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从关联理论看幽默语言电影字幕汉英翻译——以冯小刚电影为例引言幽默是一种文化对话与交流的重要形式，而电影作为一种流行媒介，也是幽默表达的重要场所。
在电影中，字幕翻译是将电影对话转化为另一种语言的重要环节。
本文通过关联理论探讨幽默语言电影字幕汉英翻译的问题，并以中国导演冯小刚的电影为例进行分析。
一、关联理论与幽默语言翻译关联理论是20世纪70年代提出的语言学理论，强调词语或句子的意义与其上下文之间的关联关系。
在幽默语言翻译中，关联理论起到了重要的作用。
幽默的产生和理解需要读者与作品之间达成共识，而关联理论可以帮助翻译者找到合适的语言表达来传达幽默的效果。
二、冯小刚电影中的幽默表达冯小刚是中国著名导演，其电影以幽默而又具有社会意义的故事情节著称。
他的电影在国内外都取得了巨大的成功，而其中的幽默表达也成为了观众津津乐道的话题。
以电影《非诚勿扰》中的台词为例：“我不小气，小气也要有个限度。
”这句话运用了反讽和夸张的手法，展现了片中角色的个性和态度。
在翻译中，如果直译为“ I am not stingy, but stingy also has its limit。
”虽然能传达出原汁原味的幽默效果，但却未能迎合英语语境，不易为英语观众接受。
因此，根据关联理论，我们可以借用类似“Don't be meanie, and even meanie has a limit.”的表达方式来传达相似的幽默效果。
三、字幕翻译中的策略根据冯小刚电影的幽默风格，我们可以总结出一些字幕翻译的策略。
首先，采用直译与意译相结合的方式。
有些幽默语言的表达方式在不同语言中无法直接对应，因此需要使用意译的方法。
比如在电影《一九四二》中，有一句经典台词“我只是舔了一下。
”直译为“I just had a lick.”会使观众感到迷惑不解，而将其意译为“I just gave it a try.”则更贴合英语语境，能够传达出原句的幽默效果。
从功能翻译理论看电影台词的翻译电影是国家文化软实力的重要组成部分，一个国家和一个城市的电影，已经超越了娱乐的意义，成为一种文化的载体，进而成为软实力的先锋，影响国际权力的版图。
然而，因为语种不同、文化历史背景不同，电影台词翻译就不可或缺。
电影台词翻译是一种跨文化、跨语言的交流活动，但它是种特殊的文学翻译，即要考虑文本意思的传达，又要体现角色的内心世界。
这就要求不能把电影台词翻译成文学作品。
台词翻译要传达影片的主题，阐述作品的时代背景，表现角色的个性。
1 功能翻译理论功能翻译理论兴起于20世纪70年代，1971年，赖斯在《翻译批评的可能性与限度》中建议根据译文的功能和读者的类别对翻译进行分类，在翻译时应考虑译文的特殊功能和读者，采用与功能类别相关的标准。
费米尔1978年在《普通翻译理论框架》提出翻译目的论( Skopos theory)。
认为翻译所要达到的目的决定了翻译的方法和策略，翻译行为要置于一定的文化背景之中，而非一对一的语言转换活动。
诺德在skopos rule的基础上提出了忠诚原则（royalty rule），强调目标语文本的意图必须与原作者的意图一致。
目的原则与忠诚原则是翻译目的论的两大基本原则。
目的论学者提出翻译过程必须遵照三大法则：目的原则：即译文由译文的交际目的决定；连贯性原则：即译文必须对目标语言交际环境和知识背景下的接受者是可理解的；忠诚原则：即译文要忠实于原文。
功能翻译理论不再进行直译与意译的争辩,而是从翻译的功能和目的出发,强调某一具体翻译目的要求相应的翻译策略、翻译方法，为达到某一翻译目的可以采取多种翻译方法。
2 电影台词翻译电影台词翻译不同于一般的文学翻译，在翻译过程中注意语用、文化、语言和文体，力争做到“信于内容，达如其分，切合风格”( 刘重德，1995)。
成功的电影台词翻译标准是既要符合目标观众文化特征，又不失源语言的独特风格，让目标译文观众能够获得同样的艺术感受。
重庆大学硕士学位论文从交际翻译理论看华语电影字幕翻译—以《英雄》为例姓名：张黎黎申请学位级别：硕士专业：外国语言学及应用语言学指导教师：范定洪2010-05摘要随着电影事业的发展和扩张，影视作品，作为一种大众文化，在跨文化交流中扮演着重要的角色，而影视翻译是进行此交流过程的关键因素。
影视翻译作为一门新兴学科，亦成为翻译园地中愈来愈重要的领地，开始受到翻译界的关注。
首先，影视翻译是文学翻译的一个重要分支，作为一门新兴学科的标志，必须构建自身理论体系。
影视翻译研究理论系统的建立要依赖文学翻译理论，并结合其自身特点创建一套可供研究的理论体系。
其次，在影视翻译实践中，由于电影有其自身特点，电影翻译必须兼顾这些特点。
电影翻译基本分为三种类型：字幕翻译，配音和覆盖画外音。
本文仅讨论国内影片翻译的主要形式—字幕翻译。
在参研前人研究成果的基础上，本文运用纽马克的交际翻译理论作为指导讨论华语电影的字幕翻译策略。
纽马克认为成功的翻译取决于交际效果的传达，以目的语和目的语读者为中心，使目的语读者能够最大程度获得源语读者的感受。
电影字幕的翻译不仅要考虑到观众对源语语言结构差异和文化差异的接受问题，同时结合电影字幕自身特点（瞬时性，画音同步等）以达到源语电影与译语观众的有效交际；基于纽马克有效交际的论述，作者总结了指导电影字幕翻译的四原则，即易读原则，节减原则，等效原则，和概括原则；最后以国产电影《英雄》为例，分析以上四个原则如何体现在译者所采用的各种翻译策略中，以论证交际翻译运用于电影字幕翻译的可行性。
本文的最终目的在于通过把纽马克的交际翻译与电影字幕特点相结合，为影视翻译理论体系的构建有一定的意义；另一方面，通过总结电影字幕翻译的原则和《英雄》字幕各种翻译策略，指导国产电影的字幕翻译实践，促进中国电影事业在海外市场的蓬勃发展。
关键词：影视翻译，电影字幕翻译，交际翻译理论，电影字幕翻译原则，翻译策略ABSTRACTAs film industry increasingly booms and expands in overseas markets, film, as a form of mass cultural products, plays an important role in cross-culture exchanges and communications to which translation is the key element. As a newly flourished subject, the study of film translation becomes more and more significance and begins to attract more and more attention in translation studies.Scholars and experts have been struggling to build its own theoretical framework for film translation study to symbolize its independence as an important branch of translation studies; the establishment of theoretical framework for researching is based on literary translation theories combining its own characteristics; on the other hand, the film products posses unique characteristics that should be fully considered in the process of film translation practice.Generally, there are three types of film translation: subtitling, dubbing and voice-over. This thesis only discusses the issue of film subtitling-the dominant type of Chinese-English film translation. Based on previous researches, it applies Newmark’s communicative translation theory in Chinese-English film subtitling. Newmark claims that the successful translation is to covey communicative effect of source language; and it should be target language-oriented and target reader-oriented, making them receive the effect as close as that received on the readers of the original. There is one more aspect except for dealing linguistic and cultural differences should be considered, i.e. features of instantaneity and combination of oral speeches and images in film subtitles, to achieve such communicative effect. This thesis proposes four subtitling principles based on Newmark’s views, i.e. comprehensibility, economy, equivalent effect and generic principle. Hero is used as a case study for analyzing various subtitling strategies and discussing how these strategies reflect the proposed four subtitling principles, furthermore, in order to enforce the applicability of communicative translation theory.This thesis applies Newmark’s communicative translation theory in accordance with the characteristics of film subtitling, which is significant to establish theoretical framework in this area. And it summarizes four subtitling principles and various subtitling strategies in Hero in order to provide guidance to Chinese-English film subtitling practice and promote the development of Chinese film industry in overseas markets.Key Words: film translation; film subtitling; communicative translation theory; film subtitling principles; translation strategies.Chapter One IntroductionNowadays, communications among different countries are becoming much more frequent than ever, not only in scope of politics and economy communications but in culture communication. With the development of such frequent and all-around communications, their channels are increasingly varied. Film, as the most popular form of mass entertainment and culture-loader with a large numbers of audiences across the world plays a significant role in transmitting cultures and promoting international culture exchanges (Peng Jixiang, 2004). Therefore, when the film is shared globally, film translation bears multifold communicative functions, i.e. linguistic communication, non-linguistic communication, culture communication. It is no less complicated than the translation of literary works and should not be neglected in translation studies.1.1 Research backgroundHatim and Mason (2001) claim, “once all texts are seen as evidence of a communicative transaction taking place within a social framework, the way is open to a view of translating which is not restricted to a particular field-religious, literary, scientific—but which can include such diverse activities as film subtitling and dubbing, simultaneous interpreting, cartoon translation, abstracting and summarizing, etc” (p.2). It shows that film translation begins to be caught attention after long-term inferior to literary translation. With the development of modern science and technology, films are not only available in cinema but also in forms of DVDs, on-line videos, and they can be watched or downloaded in personal computers. Audio-visual products have become a necessary part of people’s life and can be seen everywhere in our daily lives. Most people take film-watching as mental recreation in their spare time, which pushes film industry to its prime time.As the film industry increasingly booms, it develops quickly not only in domestic market but also in broad overseas markets. When film products are ready to be exported, translation must come first before the products meet their target audiences, because most target audiences can only speak their mother language. Usually, values, thoughts, religious faith, lifestyle, even morality of a certain community can be revealed through dialogues and pictures of the film. Translation of film products is not merely linguistic transfer but the processing of such culture conventions. At present, film products are imported and exported with a great number in most countries, and theatres and on-linetheatres witness unprecedented introduction of foreign films in China. The more films are imported and exported, the more translation is conducted. Therefore, the exploration for film translation study is commenced in scholars’ researches. .Theoretically, film translation is divided into voicing-over, dubbing and subtitling in form, among which subtitling and dubbing are two main approaches. “Two approaches of film translation have been dominant: subtitling and dubbing” (Baker, 1998, p.24). “Theoretically, subtitling is a process of reproduction of film from the ‘multimodal text’ to a written text, namely, a well-finished film itself is a source text, and the target text is ‘the same’ film with subtitles” (Remael, 2001, p.16). Dubbing refers to the replacement of the original speech by a voice track which attempts to follow as closely as possible the timing phrasing and lip movements of original dialogue. (Luydken, 1991)Compared with literary translation study, film translation study is much younger because of the late birth of cinema and film. Film translation study begins earlier in western countries than in China. In early research, it is rather called “A VT translation” which is a collection of screen translation including film, domestic video, cooperate video, TV programs, online translation and offline products and services. Clearly, Film translation subordinates to A VT translation. Nowadays, with the prosperity of global film industry, the study on film translation thrives as an independent branch of A VT. Western scholar Jorge Díaz Cintas works on establishing of theoretical framework on film translation study as an integral part to translation studies; Diaz-Cintas (2004) holds that literary translation theories are not marked within their application scopes, so these theories, properly adapted, have great significance to establish film translation theories. Besides, much empirical studies have been done. The research on film translation started quite late. Before 1949, China virtually had no screen translation. After 1978, audiovisual translation began to be active and so did the studies of film translation, but there were disproportional few pioneer research works compared with the large numbers of film products imported and exported. In recent decays, large numbers of imported films swarm in China film market, most of which are dubbed or subtitled; in contrast, less domestic films are exported overseas.According to the survey once made by an authoritative , it showed that about a large number of people, accounting for more than 70%, prefer subtitled films and about 23% of people like dubbed film. In China, subtitling is the favorite film translation approach because it remains original sound track combingtranslated subtitles which is warmly welcomed by language learners, and according to Gambier, “dubbing can be up to ten times expensive than subtitling” (as cited in Zhu Jia, 2005, p.9). Therefore, subtitling is worth being explored, especially when studying Chinese-English films translation because of dominant role of subtitling. So this thesis attempts to focus on the study of Chinese-English film subtitling.1.2 The significance of the researchStudy on film translation is on its way to establish theoretical framework. In recent years, researches on film subtitling are increasing, most of which explore this issue from the perspective of functionalist translation theory, the rest of which from relevance theory or norms. They are fruitful to some extent and indeed have achieved somewhere. However, only a few of researches resort to communicative translation approach, and most of them bring the translation of English films or English film names into research issue. There is much room to do the research on Chinese-English film subtitling from the perspective of communicative translation theory. .Therefore, based on previous studies, this thesis discusses Chinese-English film subtitling from the perspective of Peter Newmark’s communicative translation theory. On the one hand, it introduces Newmark’s communicative translation theory and proves its applicability to film subtitling, which is significant to establish theoretical framework in this area.On the other hand, there are large numbers of dubbed and subtitled foreign films introduced into China, especially Hollywood films. Many of the Chinese audience have experienced the overwhelming influence of Hollywood films. One main reason for the popularity of American film is that American producers pay much attention to language transfer for foreign audience (Ji Fengju, 2007). However, only a few Chinese films are exported. And a few of these exported films are well-received, although State Radio and Television Bureau has announced new strategies for developing and expanding domestic film products and TV programs. They do have much impact on film products oversea promotion, but we can not forget that the introduction of domestic film products into foreign countries should largely depend on “translation” no matter how they are promoted or advertised (Long Qianhong, 2006). Chinese translators of audio-visual products should focus much more on Chinese-English translating and introducing domestic film into other countries (Gu Tiejun, 2005). To expand international market and to earn more applause from abroad, subtitling is very necessary and important. Thisthesis explores subtitling principles and practical subtitling strategies for Chinese films to make them receive more applause in targeting countries (native English-speaking countries), which makes certain contribution to expand domestic films exporting and eventually thrives in overseas market.1.3 Research questionsThe research is carried out in light of communicative translation theory, and it attempts to find out practical principles to guide film subtitling to ensure that TL audiences can appreciate and enjoy the film to the degree as the SL audiences do.Here are two research questions of the whole paper:1 Can communicative translation theory guide film subtitling and how to guide it?2 What specific translation strategies does the subtitler adopt in Hero? And to what extent do these strategies reflect the proposed guiding principles and how?1.4 Methodology and data collectionThe present research is based on qualitative method. A case study is also adopted to support the validity of qualitative research. Qualitative analysis is adopted to identify the applicability of communicative translation theory in film subtitling study. Four subtitling principles are derived from communicative translation and the case study with examples excerpted from Hero validates the result of qualitative analysis.The film Hero is used as a case study. Subtitles in English are transcribed from the DVD bought from Taobao on-line shop and the Chinese script is down-load from /xml/sub/3/3045.xml.1.5 Thesis structureThis thesis uses Peter Newmark’s communicative translation theory to guide the practice of film subtitling. It is totally divided into six chapters. Chapter One generally introduces the research background, the significance of the research, research questions methodology of the research as well as structure of the whole thesis; a brief review of the development of film translation study both at home and abroad is presented in Chapter Two; Chapter Three introduces the theoretical framework of the whole research-Peter Newmark’ s communicative translation theory, including its developing background and detailed and focusing points; Chapter Four proves applicability of communicative translation to film subtitling and discusses the application of it byadding introduction of film subtitling characteristics, and in this chapter, four principles are proposed based on both theoretical framework and film subtitling characteristics to guide film subtitling practice; Chapter Five gives a successful subtitling film example, Hero and analyzes its subtitling strategies under the guidance of the four proposed principles to support the previous discussion in Chapter Four; Chapter Six is the conclusions of the whole thesis.M.A. Dissertation of Chongqing University Chapter Two Literature reviewChapter Two Literature reviewThis chapter provides a brief review of the literature both in audiovisual translation (AVT) and the specific field of AVT film translation in western countries and China. Relevant definitions and inter-relations are given.2.1 Audiovisual translation and film translationIn the opening paragraph of her introduction to the Routledge Encyclopedia of Translation Studies, Baker comments, “in the early 1990s many had begun to see ‘Translation Studies’ as an exciting new discipline, perhaps the discipline of the 1990s. As a part of this revolution, few can deny that the one of the branches that has received the greatest impetus is audiovisual translation (AVT)” (Diaz-Cintas, 2001, p.200). Up to now, “AVT” is regarded as a collection of screen translation which includes film, domestic video, cooperate video, TV programs, online translation and offline products and services. Therefore, film translation, conducting the translation of domestic or foreign films, does not equal to AVT but one of the most popular forms subordinate to AVT. The study of AVT is relatively new in the field of translation studies, lagging behind literary translation study. Even the wider field AVT enclosing film translation as only a small part is in the dark not mention the study of film translation. As one of the embranchment of AVT, it is far from adequate in sphere of translation studies, and needs large and deep exploration.Up till now, western studies and domestic studies on film subtitling, one of major approaches of film translation have been flourishing. A certain number of scholars’ researches made remarkable contribution to this field.2.2 Studies in western countriesWestern scholars began to devote to film translation studies much earlier than Chinese scholars. Nowadays film translation studies are flourishing in western European countries. It is publicly recognized that Istvan Fodor was a pioneer of film translation studies. His researching results published in 1976 which studies film translation from linguistics, semeiology, aesthetics, and psychology was the first systematic one in film translation studies then (Dong Haiya, 2007). In the following decades, researches on this area became prosperous. 1990s witnessed the golden time for film translation studies. During this period, more and more academic papers and latest researching results were published in international translation journals, and theresearch extension and depth of those investigation were drawn more attention ever than before; many non-profit organizations such as ESIST (European Association for Studies in Screen Translation) had been increasingly established; international conferences were held to discuss the topics on this area every year.Many western scholars have had controversial opinions on which is advantageous form, subtitling or dubbing since in early research. This is not simple argument about film translation form; it closely relates to national politics, economy, culture, ideology, import and export policies of films, etc. Film subtitling and dubbing are just two different conventions for different countries, which come into being through co-working of above social elements (ibid). The author mainly focuses on introduction of the development of subtitling research at home and abroad.2.2.1 Several perspectives of western researches on film subtitlingWestern scholars have been struggling to establish theoretical framework for film translation studies for years. One of the theoretical perspectives for studying film subtitling in western countries is polysystem. This theory is sufficiently flexible to allow talking of film polysystem, which embodies impact of national politics, cultural features, the proportion of imported and exported products and censoring of government and distributing agency of film products. Subtitling is studied on the background of poly social conventions. One of the representative researches from this perspective is conducted by Karamitroglou. He (Karamitroglou, 2000) attempts to analyze the relationship among producers of imported products in Greece, subtitled products and supposed viewership to search a way for studying target language system. Fotios Karamitoglou (2001) also takes a close look at the practice and reasons behind subtitling children’s television programs from the perspective of polysystem.Norms are also welcomed by western scholars when they are conducting film subtitling research. The different norms, postulated by Toury and reworked by Hermans, are understood as the central element in the translation process and they account for the relationship that exists among the rules of the abstract and modeling society and the idiosyncrasies of each translator, with change and not the same throughout history. “This new approach accepts translated texts without judging their solutions as correct or incorrect. It seeks to explain why a particular equivalence has been reached and what this means in the historical context” (Diaz-Cintas, 2004, p.26).Another important perspective of western researches on film subtitling is translation strategies study. Scholars who take this perspective as the researching pointof departure study translation problems and strategies in film subtitling from such theoretical views as pragmatics, relevance theory and reception theory, etc (Dong Haiya, 2007). Although western scholars are struggling to establish theoretical framework for film translation study, present literary translation theories may shed light on their exploration. Therefore, certain literary translation theories can be appropriately applied in film subtitling study and contribute to establishment of theoretical framework of film translation. Such researches usually integrate text (film subtitles) analysis to discuss various translation strategies such as condensation, deletion and domestication of culture terms in subtitling films; how to deal with humor, satire, allusion and metaphor in tranlating subtitles, etc. Pelsmaekers and Besien’s (2002) research Subtitling Irony: Blackadder in Dutch is among such researches on how to deal with the translation of humor from the perspective of translation strategies study.2.2.2 Some distinguished figures and their researchesAnne Jackel (2003) examines assumptions about specific target audiences made by film-makers and subtitlers and their implications in political, cultural, and economic terms. Based on globalization and postglobalization communication theories, theories of register and genre and audience-based reception studies, he explores to what extent these assumptions play a role not only in multimedia translation but also in the reception of one film in various countries. His studies suggest what might have happened if the subtitlers had taken a more decisive role in adapting film to the target culture. And he believes if it did so, the film might have more easily overcome differences between original and target cultures and posted not only a solid artistic performance but an economic one as well.Jorge Díaz Cintas (2001) introduces a method of subtitling quality control, namely the use of a good dialogue list. Diaz-Cintas divides the factors that impinge on the quality of subtitles in three loose categories. Some of the problems are of physical nature, which are easily overcome. The working conditions under which the subtitler is forced to work is at least important in determining the quality and the end product. The third category derives from the actual linguistic transfer and he introduces different types of dialogue list with an example of a complete list.Henrik Gottlieb started his research on subtitling in 1990s, and he mainly dealt with the linguistic dimensions of subtitles, the translation of idioms from English to Danish. Henrik Gottlieb (2001) studies the choices translators make in the Danish subtitling of English-language television programs. A systematic case study is carriedout on the types and frequencies of Anglicism by comparing two American films, Falling Down and Ghostbusters. Gottlieb analyzes the ubiquity of Anglicism and finds out several reasons for that. He argues that the strong English presence in practically all world languages has strongly influenced target language word choices. Besides, Gottlieb co-worked with Yves Gambier and compiled the book (Multi) media Translation: Concepts, Practices and Research, which is a collection of twenty-six articles on latest researches in the field of audiovisual translation2.3 Domestic studies of film subtitlingIn contrast to domestic literary translation studies, the research on film translation started quite late. Before 1949, China virtually had no screen translation. After 1978, audiovisual translation began to be active and so did the studies of this area then. However, there are still a few pioneer research works.2.3.1 Studies on subtitling problems and strategiesAmong these researches, the most outstanding article is written by Zhang Chunbai and he published his research issues On Film Translation and TV Translation in Chinese Translators Journal in 1998. In his article, Zhang (1998) discusses two features of the language of films and TV works; immediacy and popularity, in view of which he summarizes the nature, principle and technique of film and TV translation. In addition, he mentions the methods of translating cultural factors and puns in films. His research was one of the few early ones on film translation published in Chinese Translator Journal.Later Qian Shaochang (2000) published his essay Film Translation and TV Translation-The increasingly Important Field in Translation Garden in Chinese Translators Journal in 2000. He divides the characteristics of film subtitling into five types: audibility, comprehensiveness, immediacy, popularity and no-note and summarizes seven concrete techniques, emphasizing expressiveness of Yan Fu’ s threefold criteria.Another Chinese scholar Li Xingyun (2001) gives a detailed analysis of the features of film subtitles in his article Strategies for Translating Subtitles; he points out that because the subtitle translation practice is subject to time and spatial constraints, the reductive strategy of translation is preferred in translating subtitle: condensation, reductive paraphrasing and deletion.Zhao Chunmei (2001), an experienced editor of the International Department ofCCTV, analyzes the four main conflicting demands faced by a translator in the process of translation—length vs. content, word order vs. picture order, naturalization vs. alienation and transliteration vs. semantic translation. Based on the spatial and length constraints, Zhao suggests ways of resolving these conflicts in the essay Translation into Chinese of Film Scripts and Scripts of TV Drama Series-Four Main Conflicting Demands in 2002.Besides, scholar Ma Zhengqi, with the experience of audiovisual translation practice, published his book in 2005 outline for film translation which is one of the few famous books on audiovisual translation studies. Ma (1998, 2000) discusses the strategies for film translation from various perspectives such as communication studies, semiology, and hermeneutics; and explores the art of translation from the perspective of aesthetics in this book.Chen Shengjie (2004) summarizes the factors that affect the quality of subtitling as follows: film pirating, uncontrollable outsourced projects, economic factors and linguistic factors. He focuses on linguistic factors and analyzes the linguistic dimensions of subtitling from the following aspects: brevity and clarity, double-lined subtitling, omission, punctuation, structural discrepancy, and swearwords. He claims that subtitle should be as short and comprehensible as possible and the strategies of condense, using simple expressions, stock phrase, collocations, and Arabic numerals, restricting the length of the subtitles, omitting punctuation marks, shifting register, etc. could enhance the brevity.2.3.2 Communicative translation theory and film subtitlingThere is little literature on researching film subtitling from the perspective of communicative translation theory in journal in China, and the literature in this thesis on application of communicative translation theory to film subtitling mainly derives from M.A. theses.Studies on English subtitling strategies on ‘In the Mood for Love’ and Translation and Promotion of Chinese Movies in the World Market written by Long Qianhong summarizes several subtitling strategies the subtitler adopts and Long (2006) states that such strategies are deeply theoretically rooted in communicative translation theory. However, Long only mentions that domestication of In the Mood for Love is theoretically based on Newmark’s communicative translation theory, but he does not further explore how communicative translation theory guides such subtitling strategies.Gao (2007) discusses applying communicative translation theory to deal with thelinguistic and cultural barriers in subtitling English-Chinese film.Wu (2003) discusses communicative translation method and semantic translation method in film translation (her study focuses on dubbing) can entertaining function of film, with semantic translation as auxiliary method for communicative translation method.Zhu (2005) suggests the approach of communicative translation theory towards dubbing English feature films into Chinese.The author referred to library and on-line data bases and found several film subtitling researches above from the perspective of Newmark’s communicative translation theory. Based on previous research fruits, it proves the feasibility of applying communicative to film subtitling. Unlike Wu and Zhu, the present research will apply communicative translation to subtitling and unlike Gao, the present research will deal with translation strategies guided by communicative translation theory in subtitling Chinese-English film.2.4 Summary of previous studies and proposal of research topic of this thesisThe previous studies both at home and abroad almost cover every aspect of film subtitling. The perspectives of film subtitling studies in western countries are deep and extensive. Western studies are generally conducted from the social, political, ideological and economical perspectives. And the studies on subtitling strategies are also included in their theoretical framework researches; in such researches some literary translation theories are used to discuss translation problems and strategies in subtitling film, such as relevance theory and reception theory. Empirical studies about film subtitling in western countries are abundant and fruitful. As for domestic researches, characteristics of film language and translation problems in the process of subtitling film and various strategies for English-Chinese film subtitling are studied with great efforts.It is one of the theoretical research trends to resort to literary translation theories to establish theoretical framework of film translation study in western countries; and research on exploring translation strategies from various mature theories is also advocated in western countries. However, seldom have researches explored Peter Newmark’s communicative translation theory as theoretical fundament to study subtitling strategies. Besides, most of their researches tend to make a survey of film products among European countries and nearly exclude Chinese films. In China, most scholars tend to explore the English-Chinese subtitling strategies and exploration for。
从会话含义理论看电影对白的字幕翻译电影对白是电影的重要组成部分，具有刻画人物性格、反映人物心理、表现人物情感等作用：精彩的对白翻译不仅能使目的语观众正确理解片中人物，而且有助于深刻把握影片主题，从而有效地促进跨文化交际。
而对白贴近现实生活，并且大量运用夸张修辞格和隐喻修辞格，因此不乏人物违反合作原则，产生“会话含义”的实例。
“会话含义”概念是格莱斯(Grice)在其“逻辑与会话”(Logic and Conversation)一文中提出的格莱斯认为，人们在言语交际中为了达到特定的目标，说话人和听话人之间存在着一种默契：他把这种默契称为会话的合作原则，具体包括：数量准则，即说的话既要达到交际所要求的详尽程度，又不能比所要求的更详尽；质量准则。
即不要说自己认为不真实的话，也不要说自己缺乏足够证据的话；关联准则，即说话要相关贴切；方式准则，即避免晦涩歧义，说话简要，条理清楚。
这四条准则客观上是必须遵守的。
但在实际会话中．人们时常违反这些准则：如果说话人公然不执行某一条准则，即说话人知道自己违反了准则，同时想让听话人知道其违反准则，格莱斯称此为对准则的“蔑视”：这种情况下将产生“会话含义”，说话人实际上是想表达一些含蓄的意思，即通常所说的“弦外之音”。
电影对白源于生活，必定存在“蔑视”合作原则。
产生“会话含义”的情况：“会话含义”往往可以反映人物的心理状态、情感态度、思想活动等，表现人物个性，推动情节发展：由此可见，会话含义理论对电影对白的翻译具有一定的指导作用：运用这一理论分析人物对白，能够使译者较为敏锐地挖掘其中的“会话含义”，更加透彻地理解“会话含义”，最大限度地再现“会话含义”。
从而实现译文和原文在“会话含义”上的近似对等。
四个准则格莱斯将合作原则具体化为四个准则：⑴量的准则（The maxim of quantity):1）所说的话应包含当前交谈目的所需要地信息；2）所说地话不应包含多于需要地信息.⑵质的准则（The maxim of quality):1）不要说自知是虚假的话；2）不要说缺乏足够证据的话.⑶关联准则（The maxim of relevance):所说地话与话题要相关联.⑷方式准则（The maxim of manner）：清楚明白地表达出要说的话，尤其是：1）避免晦涩；2）避免歧义；3）简练；4）有条理.下面我们就合作原则各项准则的违反所产生的会话含义的情况，通过实例来进行一些介绍：例如：甲：新来的经理看上去不是很友善啊？乙：今天晚上有场好看的电影，我们一起去吧。
从关联理论看字幕翻译策略——《乱世佳人》字幕翻译的个案分析从关联理论看字幕翻译策略——《乱世佳人》字幕翻译的个案分析导语：《乱世佳人》是一部美国经典电影，它在全球范围内有着广泛的影响力。
字幕翻译是将电影中的对话和文字转化为另一种语言，以便观众理解。
本文将从关联理论的角度出发，对《乱世佳人》字幕翻译的个案进行分析，探讨其中采用的翻译策略。
一、关联理论简介关联理论是语言学中的一个重要理论，它关注词汇之间的联系和关系。
根据该理论，人们通过将词汇和概念联系起来，理解和记忆语言。
关联可以通过词汇的相似性、属于同一语类、语境关系等方面进行构建。
二、字幕翻译策略1. 直译策略直译是指将源语言文字直接翻译成目标语言文字，不进行任何修改或适应。
在《乱世佳人》的字幕翻译中，直译策略被广泛运用。
例如，在剧中经典台词“Frankly, my dear, I don't give a damn.”被翻译为“坦白说，亲爱的，我根本不在乎。
”尽管这种翻译可能会使最初的语义有所偏离，但它保留了原始句子的情感色彩和口头语感。
2. 动态对等策略动态对等是指在翻译过程中，根据目标语言的文化背景和言语习惯，适当调整原文的句子结构和词汇表达，以实现语义的最佳传递。
在《乱世佳人》的字幕翻译中，动态对等策略被用来使观众能更好地理解并产生共鸣。
「愿上帝作证，在南方的地盘上，只有一个贵族聚会，活得像贵族似的，那就是我的苏伯。
他现在就坐在你那个椅子上。
」(May the Lord bear witness that the only gentle breeding that I've seen on this place have been shown by your old nigger. Sitting in your chair.)中的“贵族似的”翻译为“gentle breeding”，使得中国观众在不同文化背景下能够理解并接受这种说法。
摘要：本文通过分析以往经典电影和近年来极受欢迎的英文片名的翻译案例，对比归化理论和异化理论在电影片名翻译中的具体应用，提出了在电影片名翻译中应该遵循的四个原则，并试图找到一种符合中国人心理、文化接受能力和语言习得的翻译策略，从而探讨翻译理论和技巧在大众传播领域的重要作用。
关键词：电影片名翻译归化异化翻译原则翻译标准多元互补在《漫谈英文电影片名的翻译》中，作者认为，“片名翻译时，也应深入理解片名内容蕴涵和风格，揣摩措辞用语，力求准确把握原语与译语的表层意义和联想意义，既要考虑对等，更要考虑译名的传意性和可接受性”。
［１］《目的论在电影名翻译中的运用》一文指出，“电影蕴涵的娱乐功能和商业价值，就决定了在翻译过程中应适当摒弃传统的‘等效’、‘接受美学’等理论原则，对电影名的翻译首先应该遵循目的论原则，为实现电影的商业价值服务”。
［2］刘庆云在《等效原则下的片名翻译》中指出，“为了得到观众对电影的最佳反应，文学翻译中的‘忠实’原则就不再适应……有时还必须从整体着眼，作较大的变动，甚至是改写。
这种灵活性在港台的影片翻译中尤为突出”。
［3］以上论述表明了这样一种理论：电影片名不同于一般的书名翻译，它是一种因实际需要而故意加进原本没有的意义的一种传达方法，有别于文学翻译那种严格依照作者本意、力求神似的方法。
这是从英文电影片名信息接受者的角度考虑翻译策略的优劣，和归化理论的要求比较一致。
由于语言是文化的载体，是文化的传播途径，因此在语言翻译中必须考虑如何处理源文化与目的语文化的差异。
一般来说，可分为两种对立的意见，即所谓“异化”（alienation）与“归化”（adaptation）。
温努提（venuti）说“译者可以选择归化或异化的方法，前者是以民族主义为中心，把国外的价值观归化到目的语文化之中，把原文的作者请回家来；后者则离经叛道地把外国文本中的语言和文化差异表现出来，把读者送到外国去。
”［4］因此在翻译英文电影片名时，翻译工作者选择指导理论时应考虑诸多因素。
从关联理论看字幕翻译策略———《乱世佳人》字幕翻译的个案分析王荣(北京航空航天大学北京100083)摘要:由于受诸多因素制约,电影字幕翻译评价标准和翻译策略与传统翻译不同。
本文从关联理论的角度,归纳了几类常用的字幕翻译策略,并将经典影片《乱世佳人》作为个案进行分析。
本文认为关联理论对字幕翻译有着很强的解释力,为了实现电影预期的交际效果,字幕翻译应该以最佳关联原则为指导,让观众用最小的努力,获得最大的语境效果。
关键词:关联理论;字幕翻译;《乱世佳人》;翻译策略[中图分类号] F590 [文献标识码] A [文章编号] 1003-6539 (2007) 02-0005-05On Film Subtitle Translation Strategies from the Perspective of Relevance Theory ———A Case Study on the Film“Gone with the Wind”Wang Rong(Beihang University, Beijing, 100083)Abstract:Constrained by many elements, the criteria and strategies of subtitle translation differ from those of written translation.This paper attempts to categorize several translation strategies used in subtitle translation from the perspective of Relevance Theory, andanalyzes howOptimal Relevance contribute to successful realization of communicative effect through a case study on the film“gone withthe wind”. The paper draws a conclusion that subtitle translator should always be guided by the Optimal Relevance principle to producethe most relevant information, and to make the audience use the least effort to get the greatest contextual effect.Key words:Relevance Theory; subtitle translation;Gone with the Wind; translation strategies一、引言关联理论(Seperber&Wilson, 1986/1995)是20世纪80年代在语言哲学领域兴起的关于语言交际的解释理论。
基于关联理论视角看电影字幕翻译——以《泰坦尼克号》为例引言电影是一种融合了语言、视觉和音乐等多种艺术形式的文化产品。
对于跨语言沟通的影视作品来说，字幕翻译扮演了重要的角色。
《泰坦尼克号》作为一部具有国际影响力的电影，其字幕翻译可提供我们一个有趣的案例来探讨关联理论在字幕翻译中的运用。
一、关联理论的基本原理关联理论是翻译探究领域中的一种理论，指出语言之间存在着词汇、句法、语义等多个层面上的关联干系。
在字幕翻译中，关联理论可以援助翻译人员更准确地传达原作中的信息，并使观众得到更好的观影体验。
二、《泰坦尼克号》中的关联表达1. 人物关联《泰坦尼克号》中的主人公杰克和罗斯是观众最为关注的角色之一。
在字幕翻译中，翻译人员需要思量如何准确地传达两位主人公之间的情感干系。
比如，在杰克第一次见到罗斯时，他以“你好，小姐”一词来搭讪，而这个搭讪行为凸显了他们两人之间的初次相遇。
因此，在字幕翻译中应该尽可能地保持原作的表达，以使观众能够感受到两人之间的亲近干系。
2. 情感关联除了人物关联外，电影中的情感干系对于字幕翻译也分外重要。
例如，在影片中，杰克为罗斯画了一幅画，并称之为“你的颜色”。
这个表达不仅仅是形容画中的颜色，更深层次地表达了杰克对罗斯的崇拜之情。
在字幕翻译中，若果将这样的表达简易地转译为“你的颜色”，那么传达给观众的情感将会大打折扣。
因此，翻译人员需要充分理解原作的情感表达，并用合适的方式来转化为目标语言，以保持观众对原作情感的理解。
3. 视觉关联电影是一种视觉艺术，其中的视觉元素对于观众来说也是重要的信息。
在《泰坦尼克号》中，船体的沉没是电影的重要情节，它通过一系列场景和特效来表达。
在字幕翻译中，如何准确地传达视觉元素对于观众理解剧情的重要性。
翻译人员可以通过选择合适的词汇和句子结构来传达视觉元素的相关信息，以使目标观众对原作的视觉体验有所了解。
结论通过对《泰坦尼克号》字幕翻译的分析，可以得出结论：在字幕翻译中，关联理论的运用能够援助翻译人员更准确地传达原作的信息，并使观众得到更好的观影体验。
