从接受美学看英语电影片名汉译中的创造性叛逆 ——以历届奥斯卡最佳影片和提名电影为例

论文摘要

本论文以创立于上世纪60年代的接受美学为理论依据,以历届奥斯卡最佳影片和提名电影的汉译片名为研究对象,通过采用接受美学中的“期待视野”和“读者地位与作用”两个基本概念详细论述了创造性叛逆在英语电影片名汉译中的运用。接受美学理论首次把读者置于文学作品接受过程中的显著地位,强调读者在文学作品意义生成中的重要作用。它的发展,为翻译研究提供了全新的理论视角和研究方法。创造性叛逆对应用翻译,特别是电影片名翻译有很强的解释力。它不仅是电影片名中一个普遍的翻译现象,而且也是一种行之有效的翻译方法。本文首先介绍了接受美学的出现、发展和在中国的应用。接着详细介绍了电影片名的基本知识;然后详细论述了接受美学理论和创造性叛逆。其次,本文以接受美学为理论基础,分析了创造性叛逆在英语电影片名汉译过程中的运用和方法。最后一章为结论,总结了本文研究的成果及局限性,并对以后的研究提出了一些建议。通过分析和研究,本文作者认为在进行英语电影片名汉译的过程中,必须坚持“一个中心、三个代表和四项基本功能”(坚持以读者为中心,汉译片名需代表作者、译者和读者,努力实现电影片名的信息、表达、审美和呼唤功能)。此研究对于进一步提升奥斯卡最佳影片和提名电影的片名汉译质量和读者的审美价值水平具有一定现实意义。

论文目录

• 摘要
• Abstract
• Chapter One Introduction
• 1.1 Research background
• 1.2 Significance and objectives of the research
• 1.3 Data collection and methodology
• 1.4 Structure of the thesis
• Chapter Two Literature Review
• 2.1 Introduction to reception aesthetics
• 2.1.1 Emergence of reception aesthetics
• 2.1.2 Development of reception aesthetics
• 2.2 Application of reception aesthetics in China
• 2.3 Creative treason and its application in China
• 2.4 Summary
• Chapter Three A General Study of English Film Titles and Their Translation
• 3.1 A brief introduction to film titles
• 3.1.1 Features of film titles
• 3.1.1.1 Linguistic features
• 3.1.1.2 Aesthetic features
• 3.1.1.3 Cultural features
• 3.1.2 Functions of film titles
• 3.1.2.1 Informative function
• 3.1.2.2 Expressive function
• 3.1.2.3 Aesthetic function
• 3.1.2.4 Vocative function
• 3.2 Methods of film title translation
• 3.2.1 Transliteration
• 3.2.2 Literal translation
• 3.2.3 Free translation
• 3.3 Current English film title translation research
• Chapter Four Theoretical Framework
• 4.1 Brief account of reception aesthetics
• 4.2 Main concepts of reception aesthetics
• 4.2.1 Horizon of expectations
• 4.2.2 Reader’s role and status
• 4.3 Reception aesthetics and translation
• 4.4 Translation: a creative treason
• 4.5 Summary
• Chapter Five Creative Treason in E-C Film Title Translation Based on Reception Aesthetics
• 5.1 Creative treason and faithfulness in E-C film title translation
• 5.2 Creative treason in E-C film title translation based on reception aesthetics
• 5.2.1 Horizon of expectations and creative treason
• 5.2.2 Reader’s role and status and creative treason
• 5.3 Translation methods of creative treason
• 5.3.1 Addition
• 5.3.2 Deduction
• 5.3.3 Conversion
• 5.4 Limits of creative treason
• Chapter Six Conclusion
• 6.1 Major findings and implications of the research
• 6.2 Limitations and suggestions for future research
• Bibliography
• Appendix 1
• Appendix 2
• Acknowledgements