英语专业全英原创毕业论文，公布的题目可以用于直接使用和参考（贡献者ID 有提示）

最新英语专业全英原创毕业论文，都是近期写作

1 科技英语长句的结构分析与翻译

2 自然会话中会话结构的分析

3 从关联理论看《茶馆》两个英译本中修辞格的处理

4 浅析中美幽默之差异

5 《红与黑》中司汤达的爱情观

6 An Interpretation of Initiation Theme in Heart of Darkness

7 侦探小说的发展

8 翻译的对等性研究及其应用

9 《儿子与情人》中扭曲的爱

10 英汉委婉语异同之分析与比较

11 An Analysis of American and Chinese Culture in Kung Fu Panda

12 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

13 浅析《了不起的盖茨比》中的象征主义

14 姚木兰和郝思嘉的女性意识对比分析

15 会话中性别差异的语用研究

16 爱伦坡哥特式小说探析

17 社交活动中肢体语言的研究

18 《哈利波特》的圣经原型解读

19 浅析《心是孤独的猎手》的精神隔绝主题

20 浅析中西饮食文化的差异

21 英汉新闻语篇概念隐喻对比研究

22 正面解读《名利场》中的蓓基-夏泼

23 英语会话中间接拒绝语的语用研究

24 《小镇畸人》中的空间形式分析

25 试析新课程标准下词汇教学策略的改变

26 从《瓦尔登湖》看“天人合一”与梭罗超验思想

27 关联理论在中餐菜单英译中的应用

28 《生活大爆炸》言语幽默语用分析

29 跨文化交际中的中西方时间观念

30 论英文电影名翻译

31 语境及其在提高高中学生英语阅读能力中的应用

32 日用品广告语言中中西方价值观差异比较研究

33 从日常交际礼貌用语失误看中西方文化差异

34 目的论视角下旅游景区公示语误译的研究

35 性格和命运－－《小妇人》中四姐妹分析

36 英汉语中恐惧隐喻的认知分析

37 Awakening of the Black Women’s Self-consciousness—A Study of Four Major Female Images in Beloved

38 浅析《宠儿》中人物塞丝的畸形母爱产生的根源

39 《名利场》利蓓加?夏泼和《简?爱》简?爱的对比研究

40 解读罗伯特?彭斯的爱情观——以《一朵红红的玫瑰》和《约翰?安德生，我的爱人》为例

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83 商务英语的特点及翻译技巧 Reflections on the Inner Beauty of Jane Eyre 英汉亲属称谓对比研究及其文化内涵分析 中英姓氏差异及其原因探究 解析《简爱》的帝国主义意识 论《英国病人》中角色的自我认知 英汉”黑色”的隐喻的对比研究 《夜访吸血鬼》中的模糊性别观 《卡拉维拉斯县驰名的跳蛙》中的幽默 A Feminist Reading of A. S. Byatt’s Possession 论《紫色》的社会意义 中英身势语中的文化差异 参与式教学法与初中学生英语口语能力的培养 主语显著和话题显著—英汉语对比分析 《傲慢与偏见》和《简爱》中的性别歧视现象和女权主义 《石头天使》中哈格形象的女性主义解读 奉献与救赎：浅谈欧?亨利小说的宗教精神 遗忘曲线在记忆英语词汇中的运用 阿瑟·黑利小说《讹诈》中的前景化现象探析 从目的论角度研究培根《谈读书》的翻译 梭罗的《瓦尔登湖》和道家思想在自然观上的比较 《纯真年代》中艾伦?奥伦斯卡和梅?韦兰的人物命运分析 浅析《恋爱中的女人》的圣经意象原型——从原型批评角度解读 从餐桌礼仪看中西文化差异 爱与孤独的互生——舍伍德安德森《曾经沧海》与戴维劳伦斯《马贩子的女儿》对比研Cooperative Principle in Business Letters 中餐菜谱翻译的错误分析 小议非语言交际中的身体语言 从生态伦理学的角度分析玛丽?雪莱《弗兰肯斯坦》 中英文化差异与英语教学 中西节日的对比研究 英语“名词 + ly”类形容词的词化分析、语义特征及句法功能 任务型教学在高中英语写作教学中的应用 欧?亨利短篇小说人物形象分析之善良特性 女孩与玫瑰—《秘密花园》中生态女性主义解读 论汉语景点名称的英译 An Analysis of English Pronunciation Teaching in Elementary Schools 浅析亨利?詹姆斯小说《螺丝在拧紧》中的哥特成分 极权主义下人性的扭曲—— 用福柯的空间理论解读乔治·奥威尔的《》 从寂寞到超然—索尔?贝娄的《赫索格》中书信体的内心独白 An Analysis of Bernard Shaw’s Pygmalion from the Perspective of Interpersonal Function 习语中的文化差异 从文化差异角度看中式菜单英译

英语专业全英原创毕业论文，公布的题目可以用于直接使用和参考（贡献者ID 有提示）

84 浅谈英语广告的特点及翻译

85 英汉动物词语文化内涵的差异

86 从关联理论看《阿甘正传》的字幕翻译

87 外语教学中文化意识的培养

88 埃德加爱伦坡恐怖小说中的重复

89 从象征主义视角看《阿拉比》和《一个干净明亮的地方》

90 Yellow Peril–the Image of Fu Manchu in the West

91 莫言小说《红高粱》中的转喻

92 从礼貌原则看英语委婉语的构成和社会功能

93 浅析托妮·莫里森《宠儿》中人物的身份建构

94 Characteristics of Interpretation and Roles of Interpreters

95 浅析《小妇人》中乔的女性意识及其成长过程

96 从合作原则和礼貌原则的角度分析赵丽蓉的小品

97 英汉称呼语的对比研究

98 方位介词“over”的隐喻含义研究

99 丹尼尔·笛福的社会地位和鲁滨逊漂流记

100 数字模糊语义的汉英翻译

101 《简爱》与《呼啸山庄》女主人公比较分析

102 从文化视角看汉英翻译中的语篇连贯性

103 论商标翻译中存在的问题及对策

104 英语复合名词的认知语义研究

105 融入与挑战——从生态角度看《老人与海》与《瓦尔登湖》

106 浅析埃德加?爱伦?坡《厄舍古屋的倒塌》中的死亡主题

107 功能对等理论下英文电影片名的翻译

108 浅析《乞力马扎罗的雪》的现代主义特征

109 中美幽默的比较

110 论《野性的呼唤》中对人和自然和谐的呼唤

111 从海尔的品牌成功探讨中国企业在全球化环境下的品牌战略

112 论《杀死一只知更鸟》的成长主题

113 《哈利波特》系列小说的浪漫主义情节分析

114 Stopping by Woods on a Snowy Evening的三中译本－－－－各译作对原作忠实度的对比评析

115 英汉被动结构对比研究

116 简爱性格研究

117 包法利夫人的悲剧简析

118 从弗洛伊德的精神分析法分析《麦田里的守望者》霍尔顿?考尔菲德的成长

119 马斯洛需求理论视角下的斯嘉丽

120 Cultural Influences on Business Negotiation between China and Japan

121 赛珍珠《群芳亭》的生态女性主义解读

122 《荒原》中的神话溯源

123 网络环境下英语专业学生学习策略研究

124 山寨文化的反思——发展与创新

125 从心理学角度看哈克贝利.费恩的性格

126 《永别了，武器》的存在主义解读

英语专业全英原创毕业论文，公布的题目可以用于直接使用和参考（贡献者ID 有提示）

127 A comparison of values of money between Scarlett and Gatsby

128 浅析《飘》中女主人公斯佳丽的女性意识

129 An Analysis of Textual Functions of the English Passive Voice

130 Passion & Religion — A Comparison between The Scarlet Letter and The Thorn Birds 131 论英汉翻译过程

132 论白鲸中的象征主义

133 Cause Analysis of Pragmatic Failure in Cross-cultural Communication

134 马克吐温小说的语言特征

135 试论《出狱》中“房子”的意象

136 《傲慢与偏见》中婚姻观对当代中国的现实意义

137 《白象似的群山》中话语权利争夺探究

138 浅析阿里巴巴的创新盈利模式

139 《儿子与情人》恋母情结分析

140 Sexism in English Language

141 The Comparison and Translation of English and Chinese Idioms

142 从鹿鼎记和唐吉诃德的主要人物的较对比来比中西方侠文化

143 The Analysis of the Double Character of Wuthering Heights’ Hero——Heathcliff

144 Analysis of Tony’s Tragedy in A Handful of Dust

145 中西方奢侈品消费文化之比较

146 伊丽莎白．贝内特与简．爱的婚姻观之比较

147 《哈克贝利?费恩历险记》中阶级面面观

148 哥特元素在《宠儿》中的运用

149 浅谈《永别了，武器》中的感伤主义

150 英汉天气词汇的隐喻用法

151 悲剧英雄—赫尔曼?梅尔维尔笔下的比利?巴德形象分析

152 凯特肖邦《觉醒》中女主人公女性意识的觉醒

153 On the Principle of Elegance in the Translation of Business Contracts

154 网络环境下小组合作学习模式研究

155 论圣经诗篇的修辞特点

156 A Research of Translation of English Songs into Chinese by Poetic Norms

157 中英礼貌用语差异

158 A Contrastive Analysis of Table Manners and Culture between China and Western Countries 159 The Religious Thoughts in The Pilgrim’s Progress

160 对中英组织文化差异的跨文化研究

161 从《老人与海》看海明威小说中的英雄式人物的刻画

162 浅析奥斯丁的女性意识

163 论亨利?詹姆斯的世态小说的特征—以《黛西?米勒》和《贵妇画像》为例

164 米字旗下的荣耀与忐忑——论维多利亚时代英国人的社会价值观

165 论华裔女星在好莱坞电影中的角色转变

166 An Analysis of Gilmore’s American Existentialism in The Executioner’s Song

167 析《远大前程》主人公性格之路

168 《围城》英译本中文化负载词的翻译研究

169 浅析远大前程中皮普转向成熟的过程

170 《女勇士》中美国华裔身份危机的探寻

英语专业全英原创毕业论文，公布的题目可以用于直接使用和参考（贡献者ID 有提示） 171 商务英语交流中委婉语的语用功能研究

172 透过中西谚语的对比分析中西文化异同

173 “狗”在中西文化中的对比研究

174 《老友记》中幽默的翻译

175 浅析《老人与海》中的悲剧色彩

176 Modern Views on Marriages in Wuthering Heights

177 The Narrative Strategies of O. Henry’s Short Stories

178 凯特肖邦小说《觉醒》中的超验主义思想分析

179 《第二十二条军规》的荒诞性解读

180 目的论视角下公益广告的翻译

181 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 182 英语前缀和后缀在初中单词教学中的应用

183 A Comparison of the English Color Terms

184 简爱的独立与反叛性格分析

185 功能翻译理论关照下的新闻英语标题翻译

186 跨文化交际背景下英语禁忌语探析

187 从USP理论角度论苹果公司的广告策略

188 商务英语合同的词汇特征

189 新经济原则在商品买卖会话中的运用

190 对《名利场》中女主人公的性格特征分析

191 海丝特与卡米拉爱情观的对比分析

192 A Study on Error Correction in JEFC Classroom

193 英语系动词语义属性及句法行为研究

194 汽车广告功能分析

195 从《蜘蛛侠》系列看美国的英雄主义

196 爱情，悲剧和战争——《永别了武器》关键元素的分析

197 基于马斯诺需求层次理论的《老人与海》主人公人物分析

198 浅谈《圣经》故事与英语学习

199 王尔德童话《快乐王子》中的对比艺术

200 The Analysis of Promotion Strategy of L’Oréal in China

 

第二篇：功能对等理论视角下《越狱》的字幕翻译 3

Introduction

Nowadays ,the American films and TV series are flooding into china through internet. Their coming brings chances to Chinese audience to get more information of the cultures, customs and living styles of other countries. This makes a lot of Chinese people to learn English. However, the English language still is the main obstacle to appreciate the English-speaking films and TV series for most Chinese audience, while film translation in China has been practiced since the early 20th century. It is a dynamic process rather than a static one both in quality and techniques of translation. However, film translation still gained so little attention in China’s translation research that one can hardly find a relatively mature theory in this field. In this thesis, the author will try to analyze the subtitle translation of Prison Break from the perspective of Nida’s functional equivalence theory.

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Chapter 1 Literature Review

As subtitle translation becomes more and more important, there are a lot of studies on subtitle translation since last few decades.

1.1 Studies on Subtitle Translation

In the past, subtitle translation always been taken no account in academic fields than it deserved. Nowadays, this situation has been greatly improved.

A subtitle is a printed statement or writing of a dialogue appearing at the bottom of the screen ,which is usually brief and concise and is used to help the audience better understand the play according to Mona Baker and Saldanha (2008:74).Subtitles are visual ,and are concerned with “transcriptions of film or TV dialogue presented simultaneously on the screen and retaining the original dialogue , Which allow the target audience to enjoy the voice quality and intonation of the original actors.”

Good subtitle translations can trigger the target audiences similar responds as the film did on the source audience.

1.2 Studies on features for Subtitle Translation

According to New Oxford Dictionary of English, subtitle is explained as captions displayed at the bottom of a cinema or television screen that translate or transcribe the dialogue or narrative.

Alexandra Assis Rosa gives a thoughtful illustration of the communicative processes in subtitling in her study Features of Oral and Written Communication in Subtitling. This is very important to describe the functions of subtitles. Subtitle of dialogue is multichannel and multimode. In this aspect, subtitling involves:

a. A change of medium: from speech and gestures (both visual and

audio) to writing.

b. A change of channel: from mainly vocal-auditory to visual.

c. A change of the form of signals: mainly from phonic substance to

graphic substance and as result.

d. A change of code: from spoken verbal languages (and non-verbal

languages) to written verbal languages.[21]

Chapter 2 Functional Equivalence Theory

Translating is a linguistic operation involving two different languages. It transfers 2

the messages from the source language to the target language. Translating requires the messages in the source language to remain integrated when the source language is changed into the target language. That is, translating demands faithfulness, correctness, completeness and equivalence.

So far, the theory of Eugene Nida’s functional equivalence, which suggests that to make the reproducing of the target language the closest natural equivalent to the source language message. It refers firstly in terms of meaning and secondly in terms of style. The theory will be discussed in this chapter.

2.1 Brief Introduction of Nida’s Functional Equivalence Theory

With the development of translation, more and more translators began to pay more attention to the receptor-oriented translation instead of the author-oriented translation. Among these translation theorists, Nida began to realize the limitation of translatability and necessity of loss in practical translation. He realized that it was impossible to get a perfect equivalence between the source text and the target text. “Equivalence” in Nida’s theory never means absolute sameness. In his book with Taber in 1969, Nida stated that

The translator must strive for equivalence rather than identity. In a

sense, this is just another way of emphasizing the reproducing of the

message rather than the conservation of the form of the utterance.[10]

In his book, Language, Culture and Translating, Nida further stated that “equivalence cannot be understood in its mathematical meaning of identity, but only in terms of proximity. From the discussions above, we can conclude that Nida’s“equivalence” is a more scientific and practical one.

2.2 The Application of Functional Equivalence in Translation

A translation is usually not only the translators, but also the people who receive it. Receptors from different cultures may have similar experiences in their daily lives. So from this point, we can see that these special ways of expression are functionally equivalent to each other. By relying on personal feelings and social experiences, it is probable for translators to work out satisfactory equivalence to deliver corresponding information. It is generally believed that language and culture are closely related to and interacted into each other. At some degree, the biggest difficulty in translation is not from linguistic differences but from cultural distinction.

As linguists and anthropologists have discovered, that which unites

mankind is much greater than which divides，and hence there is,

even in cases of very disparate languages and cultures, a basis of

communication.[20]

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These similarities make it possible for translators to achieve functional equivalence between different cultures.

Chapter 3 A Case Study of prison break

Prison Break is a drama television series created by Paul Scheuring, The series revolves around two brothers; one has been sentenced to death for a crime he did not commit, and the other devises an elaborate plan to help his brother escape prison. In this chapter, the TV series will be introduced and how the functional equivalence theory applied into the TV series will be discussed.

3.1 Translation Strategies Adopted in Prison Break

Subtitle translation is different from that of novels, poems and essay, etc. As it has its own features and constraints mentioned above, subtitle translation should be as lucid as possible and various translation strategies are adopted in subtitle translations. According to Nida’s functional equivalence theory, how to achieve the closest natural equivalence is very important. This needs us to apply the Nida’s functional equivalence theory.

3.1.1 Conversion

Sometimes subtitle translators don’t translate each word of the source text and just pick out necessary information for a concentrated expression. But the subtitle sometimes seems totally irrelevant to the whole situation. there must be accord between the subtitles and the moving picture. Thus implied information must be conversed into literal meaning so as to match the subtitles to what is actually visible on the screen.

e.g.1. -I said, are you being a smart ass?

-我问你是不是喜欢讽刺人？

-Just trying to fly low, avoid the radar, boss. Do my time...and

get out.

-只不过想保持低调不想引起注意,长官。服完刑,就走人。

This dialogue was between the correctional officer Captain Brad Bellick and Michael before he was barred in Fox Reviver’s Prison. The captain officer asked him whether Michael was a religious man and told him there were no Ten Commandments in prison. There were just two commandments which were totally different from those 4

Ten Commandments in religion here. Brad Bellick said a lot about the two commandments, but Michael showed no strong interest. This led to Brad Bellick’s dissatisfaction. If the line of what Michael said is translated literally, the audience may be puzzled. In fact, “Just trying to fly low, avoid the radar” is a metaphor here. It is implied that Michael just didn’t want to attract others’ attention. The audience of the source text may understand the metaphor here from the literal meaning due to their own cultural background.

Nida’s functional equivalence theory is receptor-oriented. Under the guidance of this theory, the subtitle translation of this dialogue can not be literal.

According to Nida’s principle in producing functional equivalence, if a close, formal translation makes no sense certain changes may be made into the text. “只不过想保持低调不想引起注意”is a functional equivalence with the source text.

3.1.2 Deletion

In oral speech, when speakers are thinking of what to say next, they often use some filler words in order to keep the conversation influent (such as “um”, “uh”, “er”, “ah”, “so”, “you know”, “well”, “anyway” ,etc.). While, in most cases, these filler words are deleted in subtitle translation which won’t make any misunderstanding. There are mainly three reasons. Firstly, most of those filler words do not have any meaning, so the omission of these filler words does not have any influence to the meaning of whole sentence. Secondly, according to Nida’s opinion, “dynamic equivalence” demands the complete naturalness of expression instead of the complete accordance in the form and content of the original. The omission of these meaningless filler words can make the subtitle translation more fluent and natural. Thirdly, subtitle translation has time and space constraints. The omission of unnecessary elements can help save time and space to make the audience catch the massage easily.

E.g.2. -I didn't realize it was that high up, you know.

-我没有意识到事态已经那么严重了。

E.g.3. -Mmm. “Be the change you want to see in the world.”

-欲变世界,先变其身。

Besides the omission of filler words, sometimes the redundant parts of subtitles can also be omitted in translation. Functional equivalence theory is to reaching closest natural equivalence between source text and target text. It is allowed to make some adjustments in the form and even in the content to reach the aim of the functional equivalence. Therefore, when the spirit of source text has been delivered, those redundant parts can be omitted to make the subtitle translation more natural.

5

-我说你们所有人都给我回房间去!

The underlined part of the source text is omitted in the target text since they do not deliver any important information in the text and will result in nothing if they are omitted. In example 5, the word “convicts” is omitted, for it is obvious that these who live in the cells of Fox River Prison are convicts.

3.1.3 Condensation

In a film or TV series, the speed of speech is unusually fast when the speakers are in a desperate situation or a frantic mood. So condensing the subtitles of the source text is especially necessary. Condensation manages to maintain only the gist of the source text. It is up to the subtitle translator to decide which must be retained, and which can be abandoned. Look at the following examples:

E.g.5 -I want to help people get from where I've been to where I am.

-我想帮曾和我一样的人脱离苦海。

The example is translated with the method of condensation. In the the example, “from where I've been to where I am” has been translated to a four-character phrase “脱离苦海”, which is concise and express the meaning exactly. Nida’s functional equivalence theory emphasizes the naturalness of expression. If in the above example, we translate “from where I've been to where I am” literally, it sounds unnatural to our Chinese audience. In order to achieve the naturalness of expression, condensation is used to gain the purpose. So the subtitle translation here should be appropriately condensed under the guidance of functional equivalence.

3.1.4 Reductive Paraphrase

Nida defines translation as “translating consists in reproducing in the receptor language the closest natural equivalence of the source-language message, first in terms of meaning and secondly in terms of style”.[25] Sometimes there is no enough time for literal translation when we meet a very long subtitle due to the constraints of time and space. According to Nida’s opinion, we must then let meaning of the original text be considered firstly. Reductive paraphrase is a good method to gain this purpose. Examples are given as follows：

E.g6. -17 days from now they strap my brother to an electric

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chair...send 50,000 bolts coursing through his body for a

crime he didn't commit.

-17天后他要送我哥哥上电椅,因为一个莫须有的罪名要

将他处以极刑。

In the above example, “send 50,000 bolts coursing through his body” is a detailed description of what electrocution is. If the translator just conveys this sentence word by word, there may be no enough time and space for such a long subtitle. In Nida's view, a dynamic equivalent translation must fit the receptors’ language and culture in order to make the translated message can be understand and is natural to the target language receptors. The phrase “a crime he didn't commit” means “he was wronged”. In Chinese, “莫须有的罪名” is exactly the phrase to express the meaning.

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Conclusion

As a main method of delivering information from different cultures, films and TV series have been introduced from a country to another. Hence, subtitle translation should be paid more attention to ensure the target audience can appreciate the films at the all perspectives.

Due to the special features of subtitles translation, the time and space constraints and differences in languages and cultures, it is impossible to gain the purpose of completely equivalence. Through the research of the Chinese version of Prison Break’s subtitles, the thesis summarized some translation strategies under the guidance of functional equivalence theory. This thesis is tentative and just took only one season of the TV series. It is far from being adequate. More discussion in this field is hoped to be seen.

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Bibliography

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