从改写理论角度分析电影《泰坦尼克号》的配音翻译毕业论文

从改写理论角度 分析 定性数据统计分析pdf销售业绩分析模板建筑结构震害分析销售进度分析表京东商城竞争战略分析 电影《泰坦尼克号》的配音翻译毕业论文 苏州大学本科生毕业论文 苏州大学外国语学院 本科毕业论文 (2013届) 题目: An Analysis of the Dubbing Translation of Titanic: From the Perspective of Rewriting Theory 从改写理论角度分析电影《泰坦尼克号》的配音翻译 专业:英语 姓名: 王秋实 指导教师:王金华 提交日期:2013年4月 苏州大学本科生毕业论文 Acknowledgements On completion of this thesis, I would like to express my deepest gratitude to all those whose 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 valuable 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 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 Foreign 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 thesis. I 苏州大学本科生毕业论文 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, translation 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 both 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 rewriting 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 Manipulation 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 rewritings 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 constraints 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 translation 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 II 苏州大学本科生毕业论文 摘要 随着中外文化交流不断扩大和深入，中外影视作品的交流也日益频繁，越来越多的影视作品被引入国内，影视翻译研究也蓬勃兴起。影视翻译主要分为配音翻译和字幕翻译。与字幕译制片相比，配音译制片更具专业性和审美价值，加之其更能体现译入语特点，至今仍然是我国官方引进外国影片的主流。影视传媒业发展迅速，译制片受众广泛，许多作品为深受大众喜爱。但与之相对的是，翻译界对影视翻译重视不足，学术关注有限，缺乏系统的理论研究，与影视翻译的社会作用不相称。基于此背景，本文以翻译学文化操控学派的代 表 关于同志近三年现实表现材料材料类招标技术评分表图表与交易pdf视力表打印pdf用图表说话 pdf 人物安德烈?勒菲弗尔的改写理论为框架，以电影《泰坦尼克号》的配音翻译为案例，探讨意识形态、诗学和赞助人等社会文化因素对配音翻译的影响。 勒菲弗尔是著名的比利时裔美国译者，一生著述丰富，学术视野宽广，既有丰富的翻译实践，又有开拓性的理论成就。他对于文化翻译研究的贡献及其提出的“改写”概念主要体现在他的专著《翻译、改写以及对文学名声的制控》中。与其他翻译研究流派相比，勒菲弗尔翻译观的一大特点是把翻译研究置于宏大的现实背景中，认为翻译是一种改写，在改写过程中，身在一定社会、文化环境中的改写者往往会对原作进行一定程度的加工或调整，使其与改写者所处社会的主流意识形态和诗学形态相符。 本论文运用勒菲弗尔的改写理论，对《泰坦尼克号》的英文原声和中文配音进行对比分析，得出以下结论:汉语文化的意识形态、主流诗学和赞助人等因素共同发挥作用，促成了翻译过程中对于该电影配音脚本的改写;以往配音翻译的研究多关注配音所受到的诸多技术条件限制如口型、声画同步等，本研究表明配音翻译作为一种特殊的文学翻译，同样受到各种社会文化因素的操控;勒菲弗尔的改写理论对译作不仅从语言层面上进行评判，而是将其置于文化和社会大背景下，有助于对翻译问题作出深入、客观的分析，让翻译更加有效地顺应整个文化研究和社会发展的大势。 关键词:配音翻译、《泰坦尼克号》、改写理论 III 苏州大学本科生毕业论文 Contents Acknowledgements.......................................................................................................................... I Abstract ........................................................................................................................................... II 摘要 ............................................................................................................................................... III Contents ........................................................................................................................................ IV Chapter One Introduction .........................................................................................................1 1.1 Research Background .........................................................................................................1 1.2 Research Methodology .......................................................................................................2 1.3 Thesis Structure ..................................................................................................................2 Chapter Two Literature Review................................................................................................3 An Overview of Dubbing....................................................................................................3 2.1 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 Translation...........................................................................4 Chapter Three Theoretical Framework .....................................................................................7 An Overview of Andre Lefevere‘s Rewriting Theory ........................................................7 3.1 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 Translation 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 Patronage ...........................................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 文献综述报告 ...............................................................................................................................22 IV 苏州大学本科生毕业论文 Chapter One Introduction 1.1 Research Background Ever since they came into being, films have been making 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 translation 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 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 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 cultural 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 translation, 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 won 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. 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 1 苏州大学本科生毕业论文 of this, I have chosen the dubbing translation 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 Paramount 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 dubbing. 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 Lefevere, 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 introduction 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 the 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. 2 苏州大学本科生毕业论文 Chapter Two Literature Review 2.1 An Overview of Dubbing 2.1.1 Audiovisual Translation Audiovisual 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 Definition 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 (Luyken 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). 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 (Luyken 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 actors 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 ―loops‖ or ―takes‖ (Whitman-Linsen 1992), whose length depends on the country where the dubbed version is produced. These ―takes‖ become 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. 3 苏州大学本科生毕业论文 2.1.4 Advantages and Limitations of Lip-Sync Dubbing Dubbing allows viewers to watch a film or program without dividing their attention between 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 spoken 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 prosodic 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 that 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 foreignness 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 on 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 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 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). 4 苏州大学本科生毕业论文 The golden period of audiovisual 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 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 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-oriented translation. These days more and more western scholars are involved in audiovisual translation studies and in dubbing translation studies in particular. An article by Xènia Martínez (2004) describes the many stages in the process of dubbing in Spain. She indicates that although those working in this 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 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 strategies 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 remained 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 (张春柏 1998) 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 Chinese characters in each line, the lip movements and gestures of the actors on the screen, the acceptability of culture-loaded expressions, and so on. 5 苏州大学本科生毕业论文 Zhang concludes that free translation should be adopted in dubbing translation allowing for its distinctive features. Qian Shaochang (钱绍昌 2000) gives 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 experience 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 more attention to it. Zhao Chunmei (赵春梅 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, represented 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 and 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. 6 苏州大学本科生毕业论文 Chapter Three Theoretical Framework 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 Manipulation 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‖ (1992a: xv). Translation is inevitably situated within a much larger social and cultural context. 3.2 The Three Main Control Factors Lefevere followed the concept of system introduced into modern literary theory by the Russian Formalists who viewed a culture as ―a complex ?system of systems‘ composed of various subsystems such as literature, science, and technology‖ (Steiner 1984: 112). Rewriting, according to Lefevere, is subject to the influence of regulatory forces, namely, the professionals within the system, and patronage operating from outside the system. The former, when it comes to translation, are often translators who decide on the poetics and at times the ideology of the translated text. Both types of constraint operate as ―control factors‖ in Lefevere‘s model. 3.2.1 Ideology For Lefevere, one of the obvious reasons why translation becomes rewriting is ideology, or the ideology imposed upon the translator by patronage. Lefevere‘s definition of ideology is not restricted to the political. It is more generally ―that grillwork of form, convention, and belief which orders our actions‖ (qtd. in Lefevere 1992a: 16). To him, ―the ideology dictates the basic strategy the translator is going to use and therefore also dictates solutions to problems concerned with both the ?universe of discourse‘ expressed in the original (objects, concepts, customs belonging to the world that was familiar to the writer of the original) and the language the 7 苏州大学本科生毕业论文 original itself is expressed in‖ (1992a: 41). 3.2.2 Poetics Poetics refers to aesthetic precepts that dominate the literary system at a certain point in time. Poetics consists of two components, an inventory component (a repertoire of genres, literary devices, motifs, certain symbols, prototypical characters or situations) and a functional component, which pertains to the question of how literature has to or can function within society (Lefevere 1992a: 26). Both components of poetics are subject to processes of deferred fossilization; in other words, there is an ongoing process of literary trends coming into and going out of fashion, with certain genres and authors dominating certain stages in the evolution of a literary system (ibid.: 35). 3.2.3 Patronage Patronage refers to ―the powers (persons, institutions) that can further or hinder the reading, writing, and rewriting of literature‖ (Lefevere 1992a: 15). Patronage can be exercised by individuals, groups of people, religious bodies, political parties, social classes, royal courts, publishers, and the media (ibid.). Lefevere (1992a: 16) identifies three elements to patronage – the ideological, economic and status components, with all three interacting in complex ways. Patronage is undifferentiated if all three components are provided by the same person or group, and differentiated when the three components are not dependent on each other. 3.3 The Applicability of Rewriting Theory to Dubbing Translation Lefevere divides readers of literature into professional and non-professional readers. Original works of classical or modern literature are increasingly read only by professionals in an educational setting (1992a). Non-professional readers increasingly do not ―read literature as written by its writers, but as rewritten by its rewriters‖ (ibid.: 4), who, in this study, refer to the translators. And this type of readers ―constitute the majority of readers in our global culture‖ (ibid.: 1). This is the same phenomenon in the field of audiovisual translation. Most audience, who are non-professional, watch foreign films or TV dramas in their dubbed or subtitled versions, on which they depend their understanding of those audiovisual material. In the case of Titanic, the dubbing of the film exposed the Chinese audience to one of their most memorable 8 苏州大学本科生毕业论文 experiences of film viewing. And it shows very clearly the huge influence that this type of rewriting can have on non-professional receivers, be they readers or viewers. Fawcett (1996:76) points out that ―in a dubbed film we are constantly aware through images and non-matching mouth movements of the presence of foreign language and culture‖, which suggests that dubbing is a prime instance of overt translation. In other words, a dubbed film is always overtly presented and perceived as a work of translation. This suggests that the treatment of culture-specific material will pose serious problems in this context and that translators will inevitably rewrite some parts of the script because dubbing will have to respond to specific socio-political, cultural and economic realities. Lefevere provides an inspiring model to help identify important contextual factors that impinge on all cases of dubbing translation. 9 苏州大学本科生毕业论文 Chapter Four The Dubbing Translation of Titanic: An Analysis 4.1 An Introduction to Titanic This spectacular epic recreates the ill-fated maiden voyage of the White Star Line's R.M.S Titanic and the tragic sea disaster of April 15, 1912. Made with the combined contributions of two major studios – 20th Century-Fox and Paramount – at a cost of more than $200 million, Titanic ranked as the most expensive film in Hollywood history at the time of its release on December 19, 1997, and became the most successful. It stayed for 15 weeks in a row atop the weekend box office, generating over US$1.8 billion worldwide. In 1998 it was nominated for fourteen Academy Awards and won eleven, including the title of 1997's Best Picture. Inspired by the 1985 discovery of the Titanic in the North Atlantic, the contemporary storyline involves American treasure-seeker Brock Lovett (Bill Paxton) retrieving artifacts from the submerged ship. Lovett looks for a legendary diamond called ―the Heart of the Ocean‖ but finds a drawing of a young woman, nude except for a diamond necklace. When 101-year-old Rose (Gloria Stuart) reveals she's the person in the portrait, she is summoned to the wreckage site to tell her story. The scene then shifts to 1912 Southampton where passengers boarding the Titanic include penniless Jack Dawson (Leonardo DiCaprio) and society girl Rose DeWitt Bukater (Kate Winslet), returning to Philadelphia with her wealthy fiance Cal Hockley (Billy Zane). Jack falls in love with Rose at first sight, and Rose, who is distraught by all the imposition and saved by Jack in more than one way, develops a passionate interest in him. At midpoint in the film, the Titanic slides against an iceberg and begins to sink rapidly. After their desperate fight to stay alive, Jack and the other 1,500 passengers die in the cold water. Rose and the other survivors are taken by the RMS Carpathia to New York, where Rose gives her name as Rose Dawson. She hides from Cal on Carpathia's deck as he searches for her. She learns later that he committed suicide after losing his fortune in the Wall Street Crash of 1929. Her story complete, Rose goes alone to the stern of Lovett's ship. There she takes out the Heart of the Ocean, which has been in her possession all along, and drops it into the ocean. That night she sees herself in the dream reuniting with Jack at the Grand Staircase of the RMS Titanic. 4.2 Rewriting in the Dubbing Translation of Titanic 10 苏州大学本科生毕业论文 4.2.1 Rewriting Influenced by Considerations of Ideology 4.2.1.1 Conforming to the Chinese Mores The Chinese culture, profoundly influenced by Confucianism, values decorum, moderation and reservedness. Considering the fact that the Chinese audience would hold conservative attitudes towards ―sensitive issues‖ such as the subject of sex, the translators rewrote some of the lines to tone down the ―directness‖ in the source text. (1) Lots of girls are willing to take their clothes off. 所有的姑娘都愿意当模特。[Lots of girls are willing to be my model.] ((( This sentence is taken from the classic scene on the deck when Jack is explaining to Rose – who is transfixed by the nudes he created – one of the great things about Paris. The dubbed version sounds euphemistic and more likely to be said by an eastern courteous young man. (2) Is it okay if I put my hand here? 你跳得真是太棒了～[You are a brilliant dancer!] At the party in the third class general room, people of all ages are dancing, laughing, even brawling. Example (2) is what a young man asks the girl he is dancing with. The translator, to eschew an expression indicating physical contact, turned it into a practically different sentence. (3) Put your hands on me. 搂紧我。[Put your arms around me.] This is what Rose says to Jack in the touring car in the ship‘s cargo hold, where the lovers have a cuddle together. The translation obscures the clear display of affection and amorousness. 4.2.1.2 Conforming to the Chinese Values (4) Rose, you‘re no picnic, all right? You‘re a spoiled litter brat, even. But under that, you’re the most amazingly astounding, wonderful girl, woman that I‘ve ever known. 你的心灵却非常高尚，你是一个纯洁善良的姑娘。[You are a noble, pure and kind girl.] The influence of values on the dubbing translation can be traced in the rewriting of the image of Rose as affectionately described by Jack. The subtle changes of the adjectives indicate the different sets of moral standards held in different cultures. The western world upholds individualism, believing everyone is distinct from one another, and that distinctness is the most valuable part of him or her as a person, which makes Rose stunningly attractive to Jack. In the Chinese culture, however, rather than having a strong personality, it is more important for the 11 苏州大学本科生毕业论文 people to cultivate a noble mind and show kindness to others to maintain social harmony. Women are also required to be chaste. Considering this, the translator turns Rose into the cultural stereotype of the virtuous young lady. 4.2.2 Rewriting Influenced by Considerations of Poetics Among the two components of poetics, this study on dubbing translation mainly deals with the inventory component, or more specifically, the literary devices. The poetical consideration refers to the dominant poetics in the target-language culture. Poetics in different cultures may not be compatible with one another, which inevitably asks the translator to make adjustments so that the poetics of the translated text will be accepted by people from the TL culture. To achieve this, the translator more often than not implements domesticating strategies. 4.2.2.1 The Adjustment of Collocations (5) Doesn‘t exactly travel light, does she? 她的随身物品可真不少啊。[She travels with much luggage, doesn‘t she?] Rose travels carrying all the belongings with her, even at one hundred plus. Bodine, assistant of Lovett the explorer, can‘t help exclaiming. Since there is no Chinese equivalent of the collocation ―travel light‖, the source text was rewritten to convey the same meaning but sound much more natural. (6) We‘ve walked about a mile around this boat deck. 我们绕着甲板走了半天了。[We‘ve walked for quite a while around this boat deck.] (( In the scene on the deck, Jack wants to know the real reason for Rose coming to meet him, apart from chewing over how great the weather's been and how he grew up. Instead of literally rendering the lines into ―走了一英里‖, which will sound very awkward, the translator opted for the Chinese collocation of expressing ―having been doing something for quite a long time‖. (7) What is this stupid thing you're carrying around? 让我看看这破玩意是什么。 ((( The above lines is what Rose asks Jack when she notices the sketchbook he carries. The italicized part was translated in most subtitled versions as ―蠢东西‖, the clumsiness in which can be easily detected by the audience‘s sharp ears. In the dubbed version this line was translated in a much more skillful way. Even three Chinese characters can make a difference when they are 12 苏州大学本科生毕业论文 combined in an appropriate way. 4.2.2.2 The Use of Chinese Idioms Idioms are one of the most important elements of a language as they best display the idiomaticity in a language. Many Chinese idioms derive from classical Chinese, characterized by high density and attention to the tones and rhythm. The four-character phrase is a common form of the Chinese idiom, as shown in the translation of the following lines: (8) Of course, everyone knows the familiar stories of Titanic. 泰坦尼克号的事几乎是家喻户晓。 (((( (9) I can't. I'm involved now. 我不能走，我不能袖手旁观。 (((( (10) You just seem like, you know, kind of an indoor girl. 我看你像是个足不出户的大家闺秀。 (((((((( Some other idioms may not take the form of a four-character structure. For instance, (11) Poor little rich girl. What does she know about misery? 你这个阔小姐，身在福中不知福。 ((((((( The use of Chinese idioms conforms to Chinese poetics and gives the dubbing a native flavor, which the intended audience are used to and willing to accept. 4.2.2.3 Dynamicization English is referred to as a static language as it prefers expressions which refer to entities seen as stable, such as nouns, adjectives, adverbs, prepositions, static verbs and their corresponding phrases. Chinese, on the contrary, is characterized as dynamic in that it often employs dynamic verbs or verb phrases. The following examples display respectively how the adverbs, nouns and static verbs in the source text are converted into dynamic verbs or verb phrases in the dubbing. (12) Would you like all of them out, miss? 都挪出来吗, ((( (13) I'm a good swimmer. 我会游泳。 (( (14) All of Philadelphia society will be there. 13 苏州大学本科生毕业论文 所有的名门望族都会来。 ( 4.2.2.4 Topicalization English is a subject-prominent language which has a subject-predicate sentence structure, while Chinese is a topic-prominent language with a topic-comment sentence structure. The difference in the sentence structures of the two languages requires certain adjustments in dubbing. (15) This is not a suitable conversation. 我们谈论这个问题不太合适。 Rose evades the question put forward by Jack as to whether she loves her fiancé or not, which touches Rose on the raw. The headword ―conversation‖ is taken as the topic and put at the beginning of the Chinese sentence while ―not suitable‖ the modifier is treated as the comment part, conforming to the Chinese way of expression. (16) I mean, I‘ve got everything I need right here with me. 因为我需要的我全都有了。 This is how Jack explains to Rose‘s mother that he enjoys his life. The object in the English lines is topicalized in Chinese. (17) Your presence here is no longer appropriate. 要是再到头等舱来，你就不受欢迎了。 Jack is warned so by Cal‘s servant when he comes to the first class to see Rose. The linking verb cannot be left out in an S-V-C structure in English, where the verb and complement compose the predicate. In Chinese, however, linking verbs are usually absent. As shown in the above example, the sentence simply consists of two parts: a topic and a comment. 4.2.3 Rewriting Influenced by Considerations of Patronage Patronage is defined by Lefevere (1992a:15) as ―the powers (persons, institutions) that can further or hinder the reading, writing, and rewriting of literature‖. Patrons may be an ―influential and powerful individual in a given historical era‖, ―groups of people‖, or ―institutions which regulate the distribution of literature‖ (Munday 2001: 128). This paper focuses on the latter two types of patrons – apparently this is not currently an era when literature or non-literature is determined by a certain individual – and further narrows the research down to the censorship 14 苏州大学本科生毕业论文 bureau and the audience, two of the most influential forces in the field of film translation. 4.2.3.1 Rewriting Taboo Words The role of the censorship bureau is to censor away elements that are deemed indecent, offensive, politically unacceptable, etc.. Films must undergo censorship before released. Since there is no proper motion picture rating system in China, strict film censorship is enforced to ensure suitability for general audiences from children to adults. In order to get the film approved, film translators need to rewrite the ―improper‖ parts, in the case of Titanic, taboo words - profanities, obscenities, swear words, etc.. The methods include: (a) Toning down: (18) Shit. No diamond. 见鬼，没有钻石。[Bad luck. No diamond.] (( (19) There‘s Smith and he‘s standing there and he‘s got the iceberg warning in his fucking hand. Excuse me, hand, and he‘s ordering more speed. 当时船长接到警报说有冰山，可那混蛋，那个船长，却命令提速。 (( (b) Neutralization: (20) Finally she's got her whole ass sticking up in the air. 直到船尾部完全翘上了天。[Finally she's got her whole stern sticking up in the air.] ((( (21) We're the luckiest sons of bitches in the world. 我们是天底下最幸运的人。[We're the luckiest people in the world.] ( (c) Omission: (22) She‘s a goddamned liar. 她准是个骗子。 (23) Stand back, damn you. 大家都往后退～ 4.2.3.2 Rewriting Culture-Loaded Expressions Even Shakespeare in his time ―had to hold the interest of a broad public drawn from London‘s mercantile, artisanal and working classes‖ (qtd. in Lefevere 1992a: 14). It also holds for people within the film industry. The critical and commercial success of a film largely depends 15 苏州大学本科生毕业论文 on audience‘s acceptance of it, and it is definitely more challenging for a film to win acceptance among its foreign audience. Film translators need to adapt the lines to suit the target audience‘s taste. Here, for instance, are the culture-loaded expressions rewritten to reduce the amount of audience‘ processing effort and remove the obstacle to audience‘s understanding so that they will enjoy the film better. (24) You know, boss, the same thing happened to Geraldo and his career never recovered. 我说头儿，我们是进了宝山可是出来却两手空空。[You know, boss, we get into the treasure-house and come out with nothing.] In the beginning of the film, treasure hunter Lovett and his team find a safe, but it contains not the valuable diamond necklace they have hoped for. A teammate sighs as above. The ―Geraldo‖ he is talking about is Geraldo Rivera, the well-known American journalist, author, and talk show host. His 1986 special broadcast, The Mystery of Al Capone’s Vaults, was one of the most hyped TV events in history — and one of the biggest busts. In the two-hour special, Rivera finally opened the famous gangster‘s secret vault, but instead of Capone‘s money or any bodies, it contained only a couple of empty bottles and dirt. The failed stunt became a pop culture landmark, and ―Al Capone‘s vault”is now synonymous of a heavily hyped event that amounts to absolutely nothing. However, this background information is strange to most Chinese audience. The translator rewrote the lines so that they can be quickly accepted by the audience. (25) Jimmy Hoffa's briefcase. 我想永远找不到。[I‘m afraid you‘ll never find it.] Lovett tries to convince his partners that the diamond could be saved at many other places. He provides a list of examples, including ―floor debris in the suite‖, ―the mother's room‖, and ―purser's safe on C deck‖. The sentence above is added by one of his teammates. Jimmy Hoffa was an American labor union leader who disappeared in 1975 from a restaurant parking lot in Detroit. His disappearance remained mysterious and gave rise to many rumors and theories. Apparently the teammate is making a sarcastic remark on the odds of finding the treasure. But few Chinese audience have an idea of who this Hoffa is, thus what is indicated is directly expressed in the dubbing. (26) You could just call me a tumbleweed blowing in the wind. 人们都说我是个无根的小草。[You could just call me a rootless weed blowing in the wind.] ((((( This is what Jack describes himself to Rose. The tumbleweed is a kind of plant that, once 16 苏州大学本科生毕业论文 mature and dry, disengages from the root and tumbles away in the wind. Tumbleweeds have become so common in North America that they are used in Western movies as symbols of desolation in frontier areas. The dubbed version solved the problem of audience‘s unfamiliarity with the plant and conveyed the meaning of ―rootlessness‖. 17 苏州大学本科生毕业论文 Chapter Five Conclusion 5.1 Major Findings of the Study The thesis examines the rewritings in the dubbing translation of the film Titanic within the framework of Andre Lefevere‘s rewriting theory. It first gives an overview of dubbing translation and the previous studies on this subject. Then Lefevere‘s model of rewriting is introduced and its applicability to dubbing translation study is discussed. Drawing on the model, particularly the notions of ideology, poetics and patronage, the thesis analyses instances of rewriting in the dubbing translation of the film and finally draws conclusions as follows: 1. “Translation is the most obviously recognizable type of rewriting‖ (Lefevere 1992a: 9) and is mainly controlled by three factors, i.e., ideology, poetics and patronage. In the case study of the dubbing translation of Titanic, the ideological motivation for rewriting is conforming to the Chinese mores and values. The influence of poetics is displayed in the use of Chinese collocations and idioms. And the rewriting of taboo words and culture-loaded expressions are manipulated by considerations of patronage, which in this study refers to the powers of censorship and audience. 2. Dubbing translation is made within both technical constraints and cultural constraints. Previous studies have paid much attention to the former, especially in terms of lip-synchronization, in contrast to the amount to the latter. The current thesis, drawing on Lefevere‘s model of rewriting, explores the questions of dubbing translation as sometimes controlled by cultural and social factors, which not only in turn proves the applicability of rewriting theory to dubbing translation, but also draws attention to the intellectual process of the actual translation and adaptation of the dialogue. 3. Rather than evaluating a certain work of translation or prescribing certain strategies for translation on the linguistic level, Lefevere goes beyond language and focuses on the interaction between translation and culture. The appeal of Lefevere‘s model lies in the fact that it identifies important contextual factors that impinge on translation, irrespective of how well it weaves these factors into a coherent model. Thus Lefevere‘s model is instrumental in situating translation within a broader socio-cultural context and encouraging objective, systematic, and in-depth analyses of translations. 18 苏州大学本科生毕业论文 5.2 Limitations of the Study For sure there remain some limitations in this thesis. Since the study merely analyzes the dubbing translation of Titanic alone, it is perhaps not representative of all films, let alone works of other genres. Nor is it likely to cover all the elements of the control factors proposed or not proposed in Lefevere‘s rewriting theory. 5.3 Suggestions for Further Research As is stated above, it is far from enough to conduct a thorough research with one case study. So as to generate more convincing findings, a larger number of films are needed for further investigation. In addition, other forms of audiovisual material should also be taken into consideration, such as TV dramas, cartoons, documentaries, etc.. Moreover, since subtitling has been developing rapidly these years due to the emergence amateur subtitling cultures such as fansubbing, it is advisable to apply rewriting theory to subtitling as well. 19 苏州大学本科生毕业论文 References Baker, M. & G. Saldanha (eds.). 2009. Routledge Encyclopedia of Translation Studies, 2nd ed. [C]. Abingdon & New York: Routledge. Chaume, F. 2004. Synchronization in dubbing: A translational approach [A]. In Orero, P (ed.). Topics in Audiovisual Translation [C]. Amsterdam & Philadelphia: John Benjamins. 35-52. Fodor, I. 1976. Film Dubbing: Phonetic, Semiotic, Esthetic and Psychological Aspects [M]. Hamburg: Buske. Lefevere, A. 1992a. Translation, Rewriting and the Manipulation of Literary Fame [M]. London & New York: Routledge. Luyken, G. M. & al. 1991. Overcoming Language Barriers in Television. Dubbing and Subtitling for the European Audience [M]. Manchester: European Institute for the Media. Martínez, X. 2004. Film dubbing, its process and translation [A]. In Orero, P (ed.). Topics in Audiovisual Translation [C]. Amsterdam & Philadelphia: John Benjamins. 3-7. Munday, J. 2001. Introducing Translation Studies [M]. London & New York: Routledge. Orero, P (ed.). 2004. Topics in Audiovisual Translation [C]. Amsterdam & Philadelphia: John Benjamins. Snell-Nornby, M. 1990. Linguistic transcoding or cultural transfer: A critique of translation theory in Germany [A]. In S. Bassnett & A. Lefevere (eds.). Translation, History and Culture [C]. London and New York: Pinter. 79-86. Steiner, P. 1984. Russian Formalism [M]. Ithaca and London: Cornell University Press. 20 苏州大学本科生毕业论文 Whitman-Linsen, C. 1992. Through the Dubbing Glass: The Synchronization of American Motion Pictures into German, French and Spanish [M]. Frankfurt: Peter Lang. 董海雅，2007，西方语境下的影视翻译研究概览 [J]，《上海翻译》(1):12-17。 杜争鸣、陈胜利，2008，英汉互译原理与实践教程 [M]。北京:中国经济出版社。 冯庆华，2010，《实用翻译教程:英汉互译》[M]。上海:上海外语教育出版社。 刘白玉，2008，英文电影《泰坦尼克号》禁忌语翻译研究 [J]，《电影文学》(6):105。 葛晓剑，2012，从关联理论看《泰坦尼克号》的字幕汉译 [J]，《牡丹江大学学报》21(8): 77-86。 钱绍昌，2000，影视翻译——翻译园地中愈来愈重要的领域 [J]，《中国翻译》(1):61-65。 王佳，2011，从改写理论看英文电影片名汉译 [J]，《语文学刊(外语教育与教学)》(9): 64-65。 王金华、刘亦奋，2010，配音翻译中的连贯重构探析 [J]，《疯狂英语(教师版)》(4):181-184。 武燕燕、马烁，2012，评析英文电影《泰坦尼克号》的字幕汉译 [J]，《电影文学》(4): 152-153。 熊雁娜，2005，英语电影《泰坦尼克号》汉译评析 [J]，《太原科技大学学报》26(3):242-246。 张春柏，1998，影视翻译初探 [J]，《中国翻译》(2):50-53。 赵春梅，2002，论译制片翻译中的四对主要矛盾 [J]，《中国翻译》(4):49-51。 21 苏州大学本科生毕业论文 文献综述报告 影视翻译领域的研究最早开始于西方，如今活跃在该领域前沿的专家也主要是西方学者，尤其是欧洲的研究者。电影电视的较早普及、文化的多元化和相通性等因素推动了欧洲影视翻译研究的发展。 Istvan Fodor是配音翻译研究领域的程碑似人物，其研究奠定了西方影视翻译理论研究的基础。在其1976年出版的著作Film Dubbing: Phonetic, Semiotic, Esthetic and Psychological Aspects中，首次从语言学、符号学、心理学、美学等多个角度综合系统地研究了影视作品的配音译制。书中首次提出电影译制要在语音、人物性格和 内容 财务内部控制制度的内容财务内部控制制度的内容人员招聘与配置的内容项目成本控制的内容消防安全演练内容 三方面达到“同步”，并探讨了不同语言和文化体系中手势语的不同意义，以及镜头拍摄角度对电影人物话语感知造成的不同视觉效果等。他认为每个国家的语言和文化都具有其特殊性和不可替代性，在影视翻译中做到各方面完美的“同步”是不可能的。 上世纪90年代，西方影视翻译研究进入“黄金时代”，取得突破性进展。配音翻译领域，1991年，在欧洲媒介研究所的资助下，Luyken与四位欧洲的影视翻译专家合作出版了Overcoming Language Barriers in Television. Dubbing and Subtitling for the European Audience一书。该书从专业视角分析了针对影视作品中的语言转换的不同翻译模式，对欧洲的译制影视作品数量、制作成本以及受众偏好等都进行了系统而详细的研究。 如今越来越多的西方学者活跃于影视翻译研究领域，配音翻译研究也得到迅速发展。在实践领域，作为专业人士，Xènia Martínez (2004) 详尽阐述了配音的各个步骤，并指出虽然配音译制工作要建立在团队基础上，但由于具体工作分工明确，许多工作都是个人分别独立完成的。理论研究方面，Frederic Chaume (2004) 历述了配音翻译的理论和策略，并认为配音中的同步应由译者负责，因为这需要源语和目的语、翻译策略与技巧等方面的知识，而其他人员不具备相关知识。 相较于西方，我国影视翻译的研究起步较晚，影视翻译理论研究水平还相对较低。在形式上，配音译制片是我国官方引进外国影片的主流。 华东师范大学外语学院的张春柏教授长期从事影视翻译的理论研究与实践。他在《影视翻译初探影》一文中指出，影视语言的即时性和大众性决定了影视翻译必须以目的语观众为中心，适当他们的语言水平，这意味着影视翻译的 方法 快递客服问题件处理详细方法山木方法pdf计算方法pdf华与华方法下载八字理论方法下载 应以意译为主。文中还就影视翻译中字数、演员动作、文化等方面的限制提出了相应的策略和技巧。 上海外国语大学新闻传播学院的钱绍昌教授也是我国影视翻译领域的领军人物。他长期从事一线影视翻译工作，翻译的影视作品在国内颇有影响。他在文章《影视翻译——翻 22 苏州大学本科生毕业论文 译园地中愈来愈重要的领域》中，深入分析了影视作品语言同文学作品语言和书面语的区别，总结了影视作品语言的五大特点，即聆听性、综合性、瞬间性、通俗性和无注性，认为在影视翻译时做到“信，达，雅”中的“达”最为重要。他同时指出了影视翻译的重要性，呼吁翻译界对影视翻译给予应有的重视。 中央电视台国际部资深编辑赵春梅在其《译制片翻译中的四对主要矛盾》一文中，结合实例讨论了配音译制过程中最常见的四对矛盾，即口型与内容的矛盾，语序与画面的矛盾，归化与异化的矛盾及音译与意译的矛盾，并提出了相应的解决途径。 无论是影视翻译实践，还是影视翻译的相关理论研究，我国与西方国家相比还有一定差距，影视翻译研究的学术地位有待提高。随着影视业蓬勃发展和各国之间交流日益密切，影视翻译在翻译领域中的重要性也越加明显。期待我国的学者能够更多地与西方学者交流，学习西方影视翻译的先进理论，扩大学术视野，提升学术水平，将更多精力投入到影视翻译的实践和研究中来，早日形成我国自己的影视翻译研究理论体系，使影视翻译研究成为翻译研究领域的一个新热点。 23