英文學(xué)專業(yè) 從功能對等理論看 泰囧 對白

《英文學(xué)專業(yè) 從功能對等理論看 泰囧 對白》由會員分享，可在線閱讀，更多相關(guān)《英文學(xué)專業(yè) 從功能對等理論看 泰囧 對白（7頁珍藏版）》請在裝配圖網(wǎng)上搜索。

1、An Analysis of Dialogue Translation in Lost in Thailand from the Perspective of Functional Equivalence Theory Content CHAPTER I INTRODUCTION 1 CHAPTER II LITERATURE REVIEW 2 2.1 Eugene Nida 2 2.1.1 Nida’s Criteria of Translation 2 2.1.2 Nida’s Functional

2、 Equivalence Theory 3 2.2 Dialogue Translation 4 2.3 Functional Equivalence in Dialogue Translation 5 2.3.1 Receptor’s Similar Life Experiences 5 2.3.2 Similarity between Different Cultures 6 CHAPTER III DIALOGUE AND ITS TRANSLATION IN LOST IN THAILAND 6 3.1 Lost in Thailand and Dialogue Trans

3、lation for Three Protagonists 6 3.2 Translation Strategies Adopted in Lost in Thailand 8 3.2.1 Deduction 8 3.2.2 Foreignization 10 3.2.3 Domestication 10 3.3 Dialogue Translation Problems in Lost in Thailand 11 CHAPTER IV DIALOGUE TRANSLATION IN LOST IN THAILAND UNDER FUNCTIONAL EQUIVALENCE TH

4、EORY 12 4.1 The Superiority of Content over Form in Dialogue Translation 12 4.2 Adopting Adaptation Translation Strategy in Dialogue Translation 13 4.3 Principle of “Similarity in Effect, Correspondence in Function” 14 CHAPTER V CONCLUSION 15 REFERENCES 16 Chapter I Introduction With

5、the development of society, film is a favorite way for foreign people to understand Chinese culture and tradition. However, most of foreign people do not know the deep meaning of dialogue in Chinese movie. To these people, they have to understand the connotation of Chinese movie through seeing the s

6、ubtitles under the screen. To adapting to their needs, more and more translators begin to translate dialogue in Chinese movie. But many of them can not translate the dialogue in an effective way. Because of their translated skills, many foreign people can not understand Chinese movie totally. They c

7、an not understand what people say in the movie so that they can not love Chinese movie and Chinese culture. The difficulty of translation is not in comprehension and expression, but in the knowledge of cultural background information. Apparently, translation is not only language transformation; it i

8、s the channel for culture, communication and the process of integration. The relationship between language and culture is mutual existence and reliance. Language is not only the part of culture, but also an independent system of culture. Nowadays, movies and TV series have become the indispensable c

9、ommunication media for cross-cultural communication. Meanwhile, they have become one of the forms of arts, which have the most audience. This paper is based on famous American translation theorist Eugene Nida’s functional equivalence theory. It analyzes and studies the dialogue translation of the

10、popular Chinese movie Lost in Thailand in order to prove the practical instruction and significance of Nida’s functional equivalence theory. Chapter II Literature Review 2.1 Eugene Nida 2.1.1 Nida’s Criteria of Translation Nida has introduced a reader-response-based approach to translation

11、equivalence under the name of dynamic equivalence. Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it insubstantially the same manner as the receptors in the source language. This response can never be id

12、entical, for the cultural and historical settings are too different. But there should be a high degree of equivalence of response, or the translation will have failed to accomplish its purpose. Significantly, their notion of audience response lies in an understanding of the “correctness” of the mess

13、age. Correctness must be determined by the extent to which the average reader for which a translation is intended will be likely to understand it correctly. In other words, the measure of the correctness of the message in target translation form is not in the form itself, but in how the target reade

14、rs respond to the translated text. Nida has three general criteria for assessing the quality of a translation as follows: (1) general efficiency of the communication process, (2) comprehension of intent, and (3) equivalence of response. The third and also the most important criterion is closely rela

15、ted to Nida’s well-known basic principles of “Dynamic (or Functional) Equivalence of a Translation”, that is, the manner in which receptors of the translated text respond to the translated text must be equivalent to the manner in which the receptors of the source text respond to the source text. Thi

16、s reader-response model has taken readers into consideration. Nida’s dynamic equivalence theory for the first time switched the attention in analyzing a text from static equivalence to a dynamic and functional one. He is creative in introducing the readers’ response theory to translation theories. A

17、 new vision of criticizing the translation from readers’ angle is beneficial for the exploration of translation criticism. Nida’s “Functional Equivalence” made translation criteria begin to transfer from the original text orientation to the target reader orientation. This shows that he is influenced

18、 by the trend of readers’ response developed on the basis of reception aesthetics. In the following part, the author will introduce Nida’s functional equivalence theory in detail. 2.1.2 Nida’s Functional Equivalence Theory It is universally accepted that there are no two identical things in the

19、 world, so all the translators should bear in mind that they can never produce a version exactly equivalent to the original, and what a translator seeks for in translating should be the closest possible equivalent rather than absolute or complete equivalent. As to equivalence in translation, Nida ba

20、sically divides it into two types: formal equivalence and functional equivalence. Formal Equivalence is text-oriented, thus the reader is permitted to “identify himself as fully as possible with a person in the source-language context, and to understand as much as he can of the customs, manner of

21、thought, and means of express”. (Nida 1964:159) Nida made a comparison between “formal equivalence” and “dynamic equivalence” and pointed out that “dynamic equivalence” demands the complete naturalness of expression while “formal equivalence” demands the translator to reproduce as literally and mean

22、ingfully as possible the form and content of the original”. (Nida, 1954:159) Literally, formal equivalence is in the aspect of language form while functional pays much more attention to the language function. Functional-equivalence translation is receptor-oriented and pays great attention to target

23、 receptors’ response. Nida puts receptors in a very important place when judging a version. Traditionally, translations are always judged by the comparison between the original text and the translated text. In contrast with formal-equivalence translation, functional-equivalence translation pays much

24、 more attention to the receptor’s response and the naturalness of the target language than language forms. Nida thinks that it is important to estimate the extent to which receptors correctly understand and appreciate the translated text. What’s more, Nida’s ideal situation is essentially the same a

25、s the original receptors’ response to the target text. 2.2 Dialogue Translation Dialogue translation develops along with the development of the movies and TV series. Dialogue is subtitle on the movie which has become the commonest way for the audiences to enjoy the foreign movies and TV series.

26、 Dialogue translation is a printed statement appearing on the screen between the scenes of a silent motion picture or appearing as a translation at the bottom of the screen during the sentences of a motion picture or television show in a foreign language. It is the main media of cross-cultural commu

27、nication. Dialogue translates translate a foreign language into the audience’s native language. At the same time, the audience can appreciate the beauty of the actor’s original dialogue, their tones, intonation, and charm. Unlike written text translation, dialogue translation emphasizes the meaning

28、of the original dialogue more than the form of the dialogue. It has to reflect the meaning of the dialogue instantly and immediately. The audiences can only use two to three seconds to read and absorb the essence of the lines. Usually translators have to achieve a purpose, an accepted reading speed

29、and so on. Sometimes, it could be confusing and even frustrating. People should have the standard translation strategies and translation principles to instruct the practical subtitle translation. There are mainly four features of dialogue translation: 1) Instancy. Because the limitation of space an

30、d time, dialogues translation are brief and precise texts tagged at the bottom of the screen within two to three seconds, and at most two rows of lines. The instant dialogue, image and motion should grab the audience’s attention. It is indispensable for the audience to understand the film or TV seri

31、es. Otherwise, it will cause the loss of information. 2) There are strict restrictions about the size of the subtitles, the length of the translated sentences, and even restrictions of the pronunciation. All these restrictions should be conformed strictly. If the subtitles are too long, the audience

32、 will not have enough time to read the lines. If the dialogue translations are too short, it will affect the understanding of the audience. 3) As regard to comprehensiveness, dialogue translations depend on the element of the film and TV series. It can not be treated as a separate part. It has close

33、 cohesion of the image, roles and so on. The images dialogues background music, subtitles, and actors. All these elements are integrated, united, and indispensable. Through these elements, the audience can fully understand and enjoy the movies or TV series. 4) The most important feature of dialogue

34、translations is the common language. As have mentioned before, dialogue translations are less than two lines within two to three seconds. Therefore it is quite different from literature works, or technical articles, which translator should deliberate every word carefully. As regard to dialogue translations, the translators try their best to make it concise. If the subtitles are complicated and tedious, the audience can only focus on the subtitles or even lose