从系统功能语言学看英汉影视翻译

论文摘要

影视翻译是翻译研究中的一个新兴的领域，在中外文化交流中发挥着不可替代的作用。影视翻译具有其自身显著的特点，在翻译过程中必须予以重视。本篇论文尝试应用系统功能语言学的三大纯理功能(或元功能)和情景语境的理论对英汉影视翻译进行了研究。系统功能语言学由著名语言学家韩礼德创立以来，无论是其自身还是同翻译研究的结合上都有了重大发展，但是应用系统功能语言学对影视翻译进行系统化的研究目前还尚未看到。因此，这是本篇论文的创新点。三大纯理功能和情景语境理论是系统功能语言学的核心部分。系统功能语言学认为，语言有三大纯理功能：概念功能、人际功能和语篇功能，而这三大功能分别受情景语境的三个变项即语场、语旨和语式的制约。在影视翻译中，好的译文一般情况下应在三个功能上都实现与原文的对等，同时，译者应注意使译文能表现原文的语域特征，能恰当地表达原文所赖以产生的情景语境，使两种语言的语篇能在相似情景语境中起相同的作用。本篇论文首先对影视语言以及影视翻译进行了全面分析，介绍了影视翻译的研究现状，进而提出将系统功能语言学应用于影视翻译研究的重要性。然后详细介绍了系统功能语言学及其核心理论：三大纯理功能以及情景语境理论，并将其结合影视翻译从语言、情景、功能互动的角度进行了研究。论文共选用译例86个，大多数为第一手材料，直接选自英美著名影片和电视剧。通过研究发现，由于各种因素限制，有时很难在译文中同时实现三大功能的对等，这时需译者根据情景语境选择一种或两种功能作为追求对等的主要对象进行翻译。由于影视语言的特殊性，人际功能往往是最重要的功能，在翻译中应加以重视。在影视翻译过程中，语旨和语式不可避免地发生了相应的变化。根据情景语境理论，一个变项的变化可以引起其它两个变项的改变。在此情况下，译者应根据译文的语域来调整译文，而不是固守原文的字面意义。研究结果证明，系统功能语言学对影视翻译的研究具有指导意义，用三大纯理功能和情景语境理论指导影视翻译的实践对提高影视翻译的质量能够起到重要作用。

论文目录

Abstract in Chinese

Abstract in English

Literature Review

Introduction

Chapter One A Survey of Film and Film Translation

1.1 Origin,Nature and Functions of Film

1.2 Linguistic Features of Film Lines

1.3 Development of Film Translation

1.3.1 Development of Film Translation Abroad

1.3.2 Development of Film Translation in China

1.4 Classification of Film Translation

1.4.1 Subtitling

1.4.2 Dubbing

1.4.3 Social Preference for Dubbing and Subtitling

1.5 Current Studies on Film Translation

1.5.1 Film Translation Study Abroad

1.5.2 Film Translation Study in China

1.6 Significance of Studying Film Translation from the SFL Perspective

Chapter Two Theoretical Framework

2.1 Overview of Systemic-functional Linguistics

2.1.1 Development of Systemic-functional Linguistics

2.1.2 A Brief Introduction to SFL

2.1.3 Levels of Language

2.2 Three Metafunctions in Systemic-functional Linguistics

2.2.1 Ideational Metafunction

2.2.1.1 Material Processes:Process of Doing

2.2.1.2 Mental Processes:Process of Sensing

2.2.1.3 Relational Processes:Processes of Being

2.2.1.4 Behavioural Processes

2.2.1.5 Verbal Processes

2.2.1.6 Existential Processes

2.2.2 Interpersonal Metafunction

2.2.2.1 Mood

2.2.2.1.1 Speech Functions and Their Realizations

2.2.2.1.2 Mood Element

2.2.2.1.3 Structure of the Residue

2.2.2.1.4 Modal Adjuncts

2.2.2.1.5 WH-Interrogative,Imperative and Exclamative Clauses

2.2.2.1.6 Minor Clauses

2.2.2.2 Polarity and Modality

2.2.2.3 Metaphors of Modality

2.2.2.4 Appraisal System

2.2.3.Textual Metafunction

2.2.3.1 Grammatical Cohesion

2.2.3.2 Lexical Cohesion

2.3 Theory of Context of Situation

2.3.1 Development of Theory of Context of Situation

2.3.2 Three Variables of Context of Situation

2.3.3 Context-Language Relationship Model

2.4 Systemic-functional Linguistics and Translation

2.4.1.Application of SFL to Translation

2.4.2 Review of Application of SFL to Translation Studies

Chapter Three Three Metafunctions and Film Translation

3.1 Translation in Relation to Ideational Function

3.2 Translation in Relation to Interpersonal Function

3.2.1 Mood

3.2.1.1 Maintaining the Mood

3.2.1.2 Changing the Mood

3.2.1.3 Mood and Polarity

3.2.1.4 Minor Clauses

3.2.2 Modality

3.2.2.1 Modalization

3.2.2.2 Modulation

3.2.2.3 Metaphors of Modality

3.2.3 Appraisal

3.3 Translation in Relation to Textual Function

Chapter Four Context of Situation and Film Translation

4.1 Field of Discourse

4.2 Tenor of Discourse

4.2.1 Two Parties Within a Dialogue

4.2.2 Author and Audience

4.3 Mode of Discourse

4.3.1 Two Major Types of Film Translation

4.3.1.1 Subtitling

4.3.1.1.1 Features of Subtitling

4.3.1.1.2 Technical Constraints in Subtitling

4.3.1.1.3 Subtitling in Relation to Mode

4.3.1.2.Dubbing

4.3.1.2.1 Features of Dubbing

4.3.1.2.2 Technical Constraints in Dubbing

4.3.1.2.3 Dubbing in Relation to Mode

4.3.1.3 Differences Between Dubbing and Subtitling

4.3.2 Spoken and Written Styles

4.3.3 Rhetoric

Conclusion

Acknowledgements

Bibliography

从系统功能语言学看英汉影视翻译

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论文目录

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