当木兰回到娘家 ——从操控理论研究迪斯尼电影《木兰》的英—汉字幕翻译

论文摘要

有学者认为,所有的翻译都意味着出于某种目的而对原文某种程度上的操控或者改写。美国的翻译理论家安德烈.勒菲佛尔将操控文学翻译的基本力量归纳为三种,即意识形态、诗学和赞助人。迪斯尼《木兰》这部电影在全球范围内获得成功,但在中国上映时,褒贬不一,原因在于影片中美国化的因素。因此,其中的字幕翻译值得探讨。本文从意识形态、诗学、赞助人的角度来研究迪斯尼电影《木兰》的汉语字幕翻译过程中采用归化为主的翻译策略的原因。本文通过研究对比影片中典型的中英文对照字幕,探究其在语言及风格方面为何、如何采取归化的翻译策略。本文指出意识形态、诗学、赞助人对翻译的操控,导致了在《木兰》字幕翻译中采用归化为主的翻译策略。意识形态、诗学、赞助人是因,归化策略是果。在此基础上,鉴于意识形态、诗学、赞助人对翻译的操控与影响以及商业电影的目的性与赢利性,本文提倡并建议,电影翻译工作者可以在字幕翻译中,提高操控意识,以目的语文化观众为中心,以操控理论为指导,采用归化为主的翻译策略,以期更多更好的字幕翻译问世,保证国际商业电影的票房与利益。

论文目录

• Abstract
• 中文摘要
• Chapter One Introduction
• 1.1. Introduction to the Film of Mulan
• 1.2. Research Question
• 1.3. Significance
• 1.4. Literature Review
• 1.4.1. Literature Review on Ideology
• 1.4.2. Literature Review on the Domestication Strategy Governed by Ideology
• 1.4.3. Literature Review on the Disney Film Mulan and its Subtitle Translation
• 1.5. Methodology
• 1.6. Theoretical Framework
• 1.6.1. Translation as Rewriting and Manipulation
• 1.6.1.1. Translation as Rewriting
• 1.6.1.2. Translation as Manipulation
• 1.6.1.3. Ideology, Poetics and Patronage
• 1.6.2. Domestication
• 1.6.2.1. An Introduction to Domestication
• 1.6.2.2. Domestication and Film Subtitle Translation
• 1.7. Thesis Structure
• Chapter Two Chinese Mulan and Disney Mulan
• 2.1. The Ode of Mulan （《木兰辞》）and Chinese Mulan
• 2.2. Disney Company, Disney Film and Disney Mulan
• 2.2.1. Disney Company and Disney Film
• 2.2.2. The Story of Disney Mulan
• 2.2.3. Americanization of Mulan in Disney
• 2.2.3.1. Feminism of Mulan in Disney
• 2.2.3.2. Self Identification in Disney Mulan
• 2.3. Summary
• Chapter Three The Manipulation of Ideology on the Subtitle Translation
• 3.1. Ideology
• 3.1.1. Varied Definitions of Ideology
• 3.1.2. The Definition Employed in This Thesis
• 3.1.3. The Function of Ideology
• 3.2. Official Ideology and Mass Ideology
• 3.2.1. Official Ideology and its Influence on Domestication
• 3.2.1.1. Rewriting into Chinese Traditional Values
• 3.2.1.2. Destruction of Exoticism
• 3.2.2. Mass Ideology and its Influence on Domestication
• 3.2.2.1. The Mass Ideology of China in 1990’s
• 3.2.2.2. The Manifestation of Domestication Governed by Mass Ideology in the Translation of Disney Mulan
• 3.2.2.2.1. Modernizing
• 3.2.2.2.2. Destruction of Linguistic Patternings
• 3.2.2.2.2.1. Expansion
• 3.2.2.2.2.2. Clarification
• 3.3. Summary
• Chapter Four The Restriction from Poetics on the Subtitle Translation
• 4.1. Poetics
• 4.2. Poetological Influence on the Translator
• 4.3. The Features of the Current Poetics in China under the Influence of Current Mass Ideology
• 4.4. Poetological Manipulation on the Translation and its Manifestation
• 4.5. Summary
• Chapter Five The Control of Patronage over the Subtitle Translation
• 5.1. Definition of Patronage
• 5.2. Audience
• 5.2.1. The Definition of Audience
• 5.2.2. The Role of Audience
• 5.2.3. Film Audience Influenced by Ideology
• 5.2.4. Mulan and its Audience
• 5.3. The Manifestation of Patronage’s Influence over Subtitle Translation in Mulan
• 5.3.1. Secularism
• 5.3.2. Render into Idiomatic Chinese
• 5.4. Summary
• Chapter Six Conclusion
• 6.1. Summary
• 6.2. Limitations
• 6.3. Suggestions for Further Research
• Bibliography
• Acknowledgements