinsound
andvividnessinimagepresentation.
2.4.4Vocativefunctionorcommercialfunotion
“Thecoreofthevocativefunctionoflanguageisthereadership,theaddressee’’
of“calling(Newmark2001:41).Newmarkusestheterm‘‘vocative”inthesense
9
upon'’thereadershipto
act,“11l【or
as
feel,infactto“react”inthewayintendedbythe
call
text'’.Takingthisexplanationalsocalluponaudienceto
reference,we
conclude
react
that
a
goodfilltitle
call
see
thefilm,or
to
inthewayintendedbythe
producer--buyingtickets
SO
thatgreatprofitswillbegenerated.
2.5Positionsoffilmtitles
2.5.1Theimportanceof
No
onecarl
a
film’stitle
a
denytheimportanceof
fill’S
title.How
Call
audience
judge
the
filmbeforetheywatchit?Certainlytheyjudgeitbythetitle.Whetherthefilmis
appealing
or
not,the
nanle
isthefirstdecidingfactor,forit
isoftenthefirstthat
comesintothepotentialviewer’Sattentionandmind.Tocatchaudience’Seyesand
arouse
theircuriosityandthenstimulatethem
do.So
towatch
it,thatiswhat
title
as
a
good
fill
titleand
shouldthestandardfor
a
good
filmis
eye-catching
curiosity?stimulating.Notlikeotherliteraryforms,suchauthorsandpublishersbusinessof
to
novels,itispossiblefor
makeimprovement
be
or
one
editionafteranother;butfilmsare
releaseof
a
hit-and-go.To
notto
be,theinitial
fill
often
Can
on
immediatelyanswerthequestion.Becausethe
enormous
expenditurehasbeenspent
wouldsuffer
a
fill-making,once
noone
itfailed,theproducer
to
andthedistributor
fatal
or
losswhichdisaster
to
co,uldafford.So
a
someextent,filmnamesmeaneitherfortune
nalne
fihll.makers.Hence
successfulis
so
important
to
a
fill
thatitiS
expectedtobe
eye-catching,curiosity—stimulating,informative,easily-memorableand
one.
ear-pleasing.Soshouldbethetranslated
Agood
case
provedto
be
verysuccessful,whichhaswonrepeatedpraises,isthe
a
AmericanfilmWaterloo
Bridge.Asiswell?knownittellsabout
beautifulbut
deplorablelovestoryintheFirst
WorldWar.The
originalnamedoesnotindicate
anythingandaudiencec觚’t
audiencemay
even
knowmuchabouttheplotfromthe
name.What’s
worse,
bemisledinto
thinkingaboutNapoleon’Sfataldefeatat
Waterloo
BridgeinEuropein1812.Ifthetranslatorsimplytranslatesitinto“滑铁卢桥”,itmay
onlyattractaudiencewhoarefbndofwatchingWarfilms,whichsurelygoesagainst
10
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thefilm—producer’Sintention.However,thetranslatorcleverlyembedsancientChineselovestoryandthusattractsmoreaudience.Thehasprovedtobe
a
a
well—known
version《魂断蓝桥》
as
big
Success.Though50yearshavepassed,thefilm
wellasthe
namestilltouchestheheartsofChineseaudience.
2.5.2Specificrolesoffilmtitles
Firstly,filmtitleis
a
culturalproduct.There
carl
are
tworeasons.First,as
a
popular
art,film
As
all
is
just
like
a
mirrorwhich
reflectthemaintrendofideologyofsociety.
a
indispensablepartoffilm,filmtitleisalsopartofthiscultural
product.The
secondisthatfilmtitleitselfalsobearsculturalfeaturesoftheregionwherethefilmisproduced.Abundantculturalelementshavebeentracedinfilmtitlessuch
as
idioms,
slang,popularwords,linesofpoems,titlesofliteraryworks,historicaleventsdialectsetc.Inthisway,filmtit..1es
call
and
wellreflect
andcondensetheir
a
source
culture.
Duetotheabovetworeasons,filmtitleshouldbetreatedas
culturalproduct.
Secondly,filmtitleisthetrademarkof
definitionof
“a
a
a
film.Itisnecessarytofirststatethe
trademark.According
or
tO
NewOxfordEnglishDictionary,trademarkis
or
symbolword
or
wordslegallyregistered
2003:1
establishedby
useas
representing
a
companyproduct"(Pearsall
964).Film
a
producersinputlarge
amount
of
capitalandmanpowerintothemakingofAfilmwillalsoconfrontfierce
filmandofcoursetheyrequirehighprofit.
this
sense
competitioninthemarket.In
film
isalso
a
highlycommercializedcommodity.Filmtitleisused
roleofthetrademarkoffilm.
torepresentafilm,playing
a
Thirdly,filmtitle
is
a
pieceofart.Filmis
a
completely
newformofart.Different
fromthetraditionalartform,withtheaidofabsorbing
advanced
scienceand
technology
andbyofart,
advantages
ofotherarts,filmhascreated
a
anunprecedented
with
form
whichpresentsaudience、析tllpicturesinmotionthroughoftheworld
vividdescription
combinedsounds
andcolorful
camera.Since
itsbirth,ithasbeen
spreadtoevery
comer
has
because
ofitsuniquewaysofexpressingfeelings
andemotionand
become
a
anecessity
inpeople’Sspirituallife.Filmtitle,嬲anecessarypartofafilmis
a
segmentandcomponentof
work
pieceof
art.Withouttitle,afilmcannotbeviewedas
complete
and
will
be
forgottenbyaudiencesoon.Moreover,thecreatingoffilm
11
titleishighlycreative.Agoodfilmtitlecannotonlyprovideaudienceaesthetic
audience’Sdesiretoseeenjoyment,informationaboutthefilmbutalso
allc锄evokethefilm.The
beviewednamingprocessitselfisasaartisticcreation.Therefore,filmtitleshouldalsopieceofart.
2.6Summary
Inthischapter,theprofilesoffilmandfilmtitleincludingfilmgenre,namingapproaches,features,functions
ordertohelpL1SandpositionsofEnglishfilmtitlesareexaminedinontohaveabetterunderstandingofthenatureofthem.AsthestudiesFTTinChinaarestillattheinitialstage,moreeffortsneedtobemadebytranslatorstoestablish
tostudyasystematictheoreticalframeworkontoguideit.ThenextchapterisgoingthetheorybasedSkopostheorieSOastoexploreamorecomprehensiveandsystematicapproachtoconductstudiesonFTT.12
Chapter3TheoreticalFramework
ThischapterisdevotedtotheintroductiontorelatedtheoriestoprobewhatishappeningintheprocessofFTT.Readersarenotsupposedtogetadetaileddescriptionofallfunctionaltheoriesoftranslationbutonlysome
presentedinthosetheories.which
onasareofthepointsrelevanttoFTr.Skopostheoriewillbefocusedthefoundationofthewholethesis.
3.1AndreLefevere’Stheories--translationasrewriting
Fame,AndreInhisbookTranslation,RewritingandtheManipulationofLiterary
.Lefeverefullydevelopedhisideas
onontranslationandculture.Inthisbook,heparticularlyfocusestheexaminationof‘veryconcretefactors’thatsystematically
governthereception,acceptanceand
power,ideology,institutionandrejectionofliterarytexts;thatis,‘issuessuch1992a:2)asmanipulation'.(Lefevere
Heproposesthattranslationis‘'themostobviously
allrecognizabletypeofrewriting...becauseitisabletoprojecttheimageof
beyondtheauthorand/orthoseworksboundariesoftheirculture
canoforigin”.(Lefevere1992a:9).Themotivationorforsuchrewritingbeideologicalpoetological.Hedescribesthatthreemain
factorscontrollingtheliterarysystem,inwhichtranslationfunctions,namely,professionalswithintheliterarysystem,patronageoutsidetheliterarysystemandthedominantpoetics.Allthesefactors
onhavegreatinfluenceontranslators。Hearguesthateveryleveloftranslationprocess,oflinguisticsconsiderationsenterinto
considerationsofallconflicts晰tllideologicaland/orpoetologicalnature.thelattertendstowinout.
Accordingtohimthemostimportantconsiderationfortranslmionistheideologyoftranslators,ortheideologyimposedontranslatorsbypatronage.111epoetologicalconsideration,accordingtohim,referstothedominant
targetpoeticsintheislanguage(TL)culture.Throughcaseanalysis,Lefevereholdsthattranslationcloselyrelatedtoauthorityandlegitimacy,and
13ultimately,topower.111edominant
ideologyintheTLculturedictatesthetranslationstrategyandthesolutionproblems.tospecific
3.2Thegeneralintroductiontofunctionaltheoriesoftranslation
Duringthe1970sand1980s,theGermanfunctionaltheoriesoftranslationflourished.AschoolofGermanscholarsshifttheirfocusfromstrictlinguisticsto
adynamicfunctionalismintranslationstudies.Functionalismismajorshiftfrom
linguisticequivalencetofunctionalappropriateness.Thefunctionalisttheoriesexpandthescopeoftranslationstudies
reflectingatoabroaderarea---extralinguisticandculturalaspect,moreflexibleperspective.
aAccordingtoSchaffner,“Functionalistapproachiskindofcovertermforthe
researchofscholars"‘whoarguethatthepurposeoftheTTisthemostimportantcriterioninany
‘‘asatranslmion”.(Munday2001:78).Translmionisconceivedprimarilyaprocessofinterculturalcommunication,whoseendproductistextwhichiscapableoffunctioningappropriatelyinspecificsituationsandcontextofuse’’(Munday2001:79).Afewfamousfunctionalistscholarsandtheirtheorieswillbelistedasfollows.
●KatharinaReissandherfunctionalisttranslationcriticism
KatharinaReissisoneoftheinitiatorsofthefunctionaltheory.Inherbook
aTranslationCriticism--thePotentialsandLimitations,Reissdeveloped
translationcriticismbasedonmodelofthefunctionalrelationshipbetweenSYandTTtakingequivalenceasherbasis.Shestressesequivalenceattextlevel,linkinglanguagefunctiontotexttypedandtranslationstrategy.
●ChristinaNordandhertranslation-orientedtextanalysis:afunctionalapproachwithmoreattentiontoST.
ChristinaNord,oneofthemain
analyzesadvocatorsoffunctionalisttheory,systematicallyandsummarizesthefunctionalthoughtsinGermany.Shestatedthat‘‘afeaturecommontothefunctionalistscholarsengagedintranslationtrainingisthat,unlikethelinguistictheorists,也eytrytofocusonthelanguage-independent14
pragmaticorculturalaspectsoftranslation,emphasizingthespecificnatureof
acompetenceasagainstlanguageproficiency.”(200i:14).HerbookTranslatingas
PurposefulActivity:FunctionalApproachesExplained,isofgreatsignificanceas
onarefefenceforfurtherstudiesfunctionaltheories.
●HansJVermeer’SSkopostheorieandHolz—Manttari’Stheoryoftranslationactionwillbeanalyzedindetailsasfollows.
3.3Skopostheorie
SkopostheorieWasfirstintroducedbyHansJ.Vermeerin1970sandthemajorworkonSkopostheorieishis
onbookGroundworkforaGeneralTheoryofTranslation.‘‘Skopostheoriefocuses
translationmethods
functionallyadequatethepurposeofthetranslation,whichdeterminestheareandstrategiesthattobeemployedinordertoproducearesult.“(Munday,2001:79).Inthe
befollowingpart,someoftheabasicaspectsofSkoposthoeriewillanalyzedtodisplayclearoverviewofthe
theory.
3.3。1Definitionsofskopos
Skoposis
byHansaGreekwordfor“purpose”.ItWasintroducedintotranslationtheoryonJ.Vermeerinthe1970s.Skopostheoryfocusesthepurposeofthe
aretranslation,whichdeterminesthetranslationmethodsandstrategiesthat
atobeemployedinordertoproduce
tofunctionallyareadequateresult.(Mundy2001:79).AccordingVerrneer,there
atbYthreekindsofpurposesinthefieldoftranslation:tothegeneralpurposeaimed
earnathetranslatorinthetranslationprocess(perhapsliving),thecommunicative
instructthepurposeaimedatbythetargettextinthetargetsituation(perhapsto
translationstrategyofreader)andthepurposeaimedatbyaparticularprocedure(forexample,to
sourcetranslateliterallyinordertoshowthestructuralparticularitiesofthe
3.3.2Skopos’principlelanguage”(Nord2001:28).
Vermeerfurtherputsforwardtheskopos’ruleviewedasthetop-rankingruleintranslation.Itstatesthat“atranslationalactionisdeterminedbyitsskopos,thatis,the15
endjustifiesthemeans.”(Nord2001:29)Vermeerfurtherexplainsitinamoredetailedway:
Eachtextisproducedfor
ofskoposagivenpurposeandshouldservethispurpose.Theruleathusreadsasfollows:translate/interpret/speak/writeinwaythatenables
peopleyourtext/translationtofunctioninthesituationinwhichitis
whowanttouseusedwiththeitandpreciselyinthewaytheywantittofunction.(Nord2001:29)
VS.AccordingtoNord,theSkopos’rulehaswellsolvedthedilemmaoffree
faithfultranslation,dynamicVS.formalequivalence,goodinterpretersVS.slavishtranslatorandbecausethestrategiesadoptedin仃anslatiousalldependonpurposeforwhichthetranslatorisneeded.“Theendjustifiesthemeans”(Nord2001:29).AllattemptsmadeservefortheveryskoposofFTT.
3.4Translatingandthetheoryofaction
Accordingto
viewedasaHolz-Manttari’STheoryofTranslationalAction,translatingisformoftranslationalinteraction,intentionalinteraction,interpersonal
ainteractionandcommunicativeaction,interculturalactionandatext-processing
action(Nord2001:16?25).Thenextpartisgoingtodealwithsomeoftheaspects
arementionedabove,which
3.4.1Translation
AccordingtoasfoundrelevanttoFTT.intentionalinteractionwetalkaboutintentionalityininteraction,
orChristianNord,“whenaweassumethatthereexits
notchoiceforthepersontoactinthiswayconceptas‘‘forananotherwayoractatall’’Vermeerdefinesthe
thepersonperformingitactofbehaviortobecalledanactionmust(potentially)beabletoexplainwhytheactsas
2001:1hedoesalthoughhecouldhaveactedotherwise”(Nord9).Puttingthisconcept
inthefieldoftranslation,Nordstatesthattranslatingisanintentionalinteractionwhichaimsatfirstlychanginganexistingstateofaffairs,forexample,changingthesituationinwhichtheinabilityofcertainpeoplehamperstheircommunicationwitllothers.Shefurtherpointsoutthattheremayexistextendedintentions“suchastothe16
虫卫:竺!!竺也曼星翌曼!i些E!!里里型箜::生竺里塑!£竺121璺堡121璺12墼墅12生!
9).
targetaddresseraboutsomethingthesource-textsenderhastoThusthe
say'’(Nord
2001:l
intentionalityisoftenassociatedwiththe“initiator'’ofthetranslation
as
process.Thisintentionalitybeingimentional,buttoparticipants
or
Vermeerputsforward“does
being
seen
not
refer
as
toailactionreally
itsand
interpreted
intentional
by
the
anyobserver(Nord
asa
2001:1
9)
3.4.2Translating
communicativeaction
sense
Communicationinitsnormal
iscarriedoutbysigns.Itis
or
a
verbal
or
non—verbalbehaviortotrytotransfertheconceptmeaningofthesignsfromthereceiver
producer
to
the
receiver.Theproducer
use
andthe
may
havedifferent
interpretationsofthesigns.The
theproducer
ofsignshasitsparticulargoals,forwhich,both
andthereceiverhavetomake
anagreement
on
themeaningofthesigns
andsignswhichareconventionalthinksthattranslatingisactuallyforthetarget
and
a
cultural—specific.Referringtotranslating,Nord
procedureinwhichthetranslatorproducessigns
audience(Nord
2001:23)Asthesource-textsender
andthe
target
audienceliveintwodifferentcultures,thetaskfortranslatorsistomakethesignsin
thesource—textculturemeaningfulandunderstoodbytargetaudience.Hefisher
suggeststhatifthesignwhichismeaningful
intheSOUrceculturewhilewillbe
misunderstood
bythetarget
2001:23)
asall
audience,it
isthetranslator’Stasktomakethetmnslmion
accordingly.(Nord
3.4.3Translating
interculturalaction
Functionalists
culture
is
believethat
language
is
anintrinsic
partof
a
culture,especiallyif
definedas
a‘、otality
ofknowledge,proficiency
isfurther
and
perception’’
(Snell—Homby2003:40).ThistermWard
HGoodenough:
see
clarified
byAmerican
anthropologist
AsI
it,asociety’Scultureconsistsofwhateveritis
one
hasto
know
SO
or
believeinordertooperateinacceptablemannerstoitsmembers,anddorolethattheyacceptforlearn
as
in
any
any
one
ofthemselves.Culture,being
what
peoplehaveto
distinctfromtheirbiologicalheritage,mustconsistoftheendproductof
a
learning:knowledge,in
mostgeneral,ifrelative,senseoftheterm.Bythis
a
definition,weshouldnotethatcultureisnot
material
phenomenon;it
doesnot
consistofthings,people,behavior,oremotions.Itisrather
things.Itistheformsofthingsallorganizationofthesethatpeoplehaveinmind,theirmodelsforperceiving,relatingandotherwiseinterpretingthem.(Nord2001:36)
asaAccordingtoVermeer,thisdefinitionserversgeneralstartingpointfor
thissense,cultureisafunctionalistapproachtotranslating(Nord
besubdivided2001:24)Incomplexsystemandcaninto‘'paraculture”,“diaculture’’and
and“idioculture”(Nord
sub-systemsale2001:24).However,theborderlinesbetweenculturalsystemextremelydifficulttodefineuntilaNorthernAmerican
aanthropologistwhoworkedasan“interculturalpractitioner'’inMexicopresents
differentviewtowardsculture.
CultureissomethingthattheICP(interculturalpractitioner)creates,astoryhe/shetellsthathighlightsandexplainsthedifferencesthatcausebreakdowns.Cultureisnotsomethingpeoplehave.Itissomethingthatfills
notthespacesbetweenonthemandcultureisanexhaustivedescriptionof
toanything;itfocusesgrouptodifferences,differencesthatvaryfromtasktaskandgroup(Nord
2001:24).
InAgal’Spointofview,languageandcultureareinterdependentandtheyCanbecombinedtogethertocalled‘‘langaculture’’which‘‘istreatedasssingleentitybyhimandtheculturalboundaryismarkedby“richpoints”,whicharedifferencesinbehaviorcausingcultureconflictsorcommunicationbreakdownbetween
ontwocommunitiesincontact'’(1bid,25).Based
translationtasktheseonpointsrelevanttoapracticalbetweenthegroupsorsub-groupseithersideofthelangaculturebarrier’’(Nord2001:25)
Enlightenedby
anintentionalthetranslationaltheory,wecanviewthetranslationoffilmtitleastheintentiontocallinteraction诵tllupontheaudiencetoseefilm,acommunicativeaction,inwhichcommunicationexistsbetweenthetranslatorandthefilmproduceraswellasbetweenthetranslatorandthetargetaudienceandlastlyaninterculturalactiontakenbythetranslatortotransfertheadequatemeaningbetweentwodifferentcultures.18
OnTranslatingEnglishFilmTitles--fromthePerspectiveofSkopostheorie
Chapter4PracticeofFTT
4.1Skopostheorie’sinfluenceonFTT
ofitis‘'theendAccordingtoSkopostheorie,theessencejustifiesthemeans’’
(Nord2001:29).TheskoposisthekeytothewholeprocedureofFTT.Inordertofulfilltheskopos,translatorsshouldadoptappropriatestrategiesaccordingtodifferenttarget?audience.FunctionsofEnglishfilmtitleshavebeenanalyzedinChapter2namelyinformative,expressive,aestheticandvocativefunctions
taken弱atrademarkofaThefilmrifleCanbefilm,apieceofcreativeartandaculturalproduct.Itcan
toneforinformaudienceofrelevantinformation,setthefeeling
audiencethefilmandentertainaesthetically.However,its
seevocativefunctionismoreimportant.Thatistoservecalluponaudienceto
Asathefilm.Alltheotherthreefunctionsaonlythisskopos.commodityneedsconsumersand
tosecpieceofartneedsappreciators,afilmneedsaudienceit.T11iSnaturedeterminesthatboththetranslationactandthe
translatedfilmtitleareaimedtocallupondomesticaudiencetoappreciatethefilmproducedinaforeignculture.
Inthefollowingpart,wewillexamphenomenainF1vrfromtherealizationoffourvalues,namely,cultural,informative,aestheticsandcommercialvalues.
4.2Realizationoffourvalues
4.2.1Realizationofculturalvalue
FihIl,嬲aculturalproduct,reflectingtheideologyandvaluesofthemainculturalstreamandisanartisticreflectionofpeople’Sdailylife.Thetitle—.Ⅱlewindowofthefilm,inevitably
allreflectsthefeaturesofthelanguageandcultureofacountry.ThefollowingisanalysisoftherealizationofculturalvalueinFTT.
4…211Cuituralconnotationinl呵T
ThispartisgoingtOdealwiththeculturalconnotationoffilmtitles.Vermeerproposedatermtheculture—specificphenomenon.Accordingtohimitisthe“onethat19
isfound
toexistinaparticular
form
or
functioninonly
one
ofthetwoculturesbeing
source
compared”(Nord
2001"34).Asthiskindofphenomenaisuniqueinthe
culture,whiletranslatingfilmtitlescontainingtheseelements,translatorsshouldbeverycautiousbecausewhichseemsmeaningfultothe
source
targetaudiencemay
make
upon
noSellSetoto
thetargetculturereceivers.Inorder
see
toreachtheskoposofcalling
people
the
film,translators
should
make
effortstomakethese
cultural-specificphenomenaknownandexampleswillbe
cover
understood
byChineseaudience.Abundant
are
shown
toillustrate
howthese
phenomena
treated.Examplestales,legendaries
thefollowingaspect:titlescontainingreligious
stories,缸ry
and
idioms,
4.2.1.1.1ReligiOUSstories,fairytalesandlegendaries
Religiousstories,fairytales
and
legendaries
alea
major
source
afterwhichthe
filmisnamed.Someofthosearecultural.specificandunfamiliarwhilesomeare
toChineseaudience
well-knowntothem.Thus
whentranslatingfilmtitles,originatedfrom
situationbut
suchSOUrCeS,translatorsshouldadoptparticularapproachinspecific
shouldalwaysbearthe
literallyandfreely
skopos
ofFTTiIlhis
mind.Thefilm
21
Grams(2003)is
translatedinto{21克》and《灵魂的重量》(theweightofsoul)
one
respectively.AccordingtoChristian,21gramsistheweight
losesattheexact
senses
momentofhisaudience.
death.Therefore,the
secondversionmakesmore
toChinese
LastFightofNoah≥Ark(1982)is
a
a
lightdramaabouthow
a
a
missionaryNoah
of
DuganBobby
all
and
youngboymanagetopopulate
deserving
island、析tllcritters
types.Ⅲsfilmtitlewastranslatedinto《大人细路历险记》(adventureofadults
HongKong
andchildren)in
and《诺亚奇遇记》(Noah’Sadventure)inMainland
Noah’Sarkand
thestory
China.AsmostofChineseaudiencearefamiliarwith
depictedinthefilmissimilartothatone.Aliteraltranslationof《诺亚奇遇记》Can
remindChineseaudienceofthefamousstoryof‘'Noah’SArk'’.
4.2.1.1.2Idioms
Idioms
meaning
arethegroupsofwordsandphrases“establishedbyusage
fromthoseoftheindividualwords”(Pearsall
20
as
having
a
notdeducible
2003:908).As
twolanguageswhich
are
widelyusedintheworld,Chinese
can
and
Englishareboth
abundantinidioms.Someoftheidiomsi11eitherofthe
findequivalencewhiletherestareunique
two
cultures.
●Englishidioms
TheidiomsexaminedbelowarethosewhichChineseculture.Duckfreely
are
uniqueinEnglishwhileabsentin
Soup(1933)was
easy
translatedliterallyinto《鸭汤》《鸭羹》and
HongKong
into《轻易之举》(all
task)inMainlandChina,Taiwanand
just
respectively.Thefirsttwotranslatedversionsare
literalrenderingsoftheoriginal
filmtitle,however,theymake
no
sense
toChineseaudience.Actually,accordingto
NewOxfordEnglishDictionary,‘‘DuckSoup’’meRllS‘‘aneasytask,orsomeoneeasy
to
overcome”(Pearsall2003:570).Therefore,the
third
one《轻易之举》(alleasytask)
idiomandmade
itself
haswell
demonstratedtheculturalconnotationofthis
toChineseaudience.
comprehensible
TakeSalt
of
Earthasanotherexample,peoplewho
ale
ignorantofwestern
culturemighttranslateitanysense.As
a
into“地球的盐”literally.This
translationdoesn’t
make
matteroffact,“saltofearth”isdrawnfrom
or
New
as
Testament(Matthew,
Ch.5,V13),whichmeans“anypersonpersonsregarded
thefinest,noblest'’.Sothatitisimportant
one
theversion《社会中坚》ispreferred.Thisexampletellsunderstandthecultureaswell
the
aS
USto
thegral/lmarandvocabularyof
to
language.Even
formerismoreimportantandharder
understand
to
some
extent.
Foranotherinstance,TheBird-keeperwhoseliteralmeaningisthepersonwhokeepsthebirds.ButinfactitreferstopeoplewhoSothe
ale
sentencedtolifeimprisonment.
translation《终身犯》isvery
suitable.
●Chineseidioms
Chineseidiomsareconciseinstructureswhilerichinmeanings
andare
quite
familiartoChinese
audience.The
filmThreeSmartGirlstells
a
storyofacouplewho
becomeestrangedandtheirthree
daughters竹toreconcilethem.The
Chinesetitleis
《满庭芳》..Itremindspeople
XuanansweredXiegeneration
use
oftheliteraryquotation
from《晋书?谢安传》Xie
later
An“譬如芝兰玉树,欲使其生于庭阶耳。”Thenthe
theorchidstocompare
with
excellentchildren.Althoughitmainly
referstoboys,itisalsoreasonabletorefertogirls.
Observethefollowingexamples:The
Misfits《乱点鸳鸯谱》,刀2e
Comesto
WeddingNight
《洞房花烛夜》,Love
andStory
with
MyFather《天伦乐》,Who
Dinner《金龟婿》
are
of
Aaye
Dachin《红楼琴断》.All
translationsmentionedhere
acceptablewhich
are
fullofChineseculturalflavors
serveas
and
cater
toChineseaudience.
can
Directlyusingidiomstoofintimacy,which
call
thetranslationofEnglishfilmtitle
createasense
befurtherreflectedinthefollowing
examples:
OrdinaryPeople
GrossFatigue
《月天络而/《普通人》
《黻力励/《累得要命》
《纺菇帔女》/《我的好女友》
MyFairLady
NickofTime
Thefirstversionin
《于钧_励/《关键的时刻》
each
pairisintheformof
a
Chinese_idiom.Compared、Ⅳitll
all
thesecondolle,itismoreacceptable.Itshowsthatbyadopting
elementwhichis
familiartoChineseaudience,translatorssuccessfullydrawthefilmclosertoaudienceandmakethetitlemore
memorable.Theaestheticeffectofthe
adoption
of
four-characterphraseswillbefurtherdiscussedintheaestheticaspectlater.
4.2.1.2Culturaladaptation
Theaboveanalysis
hasshownthatthetranslatorenrichesthe
the
targetcultureby
sumup,the
introducingsomedifferentanduniqueelements
technique
tOitthrough
F兀.To
adoptedbytranslatorsis
to
makeslmnge
foreign
culturalelements
not
comprehensibleandacceptabletoChineseaudience.However,translationis
processofculturalenrichment,butalso
a
just
a
processofculturaladaptation.Inother
can
words,itisnottheonlyeffectiveattemptthetranslatorculturalelements
trybymal【ingforeign
comprehensible
toaudienceinorder
toadapt
tofulfilltheskoposofFrr.It
to
isalsoproved
create
tobean
effectiveway
thetranslation
thetargetculture
to
anintimacyofforeignfilmstoChinese
audience.The
followingpandeals、析tll
culturaladaptationinthelanguagesystem.
4.2.1.2.1Languagesystem
Insometranslatedfilmrifles,translatorsdeliberately
adoptsome
target-culturally
featuredwordsandexpressionsinwording,whichCanbereflectedinthreeaspects:
22
虫!竺型型竖垦型塑型巴墅坚=生2婴鱼!呈竺£!型∑121兰!竺墼墅!竺生!
classicalChinese,poemsanddialects.●ClassiealChinese
TheadoptionofclassicalChineseisnecessaryinsomeFTT.ApplicationofclassicalChineseisaneffectivewaytoachieveconcisenessandrhythminbothcreationandtranslationattheurgentmoment.InChinesecouldbeFFT,theuseapplicationofclassicaliteasilyfound.TheappropriateofCanenhancetheexpressivenessofthetitleandwhat’Smoreimportant,itmakesthetitlemoreChinese-flavoredandthusitwillbemoreeasilyacceptedbyChineseaudience.Let’Sexaminethefollowingexamples.
《铁鳓/《铁马》
^bwandThen
FuneralCeremony《此时缎0》/《那些日子以来》《风光大励/《葬礼》
《今夜情归匆处》/《你在哪》
toWhereYou彳reGuessWho'sComingDinner《谁来赴宴君且猜》/《猜一猜谁来吃晚餐》
firstversionofeach
aTheUSeof“骑",“此”“彼”,“殓",“何”and“君”inthepairmakesthetitlemoreconciseinwordingandmoreeffectiveincreating
lyricalflavor.
Inspecialaddition,thecharacter“之”isfrequently
callusedforthesakeofterseness.Thefollowingexamplesshowthispoint.
《冬之狮》/《冬天的狮子》
ColorofNight《黑色之夜》/《夜晚的颜色》FieMofDreams
●Poems
Chineseale《梦想之地》/《梦想的地方》proudoftheirsplendidpoemhistoryespeciallyitspeakinTangandSongDynasty.PoemisanimportantelementofChineseculturewhichisthereflectionofpeople’Sfeelings,emotionsnation’Sculturaltraditionandwishes.Itreflectsthedeepstructureofaandrecordsthehistoryofthenation’Sspiritinavividway(Yah2003:3).PoemCan
featuresandcancreatebeautyinsound妃也itsuniquestructuralandvocalcreateallkindsofaltisticmoodsforreadersto
Bseimage.reasons.Firstly,notItisnotverycommontopoemastheFrr.Therearetwo
everyfilm
linguistictitle啪bematched、析ththeproperpoemline.Secondly,Olleofthefeaturesoffilmtitleisconciseandshortinlength.However,somesuccessfulexampleshaveproveditsspecialeffect.
Takethefilm
inLol砒tasallexample.Thetitleisliterallytranslatedinto《洛丽塔》MainlandChina.WKleinHongKong.itwasereativelytranslatedinto《一树梨花压海棠》。Theflowers
Itisdrawnfromaofpeartreesandcrabappleflowershavesomedeepmeanings.poemofSuShi,13.veryfamouspoetofSongDynasty:“十八新娘
Shiwrotethis八十郎,苍苍白发对红妆。鸳鸯被里成双夜,一树梨花压海棠。”Su
poemtoteasehisfriendZhangXianwhogotmarried、ⅣiⅡ1an18-year-oldlady.Herethewhiteflowersofpeartreessymbolizethegreyhair
crabappleflowersmeantheyoung.Soitmeans
Lateritbecame
Thefilm
aanalloftheold.Andtheredaoldmarli13RtTiesyounglady.idiomreferringtellsatOoldhusbandsandyoungwives.Lol讹tstoryofamiddle-agedprofessorwhofallsindeeplove、析mmiddleschoolgirlof12.Sothethemeagreeswi廿ltheformerstoryofZhangXian.
lineintranslationtoBydirectlyquotingthepoemprovidesomebackground
informationofthefilmforaudience,thetranslatormakesthisfilmtitlemoreintimatetOChineseaudience.Thus<一树梨花压海棠》is
isprovedtObeaabetterversionthan《洛丽塔》whichjust11foreigngirl’sname.Itisgoodexampletoshow
combinationofthemeaningoftheforeignfilmandChinesetraditionalcultureperfectly.
ExamplesofthiskindaleWhereistheFriend'sHome?(1987)《踏破铁鞋无觅处》andTheFabulousBakerBoys(1990)《一曲相思情未了》etc.
●1)ialeets
TheculturaladaptationofFTTalsoincludestheadaptationindictiontothedialectsofdifferentregioils.ThisphenomenonisextremelyprominentinHongKongwhereCantoneseisthemostpopular
ordialect.ManyaletranslatorsuseCantonesewordsphrasesintheirtranslatedfilmtitles.Heresomeexamples:
DennistheMenace
AboutSchmidt《厢鹆屋个翩《薯鹨色生》
LastFight
ofNoah'sArk
usedtoaddresslittle
Here“隔离”meansneighbor,“仔”is
stupid
as
a
boy,“薯麦’’means
can
potato
and“细路”means
children.Suchversionswithdialects
be
moreeasilyacceptedbyHongKongaudience.Inall,theuseofCantoneseinFTTcan
establish
a
localculturalself-identityforthefilm(Qian
Guardian,1993:114)and
makethefilmmoreacceptablebyaudienceinHongKong.
Taxi
Driver(1976)isanother
dialectsofdifferent
goodexampletodemonstratethein
advantages
of
adopting
regions
F订.It
is
translatedinto《出租车司机》,《的
andTaiwan
respectively.
士司机)and《计程车司机》i11Mainland
Astheword‘'taxi”is
China,HongKong
addresseddifferentlyineachofthethree
differentterms
can
regions,translators
havenoticedthisdifference
andadopted
FTT
。Tosumup,culturaladaptationin
createasenseof
intimacyandmake
thetranslationmoreeasilyacceptedbytargetaudience.TheculturalelementsinFTT
can
appropriate墩oftarget
skoposofFq广r:calling
helpthetranslatorto
achievethe
uponaudiencetoappreciatethefilm.4.2.2Realizationofinformativevalue
Good
translations
never
misleadthe
reader
on
nor
distorttheoriginal.Thisis
a
basic
po缸inFTT.The
translationshouldfocus
thethemeof也efilmandshowasmuch
a
informationoftheoriginalaspossibleandplay
valuerequiresthetranslatortohaveand
a
realrolein
leadingto
watch.This
thoroughanddeepunderstandingofthestory
a
backwood
inthefilm.Otherwiseitwillbebrokenversion.ItisstatedinThe
BookofGuan
Z/《管子?九守》:toname
afterthecontentandcheck
againstthetitle
(循名而督实,按实而定名).In
consider
theprocessoftranslation,the
translatorhasto
twothings.OneistheoriginalEnglishtitle
a
andtheotheristhecontentofthe
film.What
translatorshoulddoistobefaithfultotheorigirlaltitleaswellasthe
filmcontent,andstrivefortheunity
thatthoseChinese
between
the
formand
thecontent.Factsprove
filmtitleswhichshowthethemeofthe
following
are
film
clearlyareverypopular
among
audience.The
verygood
examples.TheSoundofMusic《音乐
之声》,砌PGodfather《教父》,Superman《超人》,StarWars《星球大战》,
Spartaeus《斯巴达克》,SisterCarrie《嘉莉妹妹》andDances
共舞》etc.Onseeingthesefilmtitles,audiencegenerallycallwithWolves《与狼thecontentof
ajudgethesefilms.Let’Sprobeintoanexampleindetail.The31stCondemnedCriminalis
hetypicalone.Alawyersucceededindefendingother30condemnedcriminalsbut
himselfbecamethe31吼condemnedcriminal.AudienceCanknowthatthefilmisaboutthecrimeby
arousejudgingthefilmtitle.Thefigure31calldrawmuchattentionandtheircuriositywhichwilldrivethemtowatchit.
4.2.2.1Informationprovidingaspect
4.2.2.1.1
AsInformingaudienceaofthefilmgenreCallgoodbrandnameinformcustomerswhichcategorytheproduct
toinformaudienceofthegenreofthebelongsto,agoodfilmtitleisalsorequired
film.Throughfilmtitles,audienceCan
onelearnaboutthegenreoffilmsandchoosethethattheyareinterestedin.Ithasbeenobservedthatamongthetranslatedversions,titlesofdifferentgenresoffilmsmayhavetheiruniquelinguisticfeatures.Forexample,thetitlesoflovestoryfilmsmostlycontaincharacterssuchaS“f青(10ve)”,“梦(dream)”,“恋(romance)'’and“曲(melody)”ere.Translatorsoftenadoptwordslike“惊魂(soul.stirring)”,“杀(killing)”,“鬼(ghost)”and“魔(evil)”ere.inthetranslationofhorrorfilmtitles.
SomesuccessfulFTThavewellexemplifiedfilmgenres,e.g.
RomanceFilms.
ThePiano
TheRemains《钢琴别恋》oftheDay《告别有情天》
《雨中曲》SingingintheRain
HorrorFilms
TheNightmareBefore
AmericanPsycho
ActionFilms.
InLineChristmas《圣诞夜惊魂》,《美国杀人魔》ofFire《火线狙击》,
《剑鱼行动》Swordfish
Presentdanger
《燃眉追击》
However,therestillexist¥0111etranslatedtitles,conveyingwronginformationof
thefilmgenretoaudience.Thethepoint.Piis
a
filmPi(1998)¥el'VeS
a
aLsa
goodexampletoillustrate
call
sci.fifilm.Inthefilm,itindicates
code,which
influencethe
wholeworld.Thistitlehasgotthreetranslatedversions《圆周率》(pi),《死亡密
ofthe
码》(codeofdeath)and《数字旋涡》(whirlpool率》is
a
number).Theversion《圆周
literalrenderingoftheoriginaltitle.Fromthissense,itisfaithfultothe
original.However,thisscientific
a
terminologymaymislead
Olle
audiencetothinkthatitis
popularscienceandeducational
al'g
tointroducetheconceptof“Pi”.In
comparison,
as
theothertwoversionsthecontenttoaudience.
muchbetterinconveyingthegenreofthefilm笛well
4.2.2.1.2Informingaudielleeofthethemeof
a
film
COl'e
Murphypoints
outthatthebrandnameistheof
a
product’sidentityandaboutthegenreof
a
personality(Mruphy
1
987:35).Despiteprovidingtheinformation
can
film,filmtitlesometimes
reflectthethemeofthefilm.Partofthese丘lmtitles
are
are
thesamewiththetitlesofnovelsfromwhichthefilmseasilygetwhatisgoingChatterley'sLover
011
adapted,thusaudience
can
inthe
fi虹such蠲,Great
Expectations(1946),/,aay
titlescontainfamousplaces,
at
0982)andTess(1982)etc.Thesefilm
llamt:¥orhistoricalevents.Audiencewillgetimmediateinformationaboutthefilm
thefirstglanceofthefilmtitle.Examples
are
TheLanding
Or/Normandy(1986),
Call
Titanic(1997)and
Pearl
Harbor(2001)etc.It
a
hasbeennoticedthatsomeinform
thecontentofthefilmthrough
tO
statementcontainedinthefilmtitle.Mr.SmithGoes
Washington(1
939),Guess觋D§Comingto
Dinner(1967)and』Bought
a
Vampire
Empire(1990)Callserve笛goodexamples
TheThird
toillustratethispoint.
Man
WaStranslatedinto《第三者》atfirst.This
a
versionmightmake
Chineseaudiencemisunderstandthatitis
filmaboutthefamilyethicalfilmwhich
a
tellsthestoryaboutextramaritalaffairs.Butinfactittellsstoryabout
a
traffic
accident.HerethethirdpersonⅡ1eansthethirdeyewitnessinthelocaleofthetrafficaccident
SO
the
version《第三目击者》makes¥ellSe.So
obviouslythetranslationof
《第三者》misleads
audienceanditfailstoinformaudienceofthethemeofthefilm.
4.2.3Realizationofaestheticvalue
Everyonelovesandstrivesforbeauty.Finding,appreciatingandpursuingbeauty
isthe
nature
andshareofhuman
beings.SoduringtheprocessofFTr,translators
shouldtakeaudience’Sdesireforaestheticfeelingintofullconsiderationandrealize
theaestheticvalue.Duringthisprocess,translatorsshouldthrashthewordsandtry
selectthe
ones
to
bearingbeautyinsound,form
and
meaning.Itisonlybyconsidering
thesethatyouCanwritea
sentencethatisgoodtolookat
and
goodtolistento(词有
其力、其音、其形、惟考虑这些,方能写出醒目入耳之句).(秦秀白,1987:13)
Accordingto
Reception
Aesthetics,the
historicallife
ofliterarywork
a
is
unthinkablewithouttheactiveparticipationofreaders.Thereceptionprocessis
kind
not
ofaestheticexperience;accordinglytheaestheticsignificanceofliteraryworkCanbefullyrealizedwithoutreaders’reception.
ReceptionAestheticprovidestl¥、城m
a
newperspectiveoftherelationship
betweenfilmand
its
audience.The
tastes
to
translatorshouldbeartheimpliedaudienceiIl
Chineseaudience,theyprefer
and
mindandtaketheiraestheticthose
sentences
andjudgrnent.Forread,lovely
to
which
are
easy
s∞andhear
profoundand
daintyinmeaning.Therefore,translatorsshouldgraspthisdesireand
andsymmetry.
striveforbeauty
i11balance,unevenness,parallel
Inordertoachieve
beauty
informiIlFTT,translatorsneedendeavortomake
translatedversionsmusicali11sound.StandardChinesehasuniquefeatureswhich
makesiteasy
to
formmusical
sound.
makethe
Firstly,thefour
tonesofChinese
forming
an
oftuneseasily.Secondly,the
to
structuralfeatureofsyllablesinChineseisalsolanguage
importantelement
maketheandeach
musical
i11
sound.Syllable
isthebasicunitofthe
helpsto
sound
ofChinese
syllableis
comparativelyindependent,which
andtunearethe
achievetherhythmicalbeauty
repetitionof
whilerhythmsyllables
is
twobasicelementsof
music.Thirdly,the
anotherdistinguishedfactorwhichmakesChinese
create
powerfuliIlits
aestheticexpression.Fourthly,alliterationandrhyme
to
theconditionforChinese
formmusical
sound.Last
but
not
least,mostsyllablesofChineseend诵mvowel,
28
OnTranslatingEnglishFilm11ties一仟omthePerspectiveofSkopostheorie
easytorhymeandextend,whichisalsoacontributivefactorinformingmusicalsound(Qian1993:113).
4.2.3.1.Theadoptionoffour-character,fIve—characterandseven-characterphrases
IthasbeennoticedthatinmanyFTT,theadoptionoffour-characterphrasesisquiteacommonpractice.Theuseoffive—characterandseven—characterphrasesisalsobecomingpopularinFTTinHongKongandTaiwan.Actually,thisapplicationCanmakefulluseofthestructuraladvantages
aoffour-characterphrasesandChinesepoems、析也fiveorsevencharactersinline.
●Four-characterphrases
Four-characterphrasesindicatephrasescontainingfourcharacters,whichdeepinalemeaning,conciseandsymmetricinstructureandpowerfulinfeelingan~demotionalexpression.TheyincludeChinesefour-characteridiomsandnon-idiomphrases(Lin
theChinesenuangtiall1997:628).Manytranslatedfilmtitlesadoptthestructureoffour-characterphrases.Forexample,ArroganceandPassion
Their《气壮山河》,PockeOCu,ofMiracle《锦囊妙计》,InTeens《豆蔻年华》,BriefEncounter
《萍水相逢》,OrdinaryPeople《凡夫俗子》,OfMiceandMan《芸芸众生》and
ManyfamousChinesescholarssuchasFengQinghua,ZhuangY'mhuanandSunYingChunctC.havefi'equentlystatedadvantagesofusingfour-characterphrases.AccordingtOFeng
carlQinghua,properlyaapplyingfour-characterphrasesin仃anslationcreateacadenceinsoundandfall-and—risetone.Thusthebeautyofharmonyisachieved(Feng2002:112).Zhangholdsthatintranslation,theappropriate
calluseoffour-characterphrases
presentationandcanmakethetranslationconciseinstructureandvividinincreaseitsliterarygrace(Zhuang1999:369).SunYingchtm
ongivesanespeciallydetailedanalysistheaestheticfeaturesoffour-characterphrases
whichisreflectedinthreeaspects:Firstly,itiseconomicallyfortranslatorstoachieve
ofconcisenessandcomprehensivenessinmeaningtransferring.Thebeauty
appropriatenessandsuccinctnessisthus
aresymmelricandproduced.Secondly,four-chalacterphrasesbalancedinstructure.Thirdly,four-characterphrasesembodythe
combinationofdiversityandunification,whichistheinnatefeatureofobjectsandthe
11i曲est
formofbeauty(Sun2004:178).Becauseofthestructuralandrhythmical
offour-characterphrases,theapplicationofthisstructureinFTThelpsto
advantages
create
aestheticalbeautyinbotllits
soundand
form.Let’Sexamthefollowing
examples:
/tHappenedOneNightYou
Can}勋妇It
withYou
GoingMyWay
TheBestYearsatOurLives
The
孵笙捌/《你不能带走的东西》传笼劂/《和我一起走》
矿一凌堀冽/《发生在一天晚上的事》
形考金缈衍莎/《我们生命中最美的时光》
firstversionofeachpairismoreconciseand
examples
showthatthe
comprehensiveinmeaningpresentationbecauseoftheadoptionoffour-character
phrases,which
Canrealizethe
aestheticvalue.
●Five-characterandseven—characterphrases
Inthisthesis,five—character
and
seven-characterphrasesindicatethosewhich
firstly
are
composedoffive
or
sevencharacters
and
or
secondlyadopttherhythmical
seven
andmetrical
patternsofChinesepoems、Ⅳinlfive
charactersin
a
line.Here
aremanysimilarexamples,e.g.Fanny《春江花月夜》,Goodbye《何日君再来》
andtheListofAdrianMessenger《筇楼玉宇高处寒》,etc.
Rhythmplaysadecisiveroleinformingmusic.Itis
ofsyllablesandpauses.Chinesepoemswordingandemotion(Li
characters
are
a
disciplinarian
organization
createdin
line嘶t11
therhythmoflife,
2004:3).TherhythmicalpattemofChinese
thatofthe
poems晰tll
five
is“2,2,1”or“2,1,2”and
poems州mseven
charactersis
‘‘2,2,2,1’’or‘‘2,2,1,2’’(Li
2004:5).Themetrical
toits
patternsofChineseclassical
poetry,on
theotherhand,contribute
Chinese
beautyof
sound.The
thelimitof
melricalpatternsofclassical
poetry
are
quite
complex.Dueto
space,we
onlyfocus
on
the
metricalrulefor
a
single
line:“平平(1eveltones)”and'‘仄仄(obliquetones)"should
bealternativelyadoptedineachline(Li,2004:135).AstherhythmofChinese
iscoordinated、析mtherhythmofbreathingwhenpeople
are
poems
and
working
or
conductotherread
out
activitiesintheirdailylives,thelinesofChinesepoemsareeasy
to
musicalinsound.
30
OnTranslatingEnglishFilmTities~fbmthePerspectiveofSkopostheorie
In
For
F订,proper
use
ofthesetwopatternsisattributivetoformingdulcetsound.
Frontistranslated
example,A//auiteon砌已Western
westernfront),
into《西线无战事》。“西
the
线"(the
“无"(doesn’thave)and“战事”(battles)form
rhythmicalpatternof“2,1,2".Thusthistranslatedversionsoundsmelodious.Ghost
《人鬼情未了》,MoulinRouge《情陷红磨房》andPrettyWoman《风月俏佳人》
are
alsosuccessfulinachievingthemusicaleffect、析廿lthe
adoptionoffive-character
Let’Stake
a
lookatanotherexampleintheformofseven—characterphrase.The
Hamiltongotatranslation《忠魂鹃雪离恨天》。“忠魂”,“鹃雪”,“离恨”,
“天”
form
a
rhythmicalpatternof“2,2,2,1”and
a
metricalpatternof“平平仄仄/仄仄平”。
on
Thisversionisgoodintermsofits4.2.3.2Rhymeandtone
musical
effectaudience.
—
WhiletranslatingtheEnglishfilmtitlesintoChinese,translatorsshouldtryto
makefullUSeoftheadvantagesoftheChinese
sound
structure
SOas
to
create
a
versionpleasingtoears,toeyesandtomindsofChineseaudience.ForBodyguardhasgottwo
are
example,
they
translatedversions:《护花倾情》and《保镖》.Because
homophones,thatis“倾”(qinginPinyin)and“情”(qinginPinyin).Thefirst
a
versioncreates
rhythmicalbeautywhilethesecondiscomparativelyweakerinthis
Hallow(1978)is
andthird
translated
into《月光光心慌慌》.Inthe
filthandlast
translation,thesecond
character“光”(guanginPinyin)andthecharacter“慌”(huang
inPinyin)formvowelrhyming.Thetonesofthesetwowordsarecoordinatedwitheachother,bothhavingtheflatachieyed.
4.2.4Realizationofcommercialvalue
tone.Thus
themusicaleffectofthetranslationis
Filmisthecombinativeformofcultureandshootingfilmsis
to
commercialization.Thepurpose
boxofficeis
one
of
make
audience
enjoythem.Sothe
ofthemostnot.Every
importantstandardsbywhichone
can
judgewhetherafilmis
successful
or
film
isthecD,stalworkmadebymanypeopleandcomprises
a
investors’highcost.Ifa
filmfailedinforeignfilmmarketonlybecauseof
brokentitletranslation,thenthe
losswouldbenodoubtheavy.FromthispointofviewtheimportanceofFTTisfurtherproved.SotranslatorsCall’tbetoocareful.Thecommercialvalueisusuallyrealizedinthefollowingway.
4…241Adoptingeye-catchingwords
Firstly,tomakethetranslationeye-catching
emotionSOCallhelptoarouseaudience’Scertainthatthefilmwillbemoreattractivetothem.Forexample,Moonstruck
TheApartment
Piano《月色痨以》/《多愁善感》《钢琴嬲/《钢琴》《彩彦公寓》/《公寓》
Thefirstversionineachpairisbetterintermsoftheircapabilityofarousingaudience’Semotionofcuriosityandexcitement.
Airport
Speed《九霄铡/《机场》《笙劢寸速》/《速度》
TheGame《致石黼戏》/《游戏》
oneThefirst
andineachgroupismoresuccessfulinevokingaudience’Sexpectancysecondversionisanxiety.ThejusttheliteraltranslationwhichCan’tachievethesameeffect.Moreexampleswillbegiven
usingeye?catchingwordsinFTTasfollowstodemonstratetheadvantageof
MutingontheBounty《叛舰臻盈记》,
Conversation
AllaboutEve《窃听期渤,《彗星吴从》
asTakingthefilmtheEnglishPatientanexample,the
it.ManyChineseversion《英国病人》Can’tarouseaudience’Scuriositytowatchpeopledon’treadthenovel
、Ⅳiththesametitle,SOtheydon’thaverelevantbackgroundknowledge;therefore,thistranslationisnotsuitable.Ifitistranslated
quiteinto《别问我是谁》,theeffectwillbedifferent.ThelatteronefocusesonthefilmplotandexploresanEnglish
onpatient’Slifeexperience.Itmakesthefirstimpression
curiositytowatchit.audiencethatitisfullofsuspenseandCanarousetheir
SisterActandTheNetaretranslatedinto《修女也疯狂》和《网络惊魂》
and
.32respectively,whicharealleye—catchingfullyrealizethecommercialvalue.But
塑里竺!!型尘墨曼里型!些旦!翌里型笪=塑巴堡!!!!!巳!垒堡121兰!旦巴墅12垒呈
sometimes
itis
very
hard
toto
balanceart
andcommercializationbecause
over-commercializationisprone
bemeretriciousandnovelistic.Andpursuingthe
beautyofartunilaterallytendstoseparatefromthetasteofthemass.Therefore,hankeringforeitherpointcan’tdoitatthecostofanotherone.Howtofmdthe
balancingpoint?How
to
meetbothrefinedandpopular
tastes
andhowtoboth
entertainandenlightenthemass?Thatisthepo缸where
therublies.
4.3
Methods
Thereis
andtechniquesofFTT
singletranslationtechniquesthat
call
noolle
solvealltheproblemsof
translation.Thisisespeciallytrue
wi也FTr.The
followingtableintroducesseveral
translationmethodsandtechniquesappliedin
FTT谢th
examples.
Translations
’
Methods
transliteration
EnglishTitlesCasablancaChicagoTess
卡萨布兰卡芝加哥苔丝与狼共舞君子协定勇敢的心母女情深飞越疯人院乱世佳人
literaltranslationDanceswithWolvesGentleman'sAgreementBraveHeart
丘eetranslationTerms
OfEndearment
OneFlewOvertheCuckoo≥Nest
Gone聊砌the砌d
combination
literal
offree
BloodandSand
碧血黄沙
andMadison
CountyBridge
廊桥遗梦
西雅图不眠夜浮生若梦杯酒人生门当父不对
translationadaptation
Sleepless伽SeattleYou
Cant勋妇It
withYou
Sideways
Meet
theParents
33
OnTranslatingEnglishFilmTitles—fi.omthePerspectiveofSkopostheorie
4.4Summary
TheskoposofFTTistOcalluponaudiencetOappreciatethefilm.Inorderto
reachthisgoal,fourvaluesshouldberealized,namely,cultural,informative,aestheticandcommercialvalue.Intheaspectofculture,ononehand,translatorsareencouraged
audiencetomaketheforeignculturalelementscomprehensibletothetargethand,tocreateasenseand,ontheotherintimacybyadaptingthetranslation
atothetargetculturalcomponents.111providinginformation,itisappreciatedthat
translatorprovidesadequateinformationaboutthegenreandthemetoaudience.Asfortheaestheticaspect,thebeautyofformneedstobeachievedbymakingthetranslationmusicalinsound.Thelastaspectistherealizationofcommercialvalue.TitleswhichCanstiraudience’Semotionare
asallprovedtobemoreeasilyacceptedandamemorizedbyaudience.Itisregarded
eye-catchingeffectivewaytomaketranslatedtitle
塑里竺墅坠虫g兰望型!生E!巴!|!!箜=生2竺生!£竺翌!壁堡121垒兰2墼墅呈2垒!
Chapter5ComparisonofEnglishFilmTitleTranslationin
HongKong,Taiwanand
MainlandChina
Asforthesame
translatedversionsin
Englishfilmtitles,abundantexampleshaveshownthat
Mainland
China,HongKong
and
Taiwancouldhardlyachieve
cause
unityinmostcases.Somearguethatthisproblemwillgreatconfusionamong
theaudience,SOversionsinthethreeregionsneed
tobeunified.This
chapterisgoing
tosurveythedifferencesintheFTTinthethreeregionsandtrytoexplorepotential
reasons
thathavecausedthosedifferences.Solutionswillbe
SOas
given
attheendofthe
chapter
tosolvethe
disunityexistinginthethree
regions.
5.1ComparisonofsimilaritiesanddifferencesinFTTinHongKong,Taiwanand
Thereis
table
no
Mainland
China
denyingthatthereareunifiedtranslationsinthethreeregions(seethe
below):
HongKong
EnglishfilmtitlesRebeccaCityLightsDances
惭Wan
蝴蝶梦城市之光与狼共舞出水芙蓉乱世佳人毕业生
Majnland蝴蝶梦城市之光与狼共舞出水芙蓉乱世佳人毕业生
蝴蝶梦城市之光与狼共舞出水芙蓉乱世佳人毕业生
WithWblves
outofBath
Beauty
Gone
Withthe、聃nd
TheGraduate亿lble1
However,formostcases,eachregionhasitsowntranslatedversionsquite
differentfromtheothertwo.Let’Sexaminethenexttable.
35
EnglishfilmtitlesGood
HongKong
碱wall
心灵捕手新闻内幕英雄本色小鬼当家第六感生死恋永远爱你终极保镖雨人烈血大风暴前进高棉麻雀变凤凰绝对任务窗外有蓝天
MajrdandChina
Will
Hunting
骄阳似我星期五女郎
好人威尔?杭廷女友礼拜五勇敢的心独自在家幽灵
HisGirl
Friday(1940)
BraveHeartHomeA10neGhostInLoveandBodyguardRain
惊世未了情
宝贝智多星人鬼情未了
W打
离开以后护花倾情手足未了情热血暴潮杀戮战场
爱情与战争
保镖雨人
密西西比在燃烧野战排漂亮女人勇闯夺命岛看得见风景的房间
Man
MississippiBurning
PlatoonPretty
Woman风月俏佳人
石破天惊
a
TheRock
ARoomWith
Table2
View(
翡冷翠之恋
Table2showsobviouslythattranslatorsinHongKongand
Taiwan
oftenadopt
a
freetranslations.Theygivefullplay
to
theircreativenessandconducttranslationsin
flexibleway,mainlysacrificingtheformformeaning.Whiletranslationsadoptedby
Mainland
China
are
morcfaitlafultotheodginalfilmtitles.Table2
haswell
demonstrated
thedifferencesofstrategiesinFTTadopted
inthethree
regions.The
followingpartwilldetailtheuniquefeaturesofeachregionrespeetivelyandwillprobeintothepotential
reasons.
5.2UniquefeaturesofEnglishFTTinHongKong,Taiwanand
Mainland
Chinaandtheirpotential
reasons
FTThasuniquefeatures
ideological
inthethreeregionsrespeetivelydue
each
to
different
andculturalfactors.Featuresof
regionwillbeanalyzed
andreasons
willbeprovidedbelow.
36
5.2.1Uniquefeaturesofl叮Tinthethreeregions
●HongKong
Duetoitsspecialhistoricalbackgroundanduniqueculture,versionsinHongKongdisplayakindofvarietyandflexibility嬲translationmethodsareconcerned.TranslatorsinHongKongfavorliberaltranslationandadaptation.Theygivefullplaytotheircreativeness
followingexamples
ARoomwithaandimaginationwhenconductingthetranslatingactivity.TheCanprovethispo缸.《翡冷翠之恋》
《别问我是谁》
《山水喜相逢》
《人鬼情未了》
《风月俏佳人》
onViewTheEnglishPatientDrivingMissDaisyGhostPretryWomanTranslatorsinHongKongputgreatemphasisthecommercialvalueofthetitles
Inordertopleasethepublic,arousetheircuriosityandmaketheversionsvividandeye-catching,theyoftenadoptthefollowingways.
Firstly,theylike
sexusingsensation-orientedwordsandimagesreferringtoviolence,anddesire.Forexample,
《杀戮战场》Platoon
Cutup
VampiresinVenice
InternationalProstitution《鼐狄暴警》,《特欲幽灵》《彦彩倚招》
andintimacyareoftenSecondly,wordsexpressingemotion,love,passion
adopted:
MoulinRough《7躺红磨坊》,
《舞动澌痢,
MandolinSavetheLastDanceCaptainCorellis《火线秀‘7觚》,
Thirdly,thecombinationofChineseandEnglishandtheadoptionofCantonesewordsand
arephrasesisalsoaquitecommonphenomenoninthetranslatedfilmtitles.Thereexamples嬲follows:37
Honey,IBl洲Upthe
CurlySue
TheCableGuy
Casper
ThePrincessDiariesKids{-od、精灵BB大鳓《最9拍挡》《衰窟线人》,《启制、精灵》,《后俐肖公主》,Multiplicity
Fourthly,thles《三个菸赛一个砌containing“龙(dragon)”,“虎(tiger)”,“鬼(ghost)”,“魔(devil)”,
accountforaconsiderableproportion.Ahostof“致命(fatal)”and
proveit.
ShadowSOonexamplesCallofChina《龙在中国》Rocky3
CyborgCop
FinalAnalysis
●Taiwan
VersionsofTaiwandon’tstickButtheyale《虏威》,《魔鬼生化战警麓,《致俞莎/(》,SOcloselytotheorigi砌formandliteralmeaning.ornotasliberalastheversionsofHongKong.TheelegancethestyleoflanguageispaidmuchattentiontoThreeuniquefeaturesaleandtheexpressivefunctionisfulfilledbeaer.observedinthetranslatedfilmtitlesinTaiwan.
offour-chalacter,five-characterandseven-characterFirstly,thestructttres
phrasesalewidelyusedandChineseidiomsandproverbsaleoftenadoptedinTaiwanversions.Examplesinclude肠腩Chee咖砂
TheUmbrellas《安步当车》《秋水伊人》
《辣手美人心》
《烽火赤焰万里情》
《一树梨花压海棠》
《天妒红颜未了情》
《一曲相思情未了》
bearmoreliteraryofCherbourgFinalAnalysis尺PdsLDlitaLadySingstheBluesTheFabulousBakerBoySecondly,Taiwanversionsandromanticflavor.Thefollowing
table啪demonstrateit.3R
塑里塑!!型竖皇翌业虫旦!翌里坐!=塑里生!£!璺!!型坚21兰望巴墨!曼2受!
Mainland
呼啸山庄
美国丽人
四个婚礼一个葬礼EnglishfilmtitleHongKongTaiwanChinaWutheringHeightAmericanBeautyFour咆哮山庄美丽有罪a魂归离恨天美国心。美国情你是我今生的薪
娘Weddingsand四个婚礼一个葬礼Funeral
ThreeColors:蓝白红三色之蓝蓝色情挑
Blue(1993)
11:1reeColors:Red蓝白红三色之红红色情深
(1994)
TllreeColors:蓝白红三色之白白色情浓
White(1994)
Table3
Fromtable3we
andemphasizelovecallseethatthetranslatedversionsin碱wallaremoreIx)okishandfeelings.
Thirdly,thecommercialvalueoffilmtriesisbe吨putgreatemphasis
areoninTaiwanrecently.Eye??catchingandsensation?orientedwordsthatpopularinHong
KonghavegraduallyinfluencedTaiwan.Togivesomeexamples:
UnderSiege
You'reaBigBoyNow《蘑窟战将》《艳侣迷春》
Blindside
TheFugitive《泼7胶叉点》《绝分追杀令》
MississippiBurning
●MainlandChina《鼐久大冈暴》
Thetraditionaltranslationcriterionlike“faithfulness,smoothnessandelegance’’(“信、达、雅"),especiallyfaithfiaMess
inisfullyimplementedintheWanslationpracticediscussion.Compared、析ⅡltheircounterpartsinothertworegionsofChina,translatorsinMainlandChinaalemorereservedandcautious.
Firaly,themostprominentfeatureconcerningEnglishFrrinMainlandChinaisthatliteraltranslationmethodisoftenadopted.Theversionsalemorefaithfultothe39
originaltitlesandlaystrongemphasis
on
formalcorrespondenceandtheliteral
aS
meaningofthetitle.They
Thenexttable
are
notas
commercialized
thatintheothertworegions.
Candemonstratethispo缸well
OriginaltitlesAFishcalled
Mainland
China
HongKong
阿Wall
笨贼一箩筐真善美神鬼玩家麻雀变凤凰小鬼当家
Wanda
一条名叫旺达的鱼音乐之声飞行者漂亮女人独自在家
倩女大贼神仙鱼仙乐飘飘河处闻娱乐大亨风月俏佳人宝贝智多星
The
SoundofMusic
TheAviator
Pretty
Women
HomeAlone
玑lble4
Secondly,creativetranslatiOIlSalsoexist,however,everlthiskindoftranslatiOnsdoesnotgotoofarfromtheoriginaltitles.Forexample:TheBridges
ofMadisonCount《廊桥遗梦》.
《闻香识女》
Chinathere
Scent可口Woman
Thirdly,in
Mainlandis
a
tendencyof
SO
on
foreignness.The
are
former
fashion.
Chinesecultureimageslike“魂”,“断肠”,“梦”and
momore
a
Therearesomeexamples
Marty
oftheforeignnessofthetitleslike
《玛蒂》《卡萨布兰卡》
Hamlef
Titanic
《哈姆雷特》《泰坦尼克号》《史密斯夫妇》
reasons
Mr.andMrs.Smith
5?2.2Thepotential
According
toAndre
Lefevere,thetranslationprocessis
a
formofrewriting,or
a
recreatingactivitybythetranslatorand‘'themotivationforsuchrewritingideologicalconvention
or
Can
be
poetological”.Andhereideologyrefersto‘'thatgrillworkofform,
processof
a
andbeliefwhichorders0111"actions”.Therefore,inthe
translation,Lefeverethinksthatdominantideologyofthetargetcultureplays
40
decisiveroletranslation
on
thechoiceof
subjecL
theformofitspresentation
aus
well
aS
the
strategies.(Munday,2001:I28—1
29)mexistenceoftheunique
to
features
ofthetranslatedfilmtitlesinthethreeregionsofChinaisdue
ideologyandsocio-culturalcontextrespectively.
theirdominant
●HongKong
Asiswell—known,HongKongis
andwesternculturecollideand
all
internationalfinancecenterwhereChinese
converge.
control
oftheBritishcolonialrulefor
a
Firstly,HongKonghadbeenunderthe
almost
one
century.111ewesternculturehasexeIrted
greatimpact
on
HongKong’S
culture.Alargenumberoffilms,TVseries,booksandmagazineswhicharerelatedtoviolence,sex
and
desireswarmedintoHongKong’Smarket
ona
largescale.These
a
havegreatlyinfluencedthevalue
and
interestsofHongKongpeople.As
form—of
popularart,thefilmdefinitelyreflectstheseinfluences.
Secondly,
under
thesocial
culture
of
contextofKong
post—modernization
has
and
post—industrialization,theHong
become
largely
consumer-oriented.11be
and
HongKonglocalfilmindustryisalsohighlycommercialized
inclined
tocaterto
thepopulartaste.Inordertocalluponaudiencetowatchthe
filmand
ensure
theSUCCESSofboxoffice,atranslatorwillinputfactorswhichmay
toaudienceinto
seemmolecharmingthereare
a
thetranslated
film
titles.T11isexplainswhy
sex,
large
numberoftranslated
filmtitleswhichprojecttheconnotationof
violenceanddesire.
Thirdly,however,evenbeingruledbythecolonistsandinfluencedgreatlyby
western
culture,HongKongpeoplenevergiveupseekingfortherootoftheirculture.
essence
ActuallyHongKong’Sculturein
is
a
partofthecultureofthePearlRiver
Delta(Li2003:73).This
culturalelements,such
as
trendisreflectedinthe
theadoptionoftraditionalChinese
imagesof“龙(dragon)”or“虎(tiger)”inFTT.
an
Fourthly,thelanguagesysteminHongKongisalso
influentialfactorinFTL
Cantoneseisthemostpopularlocaldialect.Itisnaturalthatthetranslationwillmput
createa
wordswithCantoneseaccentsintothetranslatedfilmtitlesSO嬲tosense
of
intimacy.IntheearlyperiodofHongKong’S
41
colonialism,埘mtheattempt
to
enslave
localpeople,thecolonialistsforcedthemtolearnEnglishanddiscardstandardChinese.Schoolsanduniversitieswereestablished、析mEnglish鹊thesingleteachinglanguage,whichisconductivetotheformationofattitudeamongHongKongpeople--valuingEnglishwhilepayinglessattentiontothestudyofStandardChinese(Zhang2000:31).Thus,manypeopleinHongKongarebilingual,speakingCantoneseandEnglish,andtheyoftenmixtheirdialect埘t11Englishwords.ThisexplainswellwhythecombinationofChineseandEnglishisquitecommonintranslatedfilmtitles.●Taiwan
TaiwanhasbelongedtoChinasinceancienttimesanditisanindispensablepartofChina.Soitsgrass-rootcultureisapartofChineseculturewhichdefinitelyhasinfluenceonTaiwan.Peopletherespeak“GuoYu“(quitesimilarto“PuTongHua'’,thecommonlanguageinChina)andtheyvaluethetraditionalChineseculture.
However,forhistoricreasons,TaiwanWaSonceundertheJapanesecolonialcontrolforalmostfi姆years.Andithasbeenisolatingfromthemainlandsince1949underawesternizedsocialsystemwhichhasresultedinitsuniqueculturalfeatures.In1895,whenTalwanbecameacolony,itbegantofacethepowerfulforceoftheJapanesecolonisttooppressTalwanpeopletolearnJapaneseandforcewriterstowdteinJapanese(Liu2003:155).PatriotsinTaiwanstruggled、^,itlltheJapanesecolonistsbymaintainingthetraditionalChineseculture.ThusthetraditionalChineseculturalelementswerepreservedwellinTaiwan.Meanwhile,asTalwanfindsitselfcutoff“ththemotherlandforalmostfiftyyears,Talwanpeople’shomesicknessmotivatesthemtoretainthetraditionalChineseculture,whichiSreflectedinF"ITiStheadoptionoffive-characterorseven—characterphrases,allimitationinstructureofancientChinesepoems、)l,itllfiveorsevencharactersinoneline.
RomanticismandnostalgicfeelingsexistinTaiwan’SliteraturewhichcanexplainwhythetranslatedversionsinTaiwanaremorebookish.Weareallfamiliar、析mfamouswritersrepresentedbySanMaoandQiongYaowhohavewrittenromanticlovestories.Thereisnativeliteraturewithnostalgicandstrongemotions.DuetoinfluenceofromanticismandnostalgicemotionofTaiwan’Sliterati,FTTmaycontainmorewordswithromanticcolors.42
●MainlandChina
BeingfaithfultOtheoriginaltextisrelatedwiththetranslationhistoryinMainlandChina,starting谢tllthetranslationofsutra.Assutraisasacredscript,thetranslatorshouldrespecttheorigiIlaltextand
absoluteauthorityofthe
translationtraditioninoriginaltextanyadaptationisforbidden.ThusthewasestablishedandstrengthenedintheMainlandChina(Zhang2000:46).Moreover,the
byprincipleofservesasa‘‘faithfulness’’,‘‘expressiveness’’and‘‘elegance’’proposed
guidingprinciplefortranslatorsinYanFuMainlandChina.BeingfaithfultOtheoriginaltext
abecomesthefirstandthemostimportantcriterionof
exemplifieswellwhy
Englishfilmtitles.
、Ⅳi廿lqualifiedtranslation.ThisF订inMainlandChinaarealwaysfaithfultOtheoriginalthedevelopmentofglobalization,theopeninguppolicyprovidesopportunitiesforforeignexposureandculturalexchanges.Asaninternationallanguage,EnglishistaughtinalmostalltheschoolsinMainlandChina.Accordingly,thegeneralpublichavebeen
agettingfamiliar、加ththe“foreignness”.That’swhyinMainlandChinathereistendencyofforeignness.
5.3Thecorrespondingstrategies
ThecircleofFTTisreally
donotachieveunityin
stateofproblematicinthattheversionsofthesamefilmrifleChina,HongKongMainlandandTaiwan.Faced、Ⅳinlsuchadisunity,theauthorofthistheisisuggestscorrespondingstrategies.
AccordingtoSkopostheory,‘'theend
skoposofFTTistOcalljustifiesthemealls'’(Nord2001:9).Theaudienceareuponaudiencetoappreciatethefilm.Asinfluencedbydifferentcultures,itisnaturalthattranslatorsinthethreeregionsadoptdifferenttranslationstrategiesinordertoattracttheirtarget
thediversityofthetranslatedaudience.Theexistenceoffilmriflesisthusjustifiable.It’SnotnecessarytOachieveunityofeverytranslatedfilmtitle.
However,舾somearguethatthedisunityofFTTinthethreeregionswillarouseconfusion,translatorsinthethreeregionsshouldmakemoreeffortstOavoidcausing
suchconfusion.Onepossiblesolutionistoprovidetheothertranslatedversionsintheformofnotes.Forexample,TermsofEndearmentistranslatedinto《母女情深》(又译:《常在我心问》、《亲密关系》).ThereareadvantagesofadoptingthissolutionaSfollows.
Firstly,itCaninformaudiencemoreofthefilmitselffordifferenttranslatedversionsmayreflectdifferentaspectsofthefilmandbringdifferentflavorstotheaudience.Secondly,itcanavoidmisleadingtheaudiencetowatchthefilmforseveraltimesduetotheexistenceofdifferenttranslatedversions.Inthisway,theaudienceCanavoidwastingtimeandmoney.
Inaddition,theculturalexchangesacrosstheStraitshavebeengreatly
enhanced.Mandarinisnowvigorouslypopularized,thenthedialect’Sinfluenceupontransliterationbecomeslessandless。
Thelastbutnotleast,translationtheoristsandtranslatorsshouldattachgreatvaluetothislessexploredareaandputforwardconstructiveproposalandfeasibleprincipletopilotthetranslationpractice.
灿liIlall,thedisunityoffilmrifletranslationsinMainlandChina,HongKongandTaiwanwillandshouldbekeptatpresent.Translatorsshouldbeartheuniqueculturalfeaturesoftheregionsandprovidequalifiedtranslationconformingtothelocalflavor
5.4Summary
Inthischapter,similaritiesanddifferencesinFTTofMainlandChina,HongKongandTaiwanaleexaminedandpotentialreasonsareproposedrespectively.AccordingtoSkopostheorie,translationsindifferentregionscanstillremaindiversifiedaStranslationsfinallyservethetargetaudiencelivinginacertainculture.Inordertoealluponlocalaudiencetoseethefilm,itisreasonableandeffectiveforatranslatortoadapthistranslatedversiontothelocalflavoroftheregion.Theauthorsuggeststhattranslatorsprovideotherqualifiedtranslationsinnotesinordertoavoid
theconfusionoffiimtitletranslationsinthefilmmarketinthethreeregions,
Chapter6Conclusion
Thefilmis
one
ofthemostcharmingandinfluentialmassmediaproducts.With
therapiddevelopment,Chinaisconductingmoreculturalandeconomicexchanges
、^,ithforeigncountries.Consequently,EnglishfilmshaveenteredtheChinesemarket
ona
largescale
andhave
been
a
veryimportantpartofChinesepeople’Srecreational
a
life.Sotranslatingforeignfilmshasbecome
As
significant
one
andmeaningful
activity.
an
indispensablepartofthefilm,filmtitleis
ofthemostdirectchannels
inthe
forpeopletoknowaboutthefilm
and
itplays
a
very
importantroleforeign
Call
film
market.Ashasbeenanalyzedinthepreviouschapters,agoodfilmtitle
provideadequateinformationforaudiencebutalsopersuadeaudienceto—seethefilm.Filmtitlesofthefilm.SoFTTis
a
serves
as
a
notonly
drivingforceto
on
have
a
directbearing
thebox—office
meaningfuland
andis
a
challengingactivity.ButcurrentlyEnglish
FrThash’tgotdulyattention
Inthe
lessexploredsubject.
thegenreofthefilm,naming
previouschapterstheauthorintroduces
offilm
approaches,features,positionsandfunctions
howtorealizefourvaluesin
titles.The
authoralsoproposes
Fn
namelytherealizationofcultural,informative,
aestheticandcommercialvalues.Inthisway,thethefilm
call
skoposofattractingaudienceto
can
see
beachieyedandthe
success
ofthe
boxoffice
beensured.
Duringdataanalysis,itisnoticedthattranslatedfilmtitlesinMainlandChina,
HongKong
andTaiwan
vary
a
lot.Translators
inthethree
regionsofChinaadopt
differenttranslationstrategiesandmethodsinFTTwithindifferentsocio-cultural
context.EnglishFTTisnotdoneina“vacuum”,itisthe“productof
a
particular
culture,of
a
particularmomentintimeandof
a
particularregion”(Bassnett,
2001:136).Differentsocial
systems,habitsoflanguageandcultural
background
inevitablycontribute
to
differencesin
translation.Thus,the
extra—linguisticfactors
on
liketime,placeandaudience
factorshavethemostinfluence
theparticular
soeio-cultural
translationpractice.Anytranslmionshould
beweighedwithinthe
context.Somepeoplesuggestthattheshouldbeavoidedbycomingup、历tll
disunity
a
ofthetranslationofthethreeregions
one
singleversionfor
4S
film
title.Throughthe
analysisofthefeaturesofFTTandpotentialreasonsinthethreeregions,theauthor
afteralltocallupontheholdsthatdisunityshouldbekept,鹊theskoposof
localaudiencetoappreciateF,丌isthefilm.
Duetothelackingofacomprehensivetheory
titles,attemptsareandtheoreticalframeworktoguidethetranslationofEnglishfilmmadetogivesomeguidancetoF1vr
practices.
However,thisstudyislimitedintermsofresearchdepthandwidth.IthaSsomelimitationsbothintermsofquantitativeanalysisandspecificexplanations.Regardingquantitativeanalysis,theanalysiscouldbemoreaccurateifthesamplescouldbemorecomprehensive,thatis,havingmore
outtidesandversionsincluded.Itisworthwhilecarrying
explore.Formoreresearchesinthisfieldandthereisotherroomtoofdiffer—entperiodsmayhavetheiruniquefeaturesexample,translations
beandpotentialreasonswhichhaven’tbeencomparedinthisthesisabecauseofthelimitations
inFTr.ofspace.ThiscouldnewapproachforUStoconductmoreresearches
With
thefuture
guidethetheconsiderationsofthelimitationsofthisthesis,thisauthorhopesthatinsystematictheoriesandcomprehensiveprinciplescouldbeproposedtoresearchersequipped、^,itllmoretheoreticalcompetencecouldachieveF兀.And
morealongthepath.ItishopedthatthepresentpaperCanpavethewayforthefurtherstudy.
.一一虫地!!型里墨墅型业型竺型箜=塑里些!!坚P型堡121兰12墼墅12111
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【42】徐琳.从文化角度分析英语电影名的汉译【D】.北京:对外经济贸易大学,2005
【43】严云受.诗词的意象的魅力【M],安徽:安徽教育出版社2003
[44】岳峰.香港译者翻译外国电影片名的同化趋向m,北京电影学院学报,2000(3),42~45
【45】张春柏.影视翻译初探.【J】中国翻译1998,第2期,50---53
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翻译的理论建构与文化透视【C】.上海:上海外语教育出版社,2000,31"42
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Appendix:历届奥斯卡获奖最佳影片
第1届奥斯卡(1927.1928年度)
最佳影片:《翼》Wings
第2届奥斯卡(1928.1929年度)
最佳影片:《百老汇的旋律/红伶秘史》砀e第3届奥斯卡(1929.1930年度)
最佳影片:《西线无战事》AllQuiet第4届奥斯卡(1930.1931年度)
最佳影片:《壮志千秋》Cimarron
。第5届奥斯卡(1931.1932年度)
最佳影片:《大饭店》GrandHotelBroadwayMelodyontheWesternFront
第6届奥斯卡(1932.1933年度)
最佳影片:《乱世春秋》Cavalcade第7届奥斯卡(1933.1934年度)
最佳影片:《一夜风流》ItHappened第8届奥斯卡(1935.1936年度)
最佳影片:《叛舰喋血记》Mutiny
第9届奥斯卡(1936.1937年度)
最佳影片:《歌舞大王齐格飞》TheGreatZiegfeld第10届奥斯卡(1937.1938年度)
最佳影片:《左拉传》TheLifeofEmileZolaonOneNighttheBounty第11届奥斯卡(1938.1939年度)
最佳影片:《浮生若梦》YouCan't死妇It第12届奥斯卡(1939.1940年度)
最佳影片:《乱世佳人》GonewiththeWindwithYou第13届奥斯卡(1940.1941年度)最佳影片:《蝴蝶梦》Rebecca
第14届奥斯卡(1941.1942年度)
最佳影片:《翡翠谷》HowGreenWasMy第15届奥斯卡(1942.1943年度)Valley
最佳影片:《忠勇之家》Mrs.Miniver第16届奥斯卡(1943.1944年度)
最佳影片:《卡萨布兰卡》Casablanca第17届奥斯卡(1944.1945年度)
最佳影片:《与我同行》GoingMyWay第18届奥斯卡(1945.1946年度)
最佳影片:《失去的周末》TheLostWeekend第19届奥斯卡(1946.1947年度)
最佳影片:《黄金时代》砀PBestYearsofOutLives第20届奥斯卡(1947.1948年度)
最佳影片:《君子协定》Gentleman's第21届奥斯卡(1948.1949年度)
最佳影片:《哈姆雷特》Hamlet
第22届奥斯卡(1949.1950年度)Agreement
最佳影片:《国王的弄臣》彳刀theKing台Men第23届奥斯卡(1950.1951年度)
最佳影片:《彗星美入》AllAboutEve第24届奥斯卡(1951.1952年度)
最佳影片:《一个美国人在巴黎》AnAmerican第25届奥斯卡(1952.1953年度)inParis
最佳影片:《戏王之王》TheGreatestShowonEarth第26届奥斯卡(1953.1954年度)
最佳影片:《乱世忠魂》FromHere
第27届奥斯卡(1954.1955年度)toEternity
最佳影片:《码头风云》伽theWaterfront第28届奥斯卡(1955.1956年度)
最佳影片:《马蒂》Marty5l
第29届奥斯卡(1956.1957年度)
最佳影片:《环游地球八十天》Around第30届奥斯卡(1957.1958年度)最佳影片:《桂河大桥》TheBridge第31届奥斯卡(1958.1959年度)OntheWorldinEightyDaystheRiverKwai最佳影片:《金粉世界》G彬
第32届奥斯卡(1959.1960年度)最佳影片:《宾虚》Ben.Hur
第33届奥斯卡(1960.1961年度)
最佳影片:《桃色公寓》TheApartment第34届奥斯卡(1961.1962年度)最佳影片:《西区故事》WestSideStory第35届奥斯卡(1962.1963年度)
最佳影片:《阿拉伯的劳伦斯》LawrenceofArabia第36届奥斯卡(1963.1964年度)最佳影片:《汤姆琼斯》TomJones第37届奥斯卡(1964.1965年度)最佳影片:《窈窕淑女》MyFairZady第38届奥斯卡(1965.1966年度)最佳影片:《音乐之声》TheSoundofMusic第39届奥斯卡(1966.1967年度)最佳影片:《四季之人》AManforAllSeasons第40届奥斯卡(1967.1968年度)最佳影片:《炎热的夜晚》砌theHeatoftheNight第41届奥斯卡(1968.1969年度)最佳影片:《雾都孤儿》Oliver.t第42届奥斯卡(1969.1970年度)最佳影片:《午夜牛郎》MidnighrCowboy
第43届奥斯卡(1970.1971年度)最佳影片:《巴顿将军》Patton第44届奥斯卡(1971.1972年度)最佳影片:《法国贩毒网》TheFrenchConnection第45届奥斯卡(1972.1973年度)最佳影片:《教父》TheGodfather第46届奥斯卡(1973.1974年度)最佳影片:《骗中骗》TheSting第47届奥斯卡(1974.1975年度)最佳影片:《教父2》TheGodfather:Part11第48届奥斯卡(1975.1976年度)最佳影片:《飞越疯人院》OneFlewOvertheCuckoo'sNest第49届奥斯卡(1976.1977年度)最佳影片:《洛奇》Rocky
第50届奥斯卡(1977.1978年度)最佳影片:《安妮?霍尔》Annie胁刀第51届奥斯卡(1978.1979年度)最佳影片:《猎鹿人》TheDeerHunter第52届奥斯卡(1979.1980年度)最佳影片:《克莱默夫妇》KramerW.Kramer第53届奥斯卡(1980.1981年度)
最佳影片:《普通人》OrdinaryPeople第54届奥斯卡(1981.1982年度)最佳影片:《火的战车》ChariotsofFire第55届奥斯卡(1982.1983年度)最佳影片:《甘地传》Gandhi第56届奥斯卡(1983.1984年度)最佳影片:《母女情深》TermsofEndearment53
第57届奥斯卡(1984.1985年度)最佳影片:《莫扎特》Amadeus第58届奥斯卡(1985.1986年度)最佳影片:《走出非洲》OutofAfrica第59届奥斯卡(1986.1987年度)最佳影片:《野战排》Platoon
第60届奥斯卡(1987.1988年度)最佳影片:《末代皇帝》刀zPLastEmperor第61届奥斯卡(1988.1989年度)最佳影片:《雨人》RainMan
第62届奥斯卡(1989.1990年度)
最佳影片:《为戴茜小姐开车》DrivingMissDaisy第63届奥斯卡(1990.1991年度)最佳影片:《与狼共舞》DanceswithWolves第64届奥斯卡(1991.1992年度)最佳影片:《沉默的羔羊》TheSilenceoftheLambs第65届奥斯卡(1992.1993年度)最佳影片:《不可饶恕》Unforgiyen第66届奥斯卡(1993.1994年度)
最佳影片:《辛德勒的名单》Schindler'sList第67届奥斯卡(1994.1995年度)最佳影片:《阿甘正传》ForrestGump第68届奥斯卡(1995—1996年度)最佳影片:《勇敢的心》BraveHeart第69届奥斯卡(1996.1997年度)最佳影片:《英国病人》TheEnglishPatient第70届奥斯卡(1997.1998年度)最佳影片:《泰坦尼克号》Iimnic
第71届奥斯卡(1998.1999年度)最佳影片:《莎翁情史》Shakespearein第72届奥斯卡(1999.2000年度)最佳影片:《美国丽人》American第73届奥斯卡(2000.2001年度)最佳影片:《角斗士》Gladiator第74届奥斯卡(2001.2002年度)最佳影片:《美丽心灵》ABeautifuZMind第75届奥斯卡(2002.2003年度)最佳影片:《芝加哥》Chicago第76届奥斯卡(2003.2004年度)LoveBeauty最佳影片:《指环王3王者归.来》砀eLoadoftheRings:the第77届奥斯卡(2004.2005年度)最佳影片:《百万美元宝贝》MillionDollar第78届奥斯卡(2005.2006年度)最佳影片:《撞车》Crash
第79届奥斯卡(2006.2007年度)最佳影片:《无间行者》TheDeparted第80届奥斯卡(2007.2008年度)最佳影片:《老无所依》NoCountryfo,.OldMenBabyReturnoftheKing
55
Acknowledgements
Firstandforemost,1wouldliketosupervisorProfessor,whosewarmexpressmydeepestgratitudetomyencouragementsandenlighteningsuggestionshavealwaysbeentheimpetusintheprocessofmythesiswriting.Hisrespectablestrictattitudetowardsstudywillgooninfluencingmeinmyfutureworkandlife.
toSecondly,mysincerethanksgomyparents,whohavebeenalways
supportingmenotonlyduringtheperiodofdoingthisresearchbutalsoduringmystudylife.Withouttheirsupportandcare,IcannotfmishmystudySOsmoothly.
Thirdly,letmeexpressmysincerethankstomydearroommateYuanFanglianandmygoodfriendQiShanshan.TheyhaveaJwaysbeenthere
tolisteningtomymoaningandofferinghelpandcomfort
Andlastly1me.wanttothanktheauthors,editorsandcontributorsofthereference
call’tfinishbooks,magazinesandmagazinescitedinmythesis.WithouttheireffortsI
it.
个人简历
毕建静,1981年9月8日出生于山东省威海市。
2001年9月考入中国海洋大学外国语学院英语语言文学专业,2005年7月本科毕业并获得文学学士学位。
2005年9月考入中国海洋大学外国语学院外国语言学及应用语言学专业攻读文学硕士学位至今。
及衣口_小下匕X发表的:出-T--:术论文
[1]毕建静.从四个价值看英语电影片名的汉译[J].科技信息,2007,(27):334-33557
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