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XXXXX大学本科毕业论文（设计）任务书编号：论文（设计）题目：从目的论角度分析情景喜剧的字幕翻译学院： XXX学院专业： XXXX 班级： XXX级XX班学生姓名： XXX 学号：XXXXX指导教师： XXX老师职称： XX1、论文（设计）研究目标及主要任务本文的研究目标是探讨目的论指导下情景喜剧字幕翻译的特点趋势及其在翻译中的应用。
其主要任务是通过相应的翻译方法和策略指导情景喜剧的字幕翻译实践，促进网络字幕翻译的发展和中外文化交流。
2、论文（设计）的主要内容本文共有四章：第一章介绍目的论及其三个原则；第二章介绍了美国情景喜剧及其特点；第三章介绍情景喜剧字幕翻译以及对译员的要求；第四章通过翻译方法和策略阐明译员如何在目的论指导下做好情景喜剧的字幕翻译。
3、论文（设计）的基础条件及研究路线本文的基础条件是翻译学家和网络字幕翻译者对情景喜剧翻译的研究结果。
研究路线是对目的论三个原则在影视字幕中的详细阐述，融合恰当的翻译方法和策略，将其应用于美国情景喜剧的网络字幕翻译中去。
4、主要参考文献Nord, Christiane. 2001. Translation as a Purposeful Activity-Functional Theory Explained. Shanghai: Shanghai Foreign Language Education Press.Vermeer, H.J, and Katharina Reiss. 1984. Skopos and Commission in Translational Action. London and New York: Routledge.金惠康，2002，《跨文化交际翻译》，北京:中国对外翻译出版公司。
麻争旗，2006，《影视译制概论》，北京：中国传媒大学出版社。
指导教师：年月日教研室主任：年月日XXXX大学本科生毕业论文（设计）开题报告书XXXX大学本科生毕业论文（设计）评议书XXXX大学本科生毕业论文（设计）文献综述本科生毕业论文设计题目：从目的论角度分析情景喜剧的字幕翻译作者姓名： XX指导教师： XXX所在学院： XXX学院专业（系）： XXXX班级（届）： XXXX届完成日期 XXXX 年 5 月 5 日Subtitle Translation in Sitcoms from the Perspective of SkopostheorieBYXXXXX, TutorA ThesisSubmitted to Department ofEnglish Language and Literature in Partial Fulfillment of the Requirements for the Degree of B.A. in EnglishAt XXXX UniversityMay 5th, XXX摘要随着中外文化交流的不断加深，中国的大银幕上出现了越来越多的欧美影视剧，而情景喜剧是在中国最受欢迎的美国电视剧类型之一。
目的论视角下对美剧《破产姐妹》的字幕翻译分析摘要：随着中美两国之间的交流日益密切，越来越多的美国影视作品涌入人们的生活。
影视字幕翻译重要性凸显，其翻译质量对影视作品的成功与否起着关键作用。
基于这一背景，本文以美国情景喜剧《破产姐妹》为例，以翻译目的论为指导，对其字幕翻译进行案例分析，通过研究其在翻译策略、修辞手法和文化负载词等方面的应用，找到值得借鉴的地方，希望可以提高自身翻译水平，为字幕翻译工作者和英语学习者提出一些可行性建议。
关键词：目的论；字幕翻译；《破产姐妹》一．引言中美两国友好关系的发展给中国带来了许多国外优秀影视作品，但由于文化差异和语言障碍，中国人观看美剧时会出现理解困难的情况。
因此，字幕翻译对于文化交流与传播起着关键作用。
《破产姐妹》是备受欢迎的一部情景喜剧，主要讲述了出生背景和人生经历完全不同的麦克斯和卡洛琳巧合相遇后不懈奋斗追求梦想的故事。
剧中还出现了收银员厄尔、厨师奥列格、餐厅老板李憨和邻居苏菲等性格迥异的人物。
该剧大获成功，在很大程度上得益于该剧的字幕翻译，通俗易懂、风趣幽默，完美地呈现出该剧所要表达的全部内容，可以称得上是比较经典的字幕翻译。
二．目的论与字幕翻译翻译目的论是功能翻译理论下的一个分支，由德国语言学家弗米尔提出，之后广泛流传于翻译界及学术界，后来逐渐成为翻译理论中的一大支柱。
该理论的核心是：整体翻译行为的目的作为翻译过程的最重要因素。
该理论包括三个基本原则：第一，目的性原则，即在特定的翻译语境中所有翻译方法和策略的选择必须服从于一定的目的；第二，连贯性原则，即译文必须通顺连贯，可读性强，易于读者接受；第三，忠实性原则，即译文忠实于原文，与原文有很大的一致性（张锦兰，2004）。
在这三个原则中，目的性原则是翻译的首要原则，换句话说，一切翻译行为最终都是要实现一定的翻译目的。
在影视剧字幕翻译，目的就是翻译的效果，要想把影视剧字幕翻译得近乎完美，就首先要明确翻译意图，然后在此基础上，灵活运用各种翻译技巧，切实遵循目的、连贯、忠实三大法则，将影视剧的全部内容恰到好处地呈现给目标语受众（梁志敏，2016）。
滨州学院毕业设计（论文）题目功能目的论在电影字幕翻译中的运用系（院）外语系专业英语班级2010级1班学生姓名沈晨学号**********指导教师孟丽华职称教授二〇一四年六月十日Application of Skopos Theory in Film Subtitle TranslationA Thesis Submittedto Foreign Languages Department ofBinzhou Universityin Partial Fulfillment of the Requirements for the Degree of Bachelor of ArtsByShen ChenSupervisor：Meng lihuaJune 10, 2014独创声明本人郑重声明：所呈交的毕业设计(论文)，是本人在指导老师的指导下，独立进行研究工作所取得的成果，成果不存在知识产权争议。
尽我所知，除文中已经注明引用的内容外，本设计（论文）不含任何其他个人或集体已经发表或撰写过的作品成果。
对本文的研究做出重要贡献的个人和集体均已在文中以明确方式标明。
本声明的法律后果由本人承担。
作者签名:二〇一四年六月十日毕业设计（论文）使用授权声明本人完全了解滨州学院关于收集、保存、使用毕业设计（论文）的规定。
本人愿意按照学校要求提交学位论文的印刷本和电子版，同意学校保存学位论文的印刷本和电子版，或采用影印、数字化或其它复制手段保存设计（论文）；同意学校在不以营利为目的的前提下，建立目录检索与阅览服务系统，公布设计（论文）的部分或全部内容，允许他人依法合理使用。
（保密论文在解密后遵守此规定）作者签名:二〇一四年六月十日功能目的论在电影字幕翻译中的运用摘要随着全球一体化进程的不断深入，电影作为一种文化载体在国际间的交流日益频繁，电影翻译的重要性也日益凸显。
电影翻译可以使观众更全面地了解外国电影的内容，为电影在世界范围内理想地实现其传播功能提供帮助。
《倾城之恋》和《飘》的女性主义解读浅析隐藏在“面纱”之后的伯莎梅森基督教及《圣经》对西方文化的影响目的论指导下的旅游资料汉英翻译及翻译策略A Comparison of the English Color Terms中美价值观比较使用影视片对中学生进行英语听说教学现代叙事艺术与海明威的《永别了武器》试析中文歌曲汉英语码转换的形式与功能Cultural Impacts on International BusinessOn the Cultural Signification and Translation of Animal Idioms浅析中美家庭教育的差异高中英语阅读教学中学生自主学习能力的培养中西性教育方式对比折射中西文化差异的研究浅析莎士比亚《辛白林》中的女性形象中西方语言和文化间的相互影响天才的悲剧人生——论杰克伦敦的自传体小说《马丁伊登》《麦田里的守望者》中的霍尔顿－－一个典型垮掉的一代的形象福克纳短篇小说《献给爱米莉的玫瑰》叙事技巧分析从精神分析理论分析《莎乐美》的人格特征会话含义的语用初探从《儿子与情人》谈家庭失和与失衡高中英语教学过程中实施情感教育的研究英语定语从句的理解与翻译唐诗中比喻修辞格的翻译——以许渊冲英译本为例论《家》和《儿女一箩筐》中的中美家庭文化差异On the Characteristics of Desert Island Literature from Lord of the Flies论标示语汉英翻译中的等效问题An Analysis of the Gothic Horrors in A Rose for Emily《玻璃动物园》中的逃避主义解读高中英语听前活动设计探究目的论在英语儿歌翻译中的应用On t he Female Influences on Pip’s Character in Great Expectations从语用学的角度分析幽默语The Analysis of Promotion Strategy of L’Oréal in China英文电影题目翻译的异化与归化研究从“他者”到“自我”的转变——从女性主义角度看《卖花女》福克纳笔下的“南方淑女”－－从互文视角解析凯蒂和艾米莉的边缘化形象特征中美文化中吉祥与不吉利数字的文化心理浅析《洛丽塔》中亨伯特的分裂人格谈电影片名汉译的不忠从"龙"一词的文化内涵看汉英文化的差异从唯美主义的角度论《道林.格蕾的画像》中的主要人物中介语石化现象原因分析探析王尔德童话中的死亡主题世纪美国男权社会下女性的成长——解读《觉醒》中埃德娜的觉醒过程和原因广告英语中的模糊语言及其语用功能浅析科技英语翻译中的逻辑错误从餐桌礼仪看中西文化差异关于初中英语课堂中教师体态语的研究企业英文简介中的概念语法隐喻分析中西丧葬礼俗的对比研究种族沟通的桥梁——对《宠儿》中两个丹芙的人物分析从空间语言的角度分析中美隐私观念的差异On the Translation of Names of Scenic Spots英语动物习语的研究及翻译生态翻译观下的电影片名翻译浅谈英汉人体隐喻对比研究Difference between Chinese Buddhism and American Christianity中外经典英文广告的语言特征浅析An Analysis of Marguerite’s Tragedy in The Lady of the CamelliasA Comparison of the English Color Terms广告翻译中功能对等的研究文化交际视野下的语用失误分析展会汉英翻译的常见问题和策略分析“金玉良缘”与“幸福终点”——浅析中西婚姻差异中外教师教学体态语的意义差异研究The Conflict between Desire and Surroundings：an Analysis of Clyde in An American Tragedy 英汉委婉语跨文化对比研究Analysis of Cross Cultural Business Communication Failure《飘》两中译本的比较研究中美个人理财规划的对比分析嘉莉妹妹三个梦的心理需求分析谭恩美《灶神之妻》文化解读An Analysis of Gothic Features in Poe’s The Cask of Amontillado以姚木兰和斯嘉丽为例看东西方女性意识差异《欢乐合唱团》字幕翻译的汉译策略从圣诞节和春节看中西方文化差异一场失败革命的反思——《动物庄园》的主题浅析论反语的语用功能女性意识的苏醒－－对《愤怒的葡萄》中的约德妈妈形象的分析《夜莺与玫瑰》两中译本之比较：德国功能主义视角斯佳丽的性格分析王尔德童话中的毁灭与拯救浅析《飘》中女性人物形象英语中的性别歧视浅谈《鲁滨逊漂流记》中现实主义元素女性主义视野下林黛玉与简爱的比较研究浅析唐诗翻译的难点和策略浅析英语俚语的特征及其功能浅论《儿子与情人》中劳伦斯的心里分析技巧《无名的裘德》主人公人物形象浅析英语单词记忆中存在的主要问题和解决方法试论汉语新词的英译论习语翻译中文化因素的异化和归化《隐形人》中格里芬的心理剖析目的论视角下的《边城》的英译研究A Comparison of the English Color TermsWessex Women: Female Characters in Thomas Hardy's Novels涉外商务用餐中的非言语交际人称代词与情态动词在英语政治演讲中的人际功能论广告英语的用词特点初中生单词记忆的可行性研究<<格列佛游记>>写作风格分析-杰出的寓言讽喻体小说从目的论看《红楼梦》中“狗”习语的翻译浅析李尔王的陷落An Analysis on the Flexibility of Gulliver’s Personality论国际商务中的跨文化有效沟通天鹅的涅槃——以跨文化交际的角度解读《喜福会》中母女关系Text Cohesion in English Business ContractsAn Analysis of the Religious Elements in Robinson Crusoe克里斯加德纳的成功之路——电影《当幸福来敲门》评析The Tragic Fate of TessApplication of TPR Teaching Method in Facilitating Pupils' English Vocabulary Learning 从模因论视角看年度流行语“给力”（开题报告+论文+文献综述）The Research of Language Art in English Class从女性主义视角对比研究弗吉尼亚·伍尔芙和张爱玲的作品打破沉默——接骨师之女中“沉默”主题的解读浅析中西方隐私观的差异论《傲慢与偏见》中简奥斯丁的女性意识亲属称谓：英汉社会文化差异浅析隐藏在“面纱”之后的伯莎梅森《黑暗之心》主人公马洛的性格分析从常见的中英文名字比较中英两国命名文化差异中西方酒类广告的文化互文性研究从生态翻译学视角论电影《当幸福来敲门》的语域翻译活动教学法在农村初中英语教学中的应用——以新安中学为例从功能翻译理论谈美剧字幕翻译《可以吃的女人》的女性主义解读第二语言习得中的正迁移与负迁移王尔德童话中的毁灭与拯救论《野性的呼唤》中的自然主义《了不起的盖茨比》中的原型解析荣格原型理论下的多丽丝莱辛《天黑前的夏天》从高等教育看中英文化的差异现代小说《到灯塔去》的解读：从时间蒙太奇和多视角叙述角度《动物农场》中隐喻的应用及其政治讽刺作用美国宗教文化及价值观在其外交政策中的体现浅析英语专业学生在听力理解中的策略运用浅析《到灯塔去》中女性主义思想在两位女主人公身上的体现伊恩麦克尤恩作品《赎罪》中的成长主题探析论小学英语教学中学习动机促进法《喜福会》中的女性身份重建爱米丽的挣扎与终结——论《献给爱米丽的一朵玫瑰花》中爱米丽毁灭的间接和直接原因On Social Function of English Euphemism Expression奥斯卡王尔德《道林格雷的画像》和西奥多德莱赛《美国悲剧》的相似性简奥斯丁的婚姻观在《傲慢与偏见》中的体现《宠儿》的黑人女性主义解读（开题报告+论）《京华烟云》中姚木兰和《飘》中斯嘉丽的性格对比浅析小说《傲慢与偏见》中的反讽艺术《永别了，武器》中海明威的反战思想分析电视公益广告的多模态话语分析On Children’s Psychological Needs from Harry Potter从小说《百万英镑》中看对当今社会的讽刺意义论《了不起的盖茨比》中二元主角的运用《紫色》的生态女性主义思想解读《赫索格》中玛德琳的性格论《简爱》中伯莎﹒梅森的象征意蕴和影响英汉委婉语的文化对比研究——以“死亡”委婉语为例视觉文化在英语词汇学习中的应用美剧字幕中的译者主体性——以美剧Gossip Girl第一季为例商务信函中委婉语的语用功能分析—基于xx公司商务往来信函论《瓦尔登湖》中梭罗的超验主义哲学观以国际商务谈判为视角分析中西文化差异功能对等理论在科技论文摘要翻译中的运用浅析《宠儿》中人物塞丝的畸形母爱产生的根源论《海狼》中拉尔森船长本性的双重性从《华伦夫人的职业》分析萧伯纳女性主义的进步性和局限性论高中英语写作教学中的文化意识培养从功能翻译理论看电影《功夫熊猫》的字幕翻译《宠儿》中塞丝的性格特征分析荒原背景下《还乡》和《呼啸山庄》女主人公爱情悲剧的比较分析《可爱的骨头》的电影改编分析论《一个小时的故事》中马拉德夫人女性意识的觉醒从《老友记》看美国幽默论商业美学指导下的英文电影片名翻译The Heartbroken Images in the Fairy Tales of Oscar Wilde师生关系与学生英语学习积极性之关联性探析《二十二条军规》中关于军规的控制及反控制The Blacks’ Soul Under the Impact of the White Cult ure in The Bluest Eye 超越性别的美——以《道林格雷的画像》为例论《拉合尔茶馆的陌生人》中昌盖茨“美国梦”的转变英汉道歉语对比研究欧亨利《带家具出租的房间》的核心意象解读解析马克吐温《竞选州长》中的幽默讽刺艺术论狄更斯《雾都孤儿》中的批判现实主义英汉广告中的双关语及其英汉互译A Cross-Cultural Study on Linguistic Taboo基于精细加工理论的英语词汇学习研究《女勇士》的后殖民女性主义解读意象手法在《永别了，武器》中的使用浅析《最蓝的眼睛》中佩科拉的悲剧根源《紫色》女主人公性格分析文化因素对英汉互译的影响论中西方交际方式的差异关联理论视角下莫言《红高粱家族》中的隐喻翻译分析中美家庭变迁的对比研究合作原则在动画中的应用。
最新英语专业全英原创毕业论文，都是近期写作1 论罗伯特•佩恩•沃伦《国王的人马》中对真理与自我认知的追求2 从女性主义视角分析《飘》中斯佳丽人物形象3 《傲慢与偏见》折射出的奥斯汀的婚姻观4 《园会》中男性人物性格作用分析5 分析托马斯•哈代对西奥多•德莱塞的文学影响6 中西方奢侈品消费文化之比较7 “省力原则”在口译过程中的应用8 Key Factors to Cause the Tragedy of Mariam9 互文性理论指导下的公示语汉英翻译10 A Comparison of the English Color Terms11 解析威廉布莱克《老虎》中的修辞运用及其对英语写作的启示12 英语中介语无标志被动语态的错误分析13 商务谈判中的礼貌策略研究14 玛莎•诺曼戏剧中的母女关系研究15 An Analysis of Female Images in The Thorn Birds16 《缅湖重游》之语义分析17 哈珀•李《杀死一只知更鸟》中斯科特的性格18 An Analysis of the Heroine of the Scarlet Letter19 弥尔顿《失乐园》中撒旦的悲剧英雄形象20 从翻译美学角度谈汽车商标词的汉译21 从接受美学角度分析企业简介汉英翻译22 Women and Art: A Historical Review of Women’s Role in Western Art23 主语显著和话题显著—英汉语对比分析24 An Analysis of Verbal Humor in American Sitcom Friends from the Perspective of Cooperative Principal25 中美商务英语信函的对比研究26 命运与性格－－浅论《哈姆雷特》的悲剧因素27 哈里的迷惘与自我救赎——《乞力马扎罗的雪》的哲学解读28 中美学校教育对比——学生个性发展方面29 An Analysis of David Copperfield’s Dual Character30 中美大学生课堂讨论话语性别差异对比31 中英爱情隐喻的对比研究32 (英语系经贸英语)论苹果公司的撇脂定价策略33 隐喻在英语委婉语中的应用34 诗歌《飞鸟集》的意象评析35 On the Transl ation of Children’s Literature in the Light of the Skopostheory:A Case Study of The Adventures of Tom Sawyer36 Cultural Differences and Translation Strategies37 Judy’s Double Character in Daddy-Long-Legs38 《荒野的呼唤》中“巴克”的性格分析39 中英动物习语的文化内涵及其差异40 网络环境下英语专业学生学习策略研究41 论《呼啸山庄》中希斯克利夫的心路历程42 文化语境维度下中餐菜名的英译研究43 论英语谚语的翻译44 商务英语信函文体分析45 从《喜福会》中透视文化的冲突与融合46 中餐菜名的英译与饮食文化传播47 礼貌原则在商务英语中的运用48 《了不起的盖茨比》中象征主义的研究49 试析海明威《丧钟为谁而鸣》中的人物形象50 从英汉广告语言特点分析中西方文化价值观51 The Two Mrs.De Winters of Manderly─The comparison between “I”and Rebecca52 A Study of Nonverbal Communication53 语篇分析在阅读教学中的运用54 英语学习中如何提高学生的英语阅读能力55 Analysis of the Female Characters in Oliver Twist56 A Comparative Study of Refusal in Chinese and American Cultures57 论国际商务谈判中的跨文化交际的障碍分析－－基于语用角度58 Application of Politeness Principle in Top Talk59 A Study of English Reading Strategies in the High School60 从引进好莱坞大片看中国意识形态转型: 从集体主义到个人主义61 The Archetype of the Ugly Duckling in The Secret Garden62 中美商务礼仪差异的跨文化解析63 普通话对英语语音的迁移作用64 论翻译的艺术65 高中学生英语课堂口语交际活动的错误分析66 On Translator’s Subjectivity from the Feminist Perspective67 汉英“眼”概念隐喻的对比研究68 英汉形状类量词的隐喻认知分析69 永不凋落的玫瑰—从女性主义分析《红字》中的海斯特70 《嘉莉妹妹》中男女主人公命运的对比分析71 从合作原则浅析《飞屋环游记》中的言语幽默72 中国侠义精神与西方骑士精神的比较73 论中西文化的差异对习语翻译的影响74 A study on Lin Yutang’s Translation standards：faithfulness，fluency and beauty75 从功能翻译理论看《功夫熊猫》电影字幕翻译76 哥伦布和郑和航海的对比研究——两次航海所反映出的中西方文化差异77 Emerson’s Ideas on Nature and Social Harmony78 词组词汇学习方法79 “土生子”叛逆精神探源80 《傲慢与偏见》中人物对白之语用学分析81 《永别了，武器》中主人公亨利形象分析82 论美国情景喜剧《老友记》中的言语幽默83 从好莱坞电影中的中国元素看美国对中国意识观念的转变84 中国民族主义的新表现：“中国威胁论”——构建民族认同的一种手段85 英美日常交际礼仪对比分析86 试论英语中的歧义与翻译87 中英色彩词的文化内涵异同分析88 浅谈《当幸福来敲门》中的美国个人主义89 《厄舍屋之倒塌》中的哥特元素分析90 英语动结式V+PP的语义整合研究91 An Analysis of Harriet Beecher Stowe’s View on Christianity in Uncle Tom’s Cabin92 《那个读伏尔泰的人》英译汉中定语从句的翻译策略93 Difference between Chinese Buddhism and American Christianity94 广告英语修辞特点及其翻译95 浅析《红字》中象征手法的运用96 从《呼啸山庄》人物爱情看人性的特点97 浅析《七个尖角阁的房子》中象征手法的运用98 法律术语的模糊性及其翻译99 英语外贸电子邮件的语篇分析100 英语课堂中的非传统学习策略101 修辞手法在TED演讲中的运用102 Pragmatic Consciousness in College English Teaching103 论赫尔曼•梅尔维尔《白鲸》中的象征主义104 《呼啸山庄》中女主人公人物分析105 《远大前程》中皮普成长的心路历程106 科技英语新词的翻译研究107 浅析奥斯丁的女性意识108 身势语在基础英语教学中的应用109 中英文颜色词的非对应翻译110 浅析中西方对同性恋态度的差异－－以《喜宴》为例111 从生态视野解读狼图腾112 试比较《汤姆索亚历险记》与《哈克贝利芬历险记》中主人公性格异同点113 美国文学中的美国梦研究114 On Social Function of English Euphemism Expression115 浅析华兹华斯诗歌中的自然观116 从《虎妈战歌》看中西方家庭教育的差异117 基于功能对等理论谈美剧《生活大爆炸》双关翻译118 分析《基辅怨》中雅柯夫的“受难”主题119 探讨星巴克多样化顾客关怀及其推广性120 《老友记》中言语幽默的修辞学思考121 英语新闻标题的特点及其翻译方法的探讨122 A Study of Nonverbal Communication123 浅析美国嘻哈文化影响下的美国俚语124 从《一间自己的房间》分析弗吉尼亚•伍尔夫的女性主义思想125 浅谈英语广告的特点及翻译126 探析《玛莎•奎斯特》中玛莎性格的根源127 场独立和场依存对不同主题阅读材料的影响研究128 电影片段在中学英语教学中的运用129 目的论在广告翻译实践中的应用130 词汇教学法在中学英语教学实践中的应用131 文化语境下公示语的翻译132 文化差异对中美商务谈判的影响133 英汉思维模式对比及其对翻译的影响134 On Classification of Chinese Dish Names and Their Translation Strategies135 亲属称谓：英汉社会文化差异136 从违反合作原则的角度看英国情景喜剧中的言语幽默——以《IT狂人》为例137 A Comparative Study of A Wordsworth’s Nature Poem and One by Tao Yuanming 138 英文商务信函的语言特点和写作原则139 民族文化差异与广告语言创意140 《傲慢与偏见》中婚姻观对当代中国的现实意义141 跨文化交际中旅游英语菜式的翻译142 试析《生死疲劳》英文版风格之再现：文学文体学视角143 海明威的死亡哲学——海明威作品解读144 论翻译美学视角下的公示语翻译145 英汉动物习语的文化差异研究146 It的用法与翻译147 从奈达的功能对等看句式转换在《青铜女像》译本中的应用148 浅析跨文化交际中的体态语149 论《喜福会》中的中美文化冲突与兼容150 英语反语的语用分析151 英语系动词语义属性及句法行为研究152 如果不复仇——论呼啸山庄中的爱与恨153 浅析国际商务谈判礼仪的文化差异154 中美文化差异对其商务谈判的影响155 从《宠儿》透视美国黑人女性的悲剧与成长156 Humor and Violation of the Cooperative Principle157 科技英语翻译中的词性转换研究158 中美家庭教育文化对比及其根源分析159 论中美商务沟通中的跨文化意识160 基于语料库的同义词辨析方法—词块辨析法161 从《洛丽塔》看美国世纪中期的消费文化162 A Comparison of the English Color Terms163 试析《假如明天来临》的叙事艺术164 浅析《傲慢与偏见》中伊丽莎白和达西关系的转变165 对文化差异引起的误译的研究166 言语幽默的功能对等翻译167 新闻中新兴词语的翻译原则及策略168 从《唐顿庄园》看一战对英国庄园经济文化的影响169 从圣诞节、愚人节和情人节分析美国节日在中国流行的原因170 《尤利西斯》与《春之声》中意识流手法的不同171 从《穿靴子的猫》看美国动画电影中的英雄主义172 书面语言输入与输出对英语词汇习得的影响173 从委婉语的研究中看中西文化差异174 逆向思维在外语学习中的应用175 从《阿Q正传》译本看民族文化的可译性176 路易莎•梅•奥尔科特《小妇人》的女性意识解读177 赛珍珠《群芳亭》的生态女性主义解读178 论中国特色时政新词的英译179 苔丝悲剧的原因与托马斯哈代悲剧意识的分析180 从约翰邓恩的“奇思妙喻”中透视他矛盾的情感观181 The Joy Luck Club :Chinese Mothers’American Dreams Lost and Regained 182 商标翻译中的文化要素183 海明威的“冰山原则”与其短篇小说的人物对话184 从《唐老鸭》看赵健秀的男性主义185 从奈达的动态对等理论比较研究《德伯家的苔丝》的两个中文译本186 英语歌曲在英语教学中的应用187 外贸英语句子分隔的研究及其翻译188 中美商务谈判的语用策略研究189 当今英式英语和美式英语的对比190 解读《小镇畸人》中三位畸形女性191 群体隐私和个体隐私——中美家庭中隐私观念的对比研究192 从交际翻译理论看幽默对话翻译——以《老友记》第一季为例193 跨文化交际中的个人主义和集体主义冲突及解决办法194 浅析《野性的呼唤》中的“野性”与“人性”195 论海明威的反战思想196 从冲突到和解—解析《接骨师之女》中的母女关系197 挣扎与妥协——浅析达洛维夫人的内心矛盾198 中美非言语交际中的时空观差异199 论《愤怒的葡萄》中斯坦贝克的生态观200 浅析合作学习在英语专业口语教学中的应用。
《目的论视角下情景喜剧《米兰达》的幽默翻译研究》篇一目的论视角下的《米兰达》幽默翻译研究一、引言作为一种独具魅力的影视作品，情景喜剧在中国的流行与全球文化的融合与翻译有着密切的关系。
本文以目的论视角下的情景喜剧《米兰达》为例，对其幽默翻译进行深入研究。
该剧以其独特的剧情和幽默的对话赢得了广大观众的喜爱，其成功的翻译策略和技巧对于中国观众的理解和接受起到了关键作用。
二、目的论视角下的翻译理论目的论（Skopos Theory）是翻译研究中的一种重要理论，它认为翻译的目的决定了翻译的策略和方法。
在情景喜剧的翻译中，目的论指导下的翻译策略对于保持原剧的幽默感和文化特色至关重要。
本文将从目的论的视角出发，探讨《米兰达》的幽默翻译策略。
三、《米兰达》的幽默翻译策略1. 文化适应性翻译在《米兰达》的翻译中，为了使中国观众更好地理解和接受，译者采用了文化适应性翻译策略。
通过对原剧文化背景的深入理解，译者将原剧中的幽默元素与中国的文化习惯相结合，使得翻译后的对话更具中国特色，从而实现了文化的有效传递。
2. 语义翻译与意译相结合在《米兰达》的幽默翻译中，语义翻译与意译相结合的策略被广泛运用。
译者既保留了原剧的语义信息，又通过意译的方式使对话更具中国观众的审美习惯。
这种策略的运用使得原剧的幽默效果得以在翻译中得到充分体现。
3. 口语化表达为了更好地传递原剧的幽默感和人物特点，译者采用了口语化表达的翻译方式。
这种表达方式使得对话更加贴近生活，更符合中国观众的审美习惯，从而提高了观众对《米兰达》的接受度。
四、《米兰达》幽默翻译的实例分析以《米兰达》中的一集为例，该集中人物之间的对话充满了幽默感。
在翻译过程中，译者采用了上述的翻译策略，使得中国观众能够更好地理解和欣赏原剧的幽默。
例如，在处理一些具有文化特色的幽默元素时，译者通过解释和补充的方式，使中国观众能够理解其背后的文化含义。
此外，译者在处理人物之间的互动时，通过口语化表达和夸张的手法，使得人物形象更加鲜明，增强了对话的幽默感。
目的论视角下字幕的翻译策略研究以《破产姐妹》为例一、本文概述随着全球化进程的加快，外国影视作品在中国市场的传播越来越广泛，字幕翻译作为影视作品传播的重要桥梁，其质量直接关系到观众对原作的理解和接受程度。
因此，如何进行有效的字幕翻译成为了翻译领域研究的热点问题。
本文旨在从目的论视角出发，探讨字幕翻译的策略，并以美国情景喜剧《破产姐妹》为例，分析其在中文字幕翻译中的具体应用。
《破产姐妹》以其独特的幽默风格和贴近生活的剧情，在中国观众中赢得了广泛的人气和口碑。
该剧的字幕翻译不仅需要准确传达原作的语义信息，还要考虑到中国观众的文化背景和审美习惯。
因此，本文通过分析《破产姐妹》的字幕翻译，旨在揭示在目的论指导下，如何灵活运用各种翻译策略，以实现字幕翻译的最佳效果。
具体而言，本文将首先介绍目的论的基本概念和原则，阐述其在字幕翻译中的适用性。
然后，结合《破产姐妹》的实例，分析目的论视角下字幕翻译的策略，包括直译、意译、增译、减译等。
在此基础上，本文将总结字幕翻译的经验和教训，为今后的字幕翻译实践提供有益的参考。
二、理论框架：目的论概述在翻译理论中，目的论（Skopostheorie）是一种重要的理论框架，由德国翻译理论家汉斯·弗米尔（Hans Vermeer）和凯瑟琳娜·莱斯（Katharina Reiss）于20世纪70年代提出。
目的论强调翻译行为的目的性，认为翻译是一种有意图的人类行为，其首要原则是翻译行为所要达到的目的决定整个翻译过程，即结果决定方法。
这一理论突破了传统等值翻译理论的束缚，将翻译研究的重点从原文和译文的对等关系转向翻译行为的目的和效果。
在目的论中，翻译被视为一种跨文化交际活动，其最终目的是实现译文在目标语文化中的交际功能。
因此，翻译策略和方法的选择应根据翻译的目的和译文读者的需求来确定。
在目的论的指导下，译者具有更大的灵活性和自主权，可以根据实际情况调整翻译策略，以实现翻译目的。
从目的论角度谈美剧《老友记》的字幕翻译策略【摘要】目前，影视产业作为文化产业的重要组成部分，已成为彰显本国文化软实力，增强国际影响力的重要手段。
当一国影视剧引入另一个异于本族语国家时，字幕翻译在其中发挥着不可或缺的作用。
在中国，字幕翻译作为一个新兴领域，仍需更加完善的理论体系予以规范。
本文试从翻译目的论角度，以美剧《老友记》为个例，浅谈英文字幕的翻译策略问题。
【关键词】目的论《老友记》字幕翻译策略一、引言作为一部经典的美国幽默情景喜剧，《老友记》自开播起就备受人们的好评与青睐，多次获得艾美奖提名并获奖。
美国《电视剧》杂志于2007年评出史上100大美剧，本剧荣登榜首。
即使现在，剧中轻松搞笑的情节和经典的人物对白仍是人们津津乐道的话题。
该剧之所以能在中国广受欢迎且经久不衰，离不开对英文字幕的精彩翻译，它不仅成功译出原剧的幽默搞笑风格，且最大限度的保留了原剧的风俗文化特征。
影视剧字幕翻译本质上就是使用目的语尽可能的保留原语的特色和效果，同时获得目的语观众的喜爱和认可。
因此，字幕翻译本身就是对翻译目的论的一种体现。
功能派的奠基理论――翻译目的论（Skopostheorie）是由汉斯?弗美尔于20世纪70年代提出。
弗美尔将翻译研究从原文中心论的束缚中摆脱出来，创立了翻译目的论。
该理论认为翻译活动是一种具有目的性的实践活动，即译文是由翻译的目的决定的。
翻译必须遵循“目的法则”、“连贯法则和忠实性法则”以及“忠诚法则”，其中目的法则居于首位。
翻译活动可以有多个目的，对于译者来说最主要的目的就是尽可能使译文能达到交际的作用，在读者和原作之间架起一座沟通的桥梁。
为实现这一目的，译者在尊重原文作者意图的基础上，发挥自己主观能动性，采取不同的翻译策略，使译文适应译入语的文化环境和社会意识，以获得本地读者的喜爱和认可。
翻译的目的不同，翻译时所采取的策略、方法也不同。
翻译中到底是采取归化还是异化策略，都取决于翻译的目的。
《目的论视角下情景喜剧《米兰达》的幽默翻译研究》篇一一、引言随着全球化的深入发展，幽默翻译作为跨文化交流的重要手段，其重要性日益凸显。
情景喜剧作为一种独特的文化现象，其幽默元素和翻译的关联性不容忽视。
本文以目的论视角下情景喜剧《米兰达》为例，对其幽默翻译进行研究，探讨如何通过翻译技巧将原剧的幽默元素准确、生动地传达给目标语观众。
二、目的论视角下的翻译理论目的论（Skopos Theory）是翻译研究中的一种重要理论，强调翻译的目的性和跨文化交际的功能。
在目的论的框架下，翻译过程需要充分考虑目标语语境、目标受众的文化背景和接受能力等因素。
本文将基于目的论的三个主要原则：目的性原则、连贯性原则和忠实性原则，对《米兰达》的幽默翻译进行分析。
三、《米兰达》的幽默元素与翻译策略《米兰达》作为一部成功的情景喜剧，其幽默元素丰富多样，包括语言幽默、情节幽默、角色设定等。
在翻译过程中，为了保留原剧的幽默效果，需要采用一系列翻译策略。
1. 语言幽默的翻译：在翻译《米兰达》中的语言幽默时，译者需要关注目标语受众的接受能力，对原剧中俚语、双关语等幽默元素进行合理转换。
如使用释义、引申、转换语境等手段，使目标语观众能够理解和欣赏到与原作相似的幽默效果。
2. 情节幽默的翻译：情节幽默是《米兰达》的重要特点之一。
在翻译过程中，译者需要准确把握原剧情节的幽默点，通过适当的语言和结构调整，使目标语观众能够理解并感受到情节中的幽默。
同时，还要注意保持原剧的情节连贯性和完整性。
3. 角色设定的翻译：角色设定是构成喜剧效果的关键因素之一。
在翻译过程中，为了保持原剧的角色形象和特点，需要注重目标语文化中与原剧角色相匹配的形象或概念。
通过恰当的词汇和表达方式，使目标语观众能够更好地理解和接受原剧中的角色设定。
四、《米兰达》幽默翻译的案例分析以《米兰达》中的一集为例，该集中主要讲述了主人公们在一家餐厅就餐时发生的趣事。
在翻译过程中，针对餐厅中各种角色之间的对话以及餐厅内外的环境描述等语言幽默元素进行了精心处理。
目的论视角下英文电影字幕翻译研究目的论视角下英文电影字幕翻译研究摘要：本文以目的论视角出发，研究英文电影字幕翻译的目的、文化适应和策略。
通过分析英文电影字幕的特点，探讨字幕翻译的目标是为了向观众传达原文的意义和情感。
同时，本文还探讨了英文电影字幕翻译中所涉及的文化适应问题，并提出了相应的翻译策略。
关键词：目的论视角；英文电影字幕；目标；文化适应；翻译策略1. 引言英文电影一直以来都是全球电影产业的重要组成部分，而字幕翻译是英文电影进入非英语国家市场的重要手段。
然而，在字幕翻译过程中，如何达到准确传达原文意义的同时又保持对观众情感的传递，一直是翻译者们面临的挑战。
2. 目的论视角下的字幕翻译目标目的论强调语言是一种交际工具，其存在的目的是为了满足交际需要。
在英文电影字幕翻译中，字幕的目标是为了向观众传达原文的意义和情感。
字幕翻译需要考虑到影片情境、角色关系以及情感因素等多个方面，以确保观众能够更好地理解和感受到影片的内容。
3. 英文电影字幕翻译中的文化适应问题英文电影所包含的文化元素对非英语国家的观众来说可能并不熟悉或理解，因此在字幕翻译中需要进行文化适应。
文化适应主要涉及到对语言、习惯、礼仪以及历史等方面的处理，以确保观众在观看电影时能够充分理解和接受其中所传达的信息。
4. 英文电影字幕翻译策略为了准确传达原文意义的同时又保持对观众情感的传递，字幕翻译需要采取对应的策略。
首先，要保持字幕的简洁性，以确保观众能够方便阅读和理解。
其次，需要注重语感和语言美感，力求在维持原文意义的基础上保持翻译的流畅。
此外，还需要适当运用文化符号和隐喻等手段，以最大程度地保持原文的文化特色。
5. 结论目的论视角下的英文电影字幕翻译在实现准确传达原文意义的同时也需要考虑观众的理解和情感接受。
通过合理运用翻译策略，翻译者能够更好地实现字幕翻译的目标。
同时，对于文化适应问题，翻译者需要在保持原文特色的同时对观众进行必要的解释和调整。
XXXXX大学本科毕业论文（设计）任务书编号：论文（设计）题目：从目的论角度分析情景喜剧的字幕翻译学院： XXX学院专业： XXXX 班级： XXX级XX班学生： XXX 学号：XXXXX指导教师： XXX老师职称： XX1、论文（设计）研究目标及主要任务本文的研究目标是探讨目的论指导下情景喜剧字幕翻译的特点趋势及其在翻译中的应用。
其主要任务是通过相应的翻译方法和策略指导情景喜剧的字幕翻译实践，促进网络字幕翻译的发展和中外文化交流。
2、论文（设计）的主要容本文共有四章：第一章介绍目的论及其三个原则；第二章介绍了美国情景喜剧及其特点；第三章介绍情景喜剧字幕翻译以及对译员的要求；第四章通过翻译方法和策略阐明译员如何在目的论指导下做好情景喜剧的字幕翻译。
3、论文（设计）的基础条件及研究路线本文的基础条件是翻译学家和网络字幕翻译者对情景喜剧翻译的研究结果。
研究路线是对目的论三个原则在影视字幕中的详细阐述，融合恰当的翻译方法和策略，将其应用于美国情景喜剧的网络字幕翻译中去。
4、主要参考文献Nord, Christiane. 2001. Translation as a Purposeful Activity-Functional Theory Explained. Shanghai: Shanghai Foreign Language Education Press.Vermeer, H.J, and Katharina Reiss. 1984. Skopos and Commission in Translational Action. London and New York: Routledge.金惠康，2002，《跨文化交际翻译》，:中国对外翻译出版公司。
麻争旗，2006，《影视译制概论》，：中国大学。
5、计划进度指导教师：年月日教研室主任：年月日XXXX大学本科生毕业论文（设计）开题报告书XXX学院 XXX 专业 XXXX 届XXXX大学本科生毕业论文（设计）评议书XXXX大学本科生毕业论文（设计）文献综述本科生毕业论文设计题目：从目的论角度分析情景喜剧的字幕翻译作者： XX指导教师： XXX所在学院： XXX学院专业（系）： XXXX班级（届）： XXXX届完成日期 XXXX 年 5 月 5 日Subtitle Translation in Sitcoms from the Perspective of SkopostheorieBYXXXXX, TutorA ThesisSubmitted to Department ofEnglish Language and Literature in Partial Fulfillment of the Requirements for the Degree of B.A. in EnglishAt XXXX UniversityMay 5th, XXX摘要随着中外文化交流的不断加深，中国的大银幕上出现了越来越多的欧美影视剧，而情景喜剧是在中国最受欢迎的美国电视剧类型之一。
本文以目的论为理论核心，介绍了目的论指导下美国情景喜剧的字幕翻译及其策略和方法。
本文由四个部分构成，第一章主要介绍了目的论及其三个原则。
第二章主要介绍了美国情景喜剧及其特点。
第三章简要概括了情景喜剧字幕翻译的定义、趋势、特点、问题以及对译员的要求。
最后一章则通过简单介绍替代法、注释法、增减法和与流行语相结合的翻译方法，阐明译员如何在目的论指导下做好美国情景喜剧的字幕翻译。
关键词目的论情景喜剧翻译策略字幕翻译AbstractWith the deepening of cultural communication between China and foreign countries, more and more European and American movies or TV series appear on the Chinese screen. Sitcom is one of the most popular American TV series. Skopostheorie is the core of this paper. Under the guidance of Skopostheorie, this paper introduces the subtitle translation of American sitcoms and its translation strategies and methods. It consists of four parts: the first chapter introduces Skopostheorie and its three rules; the second chapter makes a brief introduction to American sitcom and its features; the third part generalizes the definition, trend, features, and problems of subtitle translation and the requirements for translators; by substitution, annotation, amplification, omission and combination with popular words, the last chapter explains how to do well in the subtitle translation of American sitcom under the guidance of Skopostheorie.Keywords Skopostheorie sitcom translation strategies subtitle translationContents摘要 (iii)Abstract (iv)Contents (v)Introduction (1)Chapter 1 Skopostheorie in Translation (5)1.1 Brief Introduction to Skopostheorie (5)1.2 Three Rules of Skopostheorie (6)1.2.1 Skopos rule (6)1.2.2 Coherence rule (7)1.2.3 Fidelity rule (7)Chapter 2 American Sitcoms (9)2.1 Definition of Sitcoms (9)2.2 Laugh Track of Sitcoms (9)2.3 Features of Sitcoms (10)2.3.1 General features of sitcoms (11)2.3.2 Language features of sitcoms (12)2.3.2.1 Contraction (13)2.3.2.2 Verbal phrases (13)2.3.2.3 Colloquial words (13)2.3.2.4 Slangs (14)2.3.2.5 Euphemism (14)2.3.2.6 Pun (14)2.4 Popularity of Sitcoms (15)Chapter 3 Subtitle Translation of Sitcoms in Light of Skopostheorie 173.1 Basic Introduction of Subtitle Translation in Sitcoms (17)3.1.1 The definition of subtitle translation (17)3.1.2 The inevitable trend of subtitle translation (18)3.1.3 Features of subtitle translation in sitcoms (19)3.1.3.1 Colloquialism (19)3.1.3.2 Synchronicity (20)3.1.3.3 Suitability (20)3.2 Problems and Requirements in Subtitle Translation of Sitcoms213.2.1 Cultural differences showed in subtitle translation (21)3.2.1.1 Language differences between cultures (22)3.2.1.2 Cross-cultural communication in sitcoms (22)3.2.2 Constraints of subtitle translation (23)3.2.3 Requirements for subtitle translators (24)Chapter 4 Translation Strategies in Light of Skopostheorie in Sitcoms264.1 Substitution (26)4.2 Annotation (27)4.3 Amplification (27)4.4 Omission (28)4.5 The Application of Popular Words (29)Conclusion (31)Bibliography (33)IntroductionWith the deepening cooperation in politics and economy between China and the Western countries, the cultural connection is getting closer and closer. There are more and more foreign films and TV series appearing on Chinese screen in recent years.Now, people regard television as a relaxing living style which lessens the pressure of daily life. Among all those TV programs, the famous ones are those which bring happiness and enjoyment to the audience. So as a special kind of American TV series, sitcom is especially popular in China. Sitcom has become the main category of the research in television art. It is appeared in America. In 1992, American sitcom Growing Pains was introduced to the Chinese audience, which was regarded as elementary education of sitcom to the domestic television audience. It is reported that since 1947, the first sitcom Mary Kay and Johnny appeared to the middle period of 1990s, there were more than 27,000 sitcoms. Generally speaking, American people are into this kind of TV program so much that sitcom has been at the top rank since it appeared. Today, the sitcom has been widely accepted in many countries, and it is already one of the most popular TV shows around the whole world. Some popular sitcoms are The Big Bang Theory, Friends, How I Met Your Mother, Two and a Half Men and Two Broken Girls, and so on. As a result, the subtitle translation of sitcoms is in great need, and translator plays a decisive role to the targetlanguage audience. Sitcoms describe the common life of ordinary people in some common environment such as home and workplace. Usually, the main characters are in some fixed locations and live their own lives. A sitcom often lasts only about 20 minutes centering on different themes on each episode.Given the popularity of sitcoms in China, subtitle translation of sitcoms is in high demand. This kind of translation should keep pace with the times, so in terms of translation theory, Skopostheorie is the most suitable one. Skopos is a Greek word which means “aim”and “purpose”. In 1971, Katharina Reiss put forward that the best translation should be equivalent in concept and content, in language form and communicative function between target language and the source language. Vermeer is Reiss’s student who carried forward part of his teacher’s theory. Together they put forward Skopostheorie, which was a tremendous breakthrough because it completely changed the history of translation. The uppermost principle which determines the translation process is the goal of the whole translation activities（Nord, 2001：27). Skopostheorie pays attention to the goal of the translation, compared with the traditional theory, the original language is obviously not that important. It gives priority to the target language instead of the original language, which is a significant transfer of translation study in history. Skopostheorie believes that the process of translation starts from thepurpose and function. The choices of translation principles and strategies should achieve the purpose of the translation from the target text. There are three rules in Skopostheorie: Skopos rule, Coherence rule and Fidelity rule. In order to meet the demand of Chinese audiences, the subtitle translation of sitcoms should fit the three rules, among which the first rule is the most important one.Since many western TV programs, especially American sitcoms are so popular among Chinese people, subtitle translation is in great desire. As is known to us all, there are two kinds of translation for films or TV series: dubbing or subtitling. Dubbing spends more time and money than subtitling, so the producers prefer the latter. In addition, Chinese audience are becoming more and more open to the outside world, and the young people prefer to listen to the original sound of the shows, because it is good for learning English and it will not destroy the taste of the original one. So how to improve the quality of subtitle is of great importance. However, we cannot ignore the great cultural gap between China and the U.S. Both of the two have their own language features and there are a lot of constraints for translators to deal with. So in this paper, we will talk about the constraints and the features of subtitle translation, and then put forward the requirements for subtitle translators. In recent years of China, we have already formed several subtitle translation groups. Even each TV play has its own translationgroup, for example, E.U (Evil Union) for American TV series Supernatural. These subtitle translation groups are formed spontaneously. The members of the groups are young, nonacademic and non-profit. The pure enthusiasm for foreign TV series brings them together, and they set good examples to other translators.Based on the Skopostheorie, translators should adapt some translation strategies and methods in subtitle translation. In order to meet the demands of modern audience in China, and be suitable to Chinese culture while keeping the original flavor, translators should use such traditional methods as substitution, annotation, amplification and omission. Furthermore, so as to keep pace with the times, some fashionable words and popular phrases will be used to fulfill the target of achieving Skopostheorie. In this paper, we will set some examples from the most popular American sitcoms both in China and America. From these examples, we will know the language features of sitcoms and find out some translation methods in accordance with these features. This paper introduces the subtitle translation of American sitcoms and its translation strategies and methods. It consists of four parts: the first chapter introduces Skopostheorie and the three rules: Skopos rule, Coherence rule and Fidelity rule; the second chapter makes a brief introduction to American sitcom and its features; the third part generalizes the definition, trend, features, and problems of subtitle translation and the requirement fortranslators; by substitution, annotation, amplification, omission and combination with popular words, the last chapter introduces how to apply Skopostheorie into practice.Chapter 1 Skopostheorie in Translation1.1 Brief Introduction to SkopostheorieSkopos is a Greek word, which means "purpose". In 1970, Hans J. Vermeer put forward the Skopostheorie which is regarded as the landmark of German functional translation. Skopostheorie is an important part in the functionalist theory.Before functionalist theory, the functional equivalence which put forward by Nida played a dominate role in translation field. Some peoplethink that translation is simply a matter of language, but Vermeer opposes this kind of view. He thinks translation is cross-cultural and the translator should know well in both languages. In Vermeer’s opinion, translation is a kind of action, that is to say, a kind of human behavior with purposes.Vermeer (1984) indicates that translation is an “intentional, interpersonal, partly verbal intercultural interaction based on a source text”(173). According to the intended purpose in the perspective of the target language users, Skopostheorie decides the translation strategies.Guided by the human behavior, Skopostheorie is on the study of translation theory of human behavior. People who insist on Skopostheorie believe that translation is a behavior with intention, which is a intercultural communication based on the original text. Translation is a kind of interactive activity with some certain intended purpose.In terms of the intended purpose, first we mean it changes the existing circumstances. People speaking different languages in different cultures could not understand each other because of the language barrier and the intended purpose makes them achieve communication. In addition, it refers to the intention of communicative nature.1.2 Three Rules of SkopostheorieThe previous equivalence-based translation theory focuses on thesource text, and requires the translators to make a faithful reproduction of it. However, because of cultural and language differences, a faithful reproduction cannot be achieved easily. Vermeer questioned the traditional concept of “equivalence” and found that in some situations it is not possible to be reached. Thus, he put forward three basic rules of Skopostheorie : the Skopos rule, the Coherence rule and Fidelity rule.1.2.1 Skopos ruleIn Vermeer’s opinion, Skopos rule means that the translation action is determined by the purpose, that is, “the end justifies the means” (Reiss and Vermeer, 1984:101).Translation is about expressing one language with another language by the usage of target language to meet the needs of target language users. So translation process depends on the translation purpose. Nord divided the purpose into three parts: the purpose of translators; the communicative purpose in the target language; the purpose of special translation strategies. In general, the translators decide the communicative purpose and the degree of modification so as to achieve the desired aims. The Skopos rule breaks through the limitation of focusing on source language, which modifies the traditional principle of “faithfulness”. Based on the Skopos rule, the translators should regard the translation purpose as the principal rule. Because the purpose decides the methods, from the original aims, translators can determine thestrategies and change the mechanical correspondence in the past.Skopos rule is the highest rule among the three rules.1.2.2 Coherence ruleIn Vermeer’s (1984:54) view, coherence rule, also named “intertextual coherence” means that the target language users should understand the target text, that is, the target language should be acceptable by the target readers with language meeting their demands, fitting their own culture and communicative customs. As was mentioned before, a text offers some kind of information, in which the translators choose what they are interested in and translation strategies to fit the target language and culture, so as to meet the needs of target language readers. As a result, there are many diverse translation versions.People would regard a communicative translation as a success when the accepters sufficiently understand it and make it coherent with their situation (Nord, 2001:32). Sometimes the translators should take the backgrounds into consideration to reach the faithfulness of the source text, and in terms of different situations, to produce the acceptable translation version.1.2.3 Fidelity ruleFidelity rule, also known as “intertextual coherence” means tha t the target language should be faithful to the original one. Faithfulness is its criteria. The deeper the translators understand the source language,the more faithful the target language will be. The source language is offering some information in the process of translating. So to translators, they have to adopt proper translation strategies to rewrite the source text according to the information offered by the source language and their own understanding about the information. They must try to reproduce the original one to the maximum. Fidelity rule shows the relationship between source language and target language. This relationship is what we call “faithfulness” or “intertextual coherence”.Fidelity rule is considered minor than coherence rule, and both of coherence rule and fidelity rule are subject to the Skopos rule. How to use these rules depends on how much the translators understand about the original text and what translation skills they will take.Chapter 2 American Sitcoms2.1 Definition of SitcomsSituation comedy, often known as sitcom, is “a regular program on television that shows the same characters in different amusing situations” (Hornby, 2004).Sitcom originated in 1920s, the first sitcom was Sam and Henry which debuted in 1926 in America. And then, in the late 1940s, the sitcom had become a new form of television.Sitcoms often show the common life of ordinary people in some common environment such as home and workplace. Usually, the main characters are in some fixed locations and live their own lives. Each episode has a different theme, so the audience can feel the same joy and happiness as them. The sitcom is usually an indoor play with few outdoor scenes. Its usual formula is a bunch of friends getting together, including romantic relationship and friendship, and always with a happy ending.2.2 Laugh Track of SitcomsLaugh track is also called “laughter soundtrack”, or “LFN” (laughter from nowhere). It is invented by Charles Douglass with the artificial sound of audience laughter.Sitcom is popular for its humor. To make the audience laugh is itsmost important factor and the ultimate goal. Because the success of a sitcom lies in whether it makes the audience laugh or not. In the past, there were only several people playing on the stage with a few audiences watching and laughing. Then after the invention of television, this kind of laughter is added as “laugh track”, which is the distinctive feature of sitcoms. Then the effect of a live studio audience can be imitated by the laugh track naturally.The Hank McCune Show in 1950 first cooperated with the effect of the laugh track. The laughter is basically from those who watched in the studio when the show is filmed. Sometimes the producers of the sitcoms would add some recorded laugh in order to get the desirable effect.Although some people criticize that this laugh track is fake and an undervaluation to the audience, the audience do not take it too seriously and will accept this effect if it is a good show, which is especially suitable for foreign audience such as Chinese audience, because it is an indication of humor. When foreign audiences do not understand the native humor, laugh track will be a good choice for culture and language learning.2.3 Features of SitcomsSitcom is a special form of TV series which differs from other ones. Generally, each episode of the sitcom lasts about 20 minutes. It often happens in some certain places, such as dining room, living room or kitchen,and happens between friends or family. People get together talking about their lives or works. It remains in one place and has many lines circling on different characters in places like home and workplace. One episode from another is not very close, but it remains the coherence.2.3.1 General features of sitcomsThe essence of sitcom is humor. Humor is hard to define. It is a phenomenon that causes a laugh. In sitcoms, there are both verbal and visual humors. The book Aspects of Verbal Humor in English describes sixteen modes of verbal humor in different writings on the subject of humor(Alexander, 1997:10). There are a lot of forms of humor occurring in sitcoms, such as jocks, epigrams, puns, ironies, and parodies, etc. We can find humor in everywhere. We can find humor in our daily conversations, on televisions, in books, newspapers and magazines, etc. Almost all fields and places are filled with humor, whether it is family, school, work, television, sport, and economy, etc. Humor has so many positive significations that few words can equal. The meanings that humor carriers are optimistic, irony, amusing and funny, etc. The most important part in sitcoms is humor, which makes sitcoms attractive to audience. Humor is sitcoms all about, and how to make audience laugh is what sitcoms really matters. So the producers of sitcoms would try their best to make people laugh.There are diverse characteristics in one sitcom. It deals with normal American life and culture comedy. Sitcom characters are exaggerated and they are usually those typical Americans. Suc h as a lady’s man, women who only care about fashion or those boring businessmen. These classic roles can easily make audience back to their normal life and link the show with their friends. Because people would not treat sitcoms as seriously as other TV series, generally, sitcoms would be more boldly talking about those serious or controversial topics in American culture.There are a lot of classic sitcoms such as: The Big Bang Theory, Friends, Two Broken Girls, Modern Family, How I Met Your Mother and Two and a Half Men,etc. The theme is often different from one sitcom to another. In The Big Band Theory, the story centers on five characters: Roommates Leonard and Sheldon, two prodigies in physics who work at California Institute of Technology, two equally smart friends Howard and Raj, and one attractive blonde beauty Penny whose aspiration is to become an actress. In the classic sitcom Friends, it shows the daily life, love, happiness, and conflicts among six friends in the Greenwich Village area of Manhattan. The story mainly describes six good friends in New York City’s living together who experience a series of stories. It shows how they become acquaintance in 10 year life. The stories describe life, trouble, the contradiction, love, the work and the friendship betweenfriends, which resonates the audience’s emotion. In the sitcom How I Met Your Mother, Ted tells his children about how he met his wife, the show centers on the romantic stories between Ted, Marshall, Lily, Robin and Barney. This play is not only a humorous sitcom, but also rich in philosophy of life, which mixed with many practical factors, such as unemployment, contradiction between work and ideal life, the pain of lost loved ones and how to be optimistic towards life after some miseries. It is full of warmth and educational meaning.2.3.2 Language features of sitcomsFrom some highly used words and tones we can acknowledge that sitcoms words are colloquial and humorous. Those sitcoms are keeping up with the times and bearing the culture. Sometimes they have technical terms and self-made phrases.Because informal language is acceptable between friends, family, and colleagues, and sitcoms have less strict grammar rules, so some short sentences are easier and more comfortable for people to express their feelings, and at the same time, those sentences are comfortable for audience to accept.2.3.2.1 ContractionA contraction is “a shortened version of the written and spoken forms of a word, syllable, or word group, created by omission of internal letters”(Ritter, 2005：167). Such as "won’t" for "will not", "I'll" for"I will". Some contractions are according to the pronunciation, such as "gonna" for "going to", "kinda" for "kind of".E.g. Chandler: Fine, I don't know what to do, now all the people start staring at me. (Friends)2.3.2.2 Verbal phrasesIn the U.S, people like to use verbal phrases to replace some complex and formal words, such as using “run into” for “encounter”, and using “blow off” for “cancel”.E.g. Sheldon: Oh my god! I’m just freak out (panic)! (The Big Bang Theory)2.3.2.3 Colloquial wordsIn their daily life in the U.S, people often use some small words in order to make the sentence continuous and fluent. It is very informal and colloquial, and people just say it in some casual situations to give them some time to think.E.g. Howard: Well, did you tell her the news? (The Big Bang Theory)Ted:You know, I’m not that kind of man. (How I met Your Mother)2.3.2.4 SlangsDifferent places have different slangs. When we talk about slang, we mean those informal and casual native words. They are not formal but they are more acceptable to the target language users because it avoids thediscomfort and brings people close to each other.E.g. Charles: Oh, singing! My Achilles' heel! (Two and a Half Men)Caroline: I made a boo-boo in my interview! (Two Broken Girls) 2.3.2.5 EuphemismEuphemism is a Greek word which means “nice words”. It means to use some harmless and dulcet words replacing those direct and brusque ones and using the kind words to cover up the reality. It is not only a social language phenomenon, but a cultural phenomenon. Euphemism helps us to learn about the communicative principles, the culture and customs of English-speaking countries.E.g. —Sheldon: She is the one I can tolerant，what do you think about her?—Penny: Oh, she is very safe. (The Big Bang Theory) Barney: I feel a little blue this morning. (How I Met Your Mother) 2.3.2.6 PunPun is the most common figure of speech in American sitcoms. Its humorous effect helps to make the language lively and rich in variety. Pun makes some phrases or sentences have double meanings in some special language environment, sometimes making impromptu comic gestures and remarks, and sometimes making use of subject to express one’s own ideas to make the language full of humor and vitality.E.g. Joey: Ah, these ah, these little women. (Friends)—Ted: What kind of boat can never ever sink?—Barney: A friendship. (How I Met Your Mother)2.4 Popularity of SitcomsSitcom appeared in the “Golden Age” of American broadcasting (1920s-1950s), and is accepted by the rest of the world now. In recent years, Sitcom is part of mainstream television entertainment around the world. It is hard to imagine television without the situation comedy. And American sitcoms are most popular around the world.With the development of economy, China is becoming more open and comprehensive to the world, not only to the economy, but also culture. China has been ready to draw on the advanced cultural achievements from the rest of the world.Recently, American TV series are popular in China and there are thousands of Chinese people watching different kinds of American TV series according to their own flavors. Some people love the detective shows, they love to watch 24 Hours or CSI; some like gothic stories and mysterious creatures, they love to watch Supernatural or The Vampire Diary; and some love to watch modern romantic shows such as Gossip Girls and Sex and the City. People from different genders or ages have their own choices. However, among all the types of American TV series, Sitcom is the most common one. It is in a popular style which tells us the stories of commonpeople, so people from all ages can accept the show and link it to their own life. Sitcom is often called “family show”, which means the family can gather together to enjoy the show. The most popular American sitcoms among Chinese people, especially among Chinese young people, are The Big Bang Theory, Friends, How I Met Your Mother, Modern Family, Two and a Half Men and Two Broken Girls.Because American sitcoms are becoming more and more popular in China, we have more opportunities to learn about culture and customs in the U.S, which benefits our language learning. As a result, the subtitle translation is becoming more important and meaningful.Chapter 3 Subtitle Translation of Sitcoms in Light ofSkopostheorie3.1 Basic Introduction of Subtitle Translation in SitcomsIn the big family of translation field, sitcom translation is a special member. Since American TV series, especially sitcoms are becoming more and more popular in China and translation of sitcom subtitle is in great demand. Because of the quite different presentation between foreign and Chinese culture and thinking, the subtitle translation of sitcoms is difficult. So for the translators, knowing what is subtitle translation and its features is the first thing.3.1.1 The definition of subtitle translationSubtitle translation is a means of translation that adding written text on the screen to help audience to understand foreign films. Subtitle translation is widely used in foreign films, TV series and other forms of programs in order to enable the audience to understand. Generally speaking, subtitle translation is a practical means to narrow the barrier between two language users.Actually, subtitle translation just compliments the defect of language. Because with subtitle translation, the audience could hear and see the original, at the same time, audience can capture what they say,。
