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1、蘇州大學(xué)本科生畢業(yè)論文
蘇州大學(xué)外國(guó)語(yǔ)學(xué)院
本科畢業(yè)論文
(2013屆)
題目: An Analysis of the Dubbing Translation of Titanic: From the Perspective of Rewriting Theory
從改寫(xiě)理論角度分析電影《泰坦尼克號(hào)》的配音翻譯
Acknowledgements
On completion of this thesis, I would like to express my deepest gratitude to all those whose
2、 kindness and advice have made this work possible.
My heartfelt thanks go first to my supervisor, Professor Wang Jinhua, whose profound knowledge of and great passion for the audiovisual translation studies have inspired me to write the thesis. He has provided with me not only substantial and valu
3、able references but also illuminating instructions and constructive suggestions.
I am also grateful to Professor Yang Zhihong, in whose writing class I have gained some general knowledge of the steps and elements of conducting research and some fundamental translation theories, which are basic to
4、the writing of this thesis. On the subject of writing, I shall definitely not skip Professor Wang Labao who offered beneficial guidance in his Comprehensive English Course as to how to think and write critically and logically. I am also deeply indebted to all the other teachers in the School of Fore
5、ign Languages of Soochow University whose classes and lectures I attended all these years have helped me academically prepare for the thesis.
Last but not least, I would like to thank my friends and schoolmates for their unfailing support and understanding throughout the process of writing this th
6、esis.
Abstract
The contribution films have made to international cultural communication has become more and more important with the acceleration of globalization process and the increase of exchanges between people in different countries. In the spread of films from one culture to another, tr
7、anslation plays an indispensable part. Of the two dominant forms of film translation, subtitling and dubbing, the latter has a higher aesthetic value, and dubbed films remain the major type of foreign films officially introduced into China. However, studies of audiovisual translation are lacking bot
8、h in number and systematicness, which is not consistent with the fast development of the audiovisual industry and the urgent demand for quality film translation. In view of this situation, the author analyzes the dubbing translation of the film Titanic by applying Andre Lefevere’s theory of rewritin
9、g and looks into the control factors behind rewriting in translation.
Andre Lefevere (1946-96) was a prominent scholar and translator of his time and contributed significantly to cultural translation studies. His theory of rewriting is fully developed in his book Translation, Rewriting, and the Man
10、ipulation of Literary Fame (1992), in which he states that translation is “a rewriting of an original text” (ibid.: xv). The original text, translated in a given culture and society, is rewritten to conform to the dominant ideology and poetics of the target culture.
The thesis examines the rewriti
11、ngs in the dubbing translation of the film Titanic within the framework of rewriting theory and draws conclusions as follows: the dubbing translation of the film comes under the influence of three factors, i.e., ideology, poetics and patronage; dubbing translation is done within both technical const
12、raints and cultural constraints, the latter not only proving the applicability of rewriting theory to dubbing translation, but also attaching due significance to the actual translation and adaptation of the dialogue; Lefevere’s model goes beyond language and focuses on the interaction between transl
13、ation and culture and thus is instrumental in situating translation within a broader socio-cultural context and encouraging objective, systematic, and in-depth analyses of translations.
Key words: dubbing translation, Titanic, rewriting theory
摘要
隨著中外文化交流不斷擴(kuò)大和深入，中外影視作品的交流也日益頻繁，越來(lái)越多的影視作品被引入國(guó)內(nèi)
14、，影視翻譯研究也蓬勃興起。影視翻譯主要分為配音翻譯和字幕翻譯。與字幕譯制片相比，配音譯制片更具專業(yè)性和審美價(jià)值，加之其更能體現(xiàn)譯入語(yǔ)特點(diǎn)，至今仍然是我國(guó)官方引進(jìn)外國(guó)影片的主流。影視傳媒業(yè)發(fā)展迅速，譯制片受眾廣泛，許多作品為深受大眾喜愛(ài)。但與之相對(duì)的是，翻譯界對(duì)影視翻譯重視不足，學(xué)術(shù)關(guān)注有限，缺乏系統(tǒng)的理論研究，與影視翻譯的社會(huì)作用不相稱?；诖吮尘?，本文以翻譯學(xué)文化操控學(xué)派的代表人物安德烈勒菲弗爾的改寫(xiě)理論為框架，以電影《泰坦尼克號(hào)》的配音翻譯為案例，探討意識(shí)形態(tài)、詩(shī)學(xué)和贊助人等社會(huì)文化因素對(duì)配音翻譯的影響。
勒菲弗爾是著名的比利時(shí)裔美國(guó)譯者，一生著述豐富，學(xué)術(shù)視野寬廣，既有豐富的翻譯實(shí)踐，
15、又有開(kāi)拓性的理論成就。他對(duì)于文化翻譯研究的貢獻(xiàn)及其提出的“改寫(xiě)”概念主要體現(xiàn)在他的專著《翻譯、改寫(xiě)以及對(duì)文學(xué)名聲的制控》中。與其他翻譯研究流派相比，勒菲弗爾翻譯觀的一大特點(diǎn)是把翻譯研究置于宏大的現(xiàn)實(shí)背景中，認(rèn)為翻譯是一種改寫(xiě)，在改寫(xiě)過(guò)程中，身在一定社會(huì)、文化環(huán)境中的改寫(xiě)者往往會(huì)對(duì)原作進(jìn)行一定程度的加工或調(diào)整，使其與改寫(xiě)者所處社會(huì)的主流意識(shí)形態(tài)和詩(shī)學(xué)形態(tài)相符。
本論文運(yùn)用勒菲弗爾的改寫(xiě)理論，對(duì)《泰坦尼克號(hào)》的英文原聲和中文配音進(jìn)行對(duì)比分析，得出以下結(jié)論：漢語(yǔ)文化的意識(shí)形態(tài)、主流詩(shī)學(xué)和贊助人等因素共同發(fā)揮作用，促成了翻譯過(guò)程中對(duì)于該電影配音腳本的改寫(xiě)；以往配音翻譯的研究多關(guān)注配音所受到的諸多技術(shù)
16、條件限制如口型、聲畫(huà)同步等，本研究表明配音翻譯作為一種特殊的文學(xué)翻譯，同樣受到各種社會(huì)文化因素的操控；勒菲弗爾的改寫(xiě)理論對(duì)譯作不僅從語(yǔ)言層面上進(jìn)行評(píng)判，而是將其置于文化和社會(huì)大背景下，有助于對(duì)翻譯問(wèn)題作出深入、客觀的分析，讓翻譯更加有效地順應(yīng)整個(gè)文化研究和社會(huì)發(fā)展的大勢(shì)。
關(guān)鍵詞：配音翻譯、《泰坦尼克號(hào)》、改寫(xiě)理論
Contents
Acknowledgements I
Abstract II
摘要 III
Contents IV
Chapter One Introduction 1
1.1 Research Background 1
1.2 Research
17、 Methodology 2
1.3 Thesis Structure 2
Chapter Two Literature Review 3
2.1 An Overview of Dubbing 3
2.1.1 Audiovisual Translation 3
2.1.2 Definition of Dubbing 3
2.1.3 The Lip-Sync Dubbing Process 3
2.1.4 Advantages and Limitations of Lip-Sync Dubbing 4
2.2 Previous Studies on Dubbing Tran
18、slation 4
Chapter Three Theoretical Framework 7
3.1 An Overview of Andre Lefevere’s Rewriting Theory 7
3.2 The Three Main Control Factors 7
3.2.1 Ideology 7
3.2.2 Poetics 8
3.2.3 Patronage 8
3.3 The Applicability of Rewriting Theory to Dubbing Translation 8
Chapter Four The Dubbing Tra
19、nslation of Titanic: An Analysis 10
4.1 An Introduction to Titanic 10
4.2 Rewriting in the Dubbing Translation of Titanic 10
4.2.1 Rewriting Influenced by Considerations of Ideology 11
4.2.2 Rewriting Influenced by Considerations of Poetics 12
4.2.3 Rewriting Influenced by Considerations of Pat
20、ronage 14
Chapter Five Conclusion 18
5.1 Major Findings of the Study 18
5.2 Limitations of the Study 19
5.3 Suggestions for Further Research 19
References 20
文獻(xiàn)綜述報(bào)告 22
27
Chapter One Introduction
1.1 Research Background
Ever since they came into being, films have been making
21、a positive contribution to international cultural communication. This contribution has become more and more important with the acceleration of globalization process and the increase of exchanges between people in different countries. In the spread of films from one culture to another, film translati
22、on plays an indispensable part.
There are two dominant forms of film translation: one is lip-synchronized dubbing, and the other is interlingual subtitling. “Dubbing denotes the re-recording of the original voice track in the target language using dubbing actors’ voices” (qtd. in Baker & Saldanha
23、2009: 17), while “interlingual subtitles provide viewers with a written rendition of the source text speech in their own language” (qtd. in Baker & Saldanha 2009: 14). Compared with subtitling, dubbing has a higher aesthetic value, and a great majority of foreign films are officially introduced into
24、 China in dubbed version. This thesis concentrates on the study of dubbing.
In the late 20th century, translation studies experienced a move from translation as text to translation as culture, and this was termed by Mary Snell-Hornby (1990) as “the cultural turn”. Among the leading theorists of cul
25、tural translation is Andre Lefevere, whose work in translation studies are most fully developed in his book Translation, Rewriting and the Manipulation of Literary Fame (Lefevere 1992a), in which he states that translation is “a rewriting of an original text” (1992a: xv). As a particular form of tra
26、nslation, dubbing translation naturally belongs to a type of rewriting and thus, like all the other forms of rewriting, it reflects “a certain ideology and a poetics” (1992a: xv) on the translator’s work.
Upon its release on December 19, 1997, Titanic achieved critical and commercial success. It wo
27、n eleven Oscars, the most won by a single film. And it became the first film to reach the billion-dollar box-office mark. A month after the hilarious awarding ceremony, the film was shown in Chinese cinemas in its Mandarin-dubbed version, and immediately developed into a fashion sweeping the country
28、. Apart from all the fabulous pictures, sound effects, stars, etc. of the film itself, the outstanding dubbing translation doubtless contributed considerably to this western blockbuster’s success in enjoying great popularity among its Chinese audience. Because of this, I have chosen the dubbing tran
29、slation of this movie for my case study in this thesis. I intend to analyze it by applying the theory of rewriting and examine the control factors behind the rewriting of the film’s translation.
1.2 Research Methodology
The current study is based on the DVD version of the film released by the Pa
30、ramount Pictures, with the Chinese dubbing made by the Shanghai Film Dubbing Studio. My text data come from a comparison between the original English lines and the Chinese dubbing, which is conducted through watching the film with English subtitles while at the same time listening to the Chinese dub
31、bing. The study tries to find out as many places as possible where the two kinds of expressions are not literally the same.
Among these places, or rewritings, the study selects the most representative for a critical analysis of the rewriting nature of the film’s dubbing translation. According to Le
32、fevere, ideology, poetics and patronage are the three main factors that often dominate the translation of texts. The current thesis, accordingly, explores how rewriting is influenced by these three factors.
1.3 Thesis Structure
This thesis is divided into five parts. The first part is the introd
33、uction here. Chapter Two gives an overview of dubbing and reviews the historical studies on dubbing translation. Chapter Three introduces the theoretical framework which is Andre Lefevere’s rewriting theory and explains its applicability to dubbing translation. Chapter Four is the central focus of t
34、he whole thesis, which discusses the rewriting influenced by considerations of ideology, poetics and patronage in the dubbing translation of Titanic. Chapter Five is the conclusion of the thesis.
Chapter Two Literature Review
2.1 An Overview of Dubbing
2.1.1 Audiovisual Translation
Aud
35、iovisual translation is an area in translation studies that aims at the transfer of multimodal and multimedial texts from one language/culture to another. The mainstream forms of audiovisual translation – i.e. subtitling and dubbing – were born on the back of sound motion pictures.
2.1.2 Definiti
36、on of Dubbing
In the field of audiovisual translation, dubbing refers to the re-recording of the original voice track in the target language using dubbing actors’ voices; the dubbed dialogue aims to recreate the dynamics of the original, particularly in terms of delivery pace and lip movements (Luy
37、ken et al. 1991). Regarded by some as the supreme and most comprehensive form of translation (Cary 1969), dubbing “requires a complex juggling of semantic content, cadence of language and technical prosody … while bowing to the prosaic constraints of the medium itself” (Whitman-Linsen 1992:103–4).
38、
2.1.3 The Lip-Sync Dubbing Process
The translation of a source language dialogue list is one of the earliest stages in the dubbing process. In practice, translators do not concern themselves with lip movements as they usually lack experience in dialogue adaptation and adjustment techniques (Luyke
39、n et al. 1991). A dubbing writer who is adept at lip reading but not always familiar with the source language takes over at this point to detect the text. This involves identifying those sounds delivered by screen actors in close-up shots that will require maximum synchrony on the part of dubbing ac
40、tors and marking their presence on the relevant frames of the film strip. Once the adaptation is ready, the film dialogue is divided into passages of dialogue, called “l(fā)oops” or “takes” (Whitman-Linsen 1992), whose length depends on the country where the dubbed version is produced. These “takes” bec
41、ome the working units during the revoicing of the dialogue track, which is carried out under the supervision of a dubbing director and a sound engineer.
2.1.4 Advantages and Limitations of Lip-Sync Dubbing
Dubbing allows viewers to watch a film or program without dividing their attention betwee
42、n the images and the written translation. This reduces the amount of processing effort required on the part of the audience and makes dubbing the most effective method in the translation of programs addressed at children or viewers with a restricted degree of literacy. In so far as dubbing is a spok
43、en translation of an oral source text, it is possible for the target text to convey more of the information contained in its source counterpart. Also, dubbing allows for the reproduction of the original dialogue’s interactional dynamics, including stretches of overlapping speech and most other proso
44、dic features.
On the negative side, dubbing is expensive and time-consuming. The involvement of so many professionals in the dubbing process explains why this form of audiovisual translation is up to fifteen times more expensive than subtitling (Luyken et al. 1991). Another major disadvantage is th
45、at it may inevitably detract from the authenticity of the dubbed film, including tendency to draw on a restricted range of voices to which viewers may become over-exposed over a number of years, impossibility of maintaining the illusion of authenticity given the presence of visual reminders of the f
46、oreignness of the setting and characters, and – most importantly – the necessity to maintain lip synchronization and oral expression acceptability, which places heavy demands on the translator and is a major constraint in terms of an easy domestication of the original text.
2.2 Previous Studies o
47、n Dubbing Translation
Studies of audiovisual translation originated from Europe, largely due to the multi-cultural and multi-lingual environment and regular communication among different countries. Istvan Fodor is generally regarded as the pioneer in the field of dubbing translation studies, whose
48、book Film Dubbing: Phonetic, Semiotic, Esthetic and Psychological Aspects (1976) was the first of its kind to conduct a comprehensive study on film dubbing and laid the theoretical foundation for western audiovisual translation studies. He is the first author to introduce the functionalist approach
49、which considers synchronization as “one of the key factors in the completion of the function of the translation” (Chaume 2004: 38). He names and describes the various types of synchronization and develops what became known as visual phonetics (qtd. in Chaume 2004).
The golden period of audiovisual
50、 translation studies came in the 1990s, with the publication of Overcoming Language Barriers in Television. Dubbing and Subtitling for the European Audience (Luyken et al. 1991). The book analyses the different translation modes applied to the linguistic transfer of audiovisual products. And for the
51、 first time, statistics about the volume of translated programs, labor costs and audience preferences are compiled in a systematic way. It also explains synchronization in an extensive definition of it as “the replacement of the original speech by a voice-track which is a faithful translation of the
52、 original speech and which attempts to reproduce the timing, phrasing and lip movements of the original” (73). Lip-synchronization is regarded as a major constraint on dubbing translation. An alternative approach suggested is to replace the strictly semantic translation with a pragmatic, plot-orient
53、ed translation.
These days more and more western scholars are involved in audiovisual translation studies and in dubbing translation studies in particular. An article by Xnia Martnez (2004) describes the many stages in the process of dubbing in Spain. She indicates that although those working in t
54、his process form a team, their work tends to be carried out on an individual basis. In a more theoretical article, Frederic Chaume (2004) studies synchronization from various perspectives. His article includes a historical account of translation theories, and a translational approach – analyzing the
55、 characteristics grouped by genres and text types, languages and cultures, professional context, and viewers. He claims that “it is the translator who must take care of synchronization, as it conveys textual operations requiring knowledge of source and target language, and knowledge of translation s
56、trategies and techniques, something that no other figure involved in the process of audiovisual translation has” (50).
In China, audiovisual translation and its studies didn’t begin in a very real sense until the country began its reform and opening-up policies. For a long time, dubbed films remai
57、ned the only form of foreign films available to Chinese audience, for reasons more or less related to people’s foreign language level, the historical and political environment, etc.. It is only natural that the development of dubbing in China was ahead of that of subtitling.
Zhang Chunbai (張春柏 199
58、8) looks into the characteristics of the language in films and TV plays, namely instantaneousness and plainness, and makes a comparison between dubbing translation and literary translation. He points out that different from literary translation, dubbing translation is restricted by the number of Chi
59、nese characters in each line, the lip movements and gestures of the actors on the screen, the acceptability of culture-loaded expressions, and so on. Zhang concludes that free translation should be adopted in dubbing translation allowing for its distinctive features.
Qian Shaochang (錢(qián)紹昌 2000) giv
60、es a more comprehensive analysis of the differences between film language and written language and describes the five characteristics of the former, i.e., audibility, comprehensiveness, instantaneousness, plainness and notelessness. As a professional dubbing translator, he shares some of his experie
61、nce in film translation, from which he concludes that among the three desiderata for translation laid down by Yan Fu – faithfulness, communicability and elegance – the second is the most important in film translation. He emphasizes the significance of film translation and calls on researchers to pay
62、 more attention to it.
Zhao Chunmei (趙春梅 2002) considers the scripts of films and TV drama as a special type of literature; she holds that audiovisual translation should conform to the general principles of literary translation, while at the same time attending to its own characteristics, represen
63、ted in her article by the four contradictions – lip movements vs. dialogue content, word order vs. picture order, domestication vs. foreignization and transliteration vs. free translation. Her study shows new insights into dubbing translation. As opposed to the former advocates of free translation a
64、nd domestication, Zhao argues that an overuse of free translation may destroy the original foreign flavor and that in many cases literal translation can not only be understood properly by the audience but also enrich the power of expression for our native language.
Chapter Three Theoretical F
65、ramework
3.1 An Overview of Andre Lefevere’s Rewriting Theory
Andre Lefevere (1946-96) was a prominent scholar and translator of his time and contributed significantly to cultural translation studies. His theory of rewriting is fully developed in his book Translation, Rewriting, and the Manipu
66、lation of Literary Fame (1992). According to Lefevere, rewriting takes place in various adjustments or modifications of the original works, with translation being “the most obviously recognizable type of rewriting and […] potentially the most influential because it is able to project the image of an author and/or a (series of) work(s) in another culture” (Lefevere 1992a:9). He emphasizes that translation is “undertaken in the service of power” and “reflects a certain ideology and a poetics” (
從改寫(xiě)理論角度分析電影《泰坦尼克號(hào)》的配音翻譯英語(yǔ)專業(yè)畢業(yè)論文
