功能对等理论视角下美剧《绝望的主妇》（第一季）的字幕翻译

论文摘要

随着科学技术的发展以及经济全球化的到来,近年来,外国影视作品大规模地涌入中国市场,并渐渐受到越来越多的观众的喜爱。但是同时,外国影视作品字幕翻译却仍处于边缘状态,翻译领域未能将外国影视作品字幕翻译与其本身同等重视,本文试图引用奈达的功能对等理论,并从该理论独特视角出发,对字幕翻译进行分析,并通过对影视作品语言特征,字幕翻译本质与特殊要求及翻译策略进行分析,同时以当下最受欢迎的美剧《绝望的主妇》为例,提出影视作品字幕翻译可以将奈达的功能对等理论作为较权威的指导和标准之一。奈达的功能对等理论较之传统翻译理论标准有创新和突破之处,传统的翻译理论更重视语言的表现形式,而奈达更重视目标语接受者的反应。好的翻译是目标语与源语间产生最自然和接近的对等语,也就是说目标语接受者的反应应等值于源语接受者的反应。传统翻译理论常采用自下而上的翻译流程,从文章的字词句开始,再到段落和篇章,最后研究文体风格,这种自下而上的方法容易让译者偏离翻译方向；而功能对等理论采用自上而下的翻译流程,首先根据影响翻译的多种因素得出翻译达到的目的,再确定达成目的所使用的翻译类型,并进一步根据环境因素的制约,文章语言特点等制定翻译策略,也就是首先把握全局再研究字词句的处理方法并确定策略。由于字幕翻译受到时空限制,根据奈达的功能对等理论,译者在字幕翻译过程中要在时间和空间都受到严格限制的情况下最大程度地传达原文的含义,并要找到与原文对应的最自然且最切近的对等语。译者为达到这一目的,通常要灵活运用各种不同的翻译技巧,例如归化、异化、增词法和减词法等技巧,并注意翻译要符合奈达提出的产生功能对等的六大原则。笔者写这篇论文的目的是为了给影视作品字幕翻译者在理论上提供一定的帮助,并希望通过这篇文章能引起并提高翻译领域工作者对字幕翻译的重视,尤其是提高该领域对奈达功能对等理论引入字幕翻译指导意义的重视。

论文目录

• 摘要
• Abstract
• Contents
• Introduction
• Chapter One The Overview of Functional Equivalence
• 1.1 About Eugene A. Nida
• 1.1.1 Life and Career
• 1.1.2 The Target Audience According to Nida
• 1.1.3 Receptor's Response
• 1.2 Dynamic Equivalence vs. Functional Equivalence
• 1.3 The Significance of the Application of the Functional Equivalence
• 1.4 The Possible Application of Functional Equivalence in Subtitle Translation
• 1.4.1 Nida's View of "Equivalence on Varying Degrees"
• 1.4.2 The Similarity between Different Cultures
• 1.4.3 The Similarity of Receptor's Life Experience
• Chapter Two Subtitle Translation
• 2.1 A Brief Introduction to the Origin and Definition of Subtitling
• 2.1.1 The Definition of Subtitling
• 2.1.2 The Classification of Subtitling
• 2.1.3 Subtitling for Movies and TV Series
• 2.2 Features of Subtitle Translation
• 2.2.1 Subtitle Translation Is Full of Cultural Elements
• 2.2.2 Subtitle Translation Is the Process of Semiotic Composition
• 2.2.3 Length and Time are Limited in Subtitle Translation
• 2.2.4 Subtitle Translation Has the Unique Function
• 2.2.5 Subtitle Translation Has Its Own Constraints
• 2.3 Study on Subtitle translation at Home and Abroad
• 2.3.1 Subtitle Translation Abroad
• 2.3.2 Subtitle Translation at Home
• 2.3.3 Achievements in Subtitle Translation in and Abroad
• Chapter Three Case Study of Desperate Housewives （season one）
• 3.1 A Brief Introduction to Desperate Housewives （season one）
• 3.2 Subtitle Translation Analysis of Desperate Housewives （season one） at Different Levels
• 3.2.1 Equivalence at Linguistic Level
• 3.2.2 Equivalence at Stylistic Level
• 3.2.3 Equivalence at the Personalized Language Level
• 3.3 The Reasons for Achieving "Functional Equivalence" in Subtitle Translation of Desperate Housewives （season one）
• 3.3.1 The Need for Different Levels of Audiences
• 3.3.2 The Need for Different Styles of Movies or TV series
• 3.3.3 The Need for Markets
• 3.3.4 The Need for Different Cultures
• 3.4 Principles for Producing Functional Equivalence in Subtitle Translation
• 3.5 Translation Strategies of Subtitles in Desperate Housewives （season one） under the Principles of Functional Equivalence
• 3.5.1 Clarification
• 3.5.2 Domestication
• 3.5.3 Reduction
• 3.6 Mistranslations in Desperate Housewives （season one） from the Perspective of Functional Equivalence Theory
• Conclusion
• Acknowledgement
• Bibliography
• Appendix