归化和异化在英文影视字幕翻译中的使用---《以饥饿游戏》为例

归化和异化在英文影视字幕翻译中的使用---《以饥饿游戏》为例 The Application of Domestication and Foreignization in the Subtitle Translation of English Film Abstract Film subtitle translation is a purposeful activity with a regular assignment to deliver the director’s intention by offering relevant information to target audience in a specific culture. However, due to the constraints such as time and space constraints, the cultural-specific expressions and cultural vacancy, subtitle translation becomes quite complicated. This paper from a case-study, aims to discuss the application of domestication and foreignization in the subtitle translation of English films. This paper contains five parts. The first part serves as the introduction. It is about the importance of foreign movies in Chinese’ life and the importance of improving translating film subtitles. A film translator must make full use of the proper translation strategy to let the audience have a better understanding. The second part is a careful analysis of the nature and features of film and television works and language and subtitle translation. Subtitle translation is the written translation of the spoken language of a television program or film into the language of the viewing audience; the translated text usually appears in two lines at the foot of the screen simultaneously with the dialogue or narration going on in the source language. The third part introduces the two translation strategies: domestication and foreignization. Domestication refers to the translation strategy in which a transparent and fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. Foreignization designates the type of translation in which a target text "deliberately breaks target conventions by retaining something of the foreignness of the original". The fourth part relates to domestication and foreignization to the translation of English film. Subtitle translation of English film contains many points such as religious expressions, expressions and ideas with regional characteristics, proverbs and fixed expressions, etc. The fifth part is the conclusion. In film translation practice, there is no domestication without some degree of foreignization; by the same token, there is no foreignization without some degree of domestication. Key Words: subtitle translation; domestication; foreignization 归化和异化在英文影视字幕翻译中的使用 摘要 电影字幕翻译是有目的的行为,旨在根据导演的意图,向处在特定文化背景下的观众最有效地传达最 相关的信息,使其能够更好地欣赏和理解电影作品。但是由于电影字幕翻译时间和空间等多方面的局限性, 以及不同文化所特有的 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 达和文化空缺现象使得电影字幕翻译更加复杂。本文从实例出发,分析了归化和异 化在英语电影字幕翻译中的应用。 论文由五个部分组成。 第一部分是引文,讨论了英文电影在我国人民生活中的重要地位和提高字幕翻译水平的必要性。为了 使国内观众能够更好的欣赏外文电影,译者应该充分运用恰当的翻译策略。 第二部分详细分析电影语言和影视字幕翻译的本质和特征。字幕翻译是指用观众所在国家的语言将 电视节目或者电影中的口头语言译成书面文字;译成的文本通常出现在屏幕的下方,出现的同时伴随着源语 言的对话或者叙述。 第三部分介绍两种翻译策略:归化和异化。归化是指译者从目标语读者的角度出发,为了将外语文本中 的"异域性"最小化而采取的一种透明的、通顺的翻译策略。异化是指译者通过保留源语文本的"异域性",从 而有意地打破目标语的语言规范和文化惯例的翻译策略。 第四部分将这两种翻译策略与英文电影字幕翻译联系起来。英文影字幕汉译包含很多要点,例如与具 有地方特点的人名和地名,谚语和固定短语等等。 第五部分是结论。在影视翻译实践中,没有绝对的归化,也没有绝对的异化。 关键词:字幕翻译,归化,异化 Introduction 1.1 Research Background With the rapid development of China's private economy and the introduction of reform and opening up, communication between China and other countries all over the world has become close than ever. Also, films and TV programs are essential in today’s modern society. They are both important entertainment and information channels of communication. The exchanging of films, as a way of cultural communication gets speeding up. It helps people to understand each other better. Watching foreign audio-visual products promotes intercultural communication and exchange. Therefore, we see a growing demand on film translation in recent years. However, there are a lot of different languages all over the world. Chinese is the most widely used language in the world. But only a relatively few Chinese audience can understand English language movies. Thus, importing film with subtitle translation is necessary to meet the need of large number of Chinese audience. For those export foreign films, subtitling translation quality affects directly whether the audience can fully understand the foreign culture through the film. Since the films are delivered to the whole world, subtitle translation is one of the most critical factors. This paper tries to combine the subtitle translation methods of domestication and foreignization strategies, in order to improve the quality of the film subtitles. 1.2 Research Significance As technology develops, people know more and more ways to get whatever movies they want very easily and in quick speed. Watching the movies, people can get sight of foreign movies and TV series and are influenced by them nearly every day. Therefore it is very important to ensure that the imported foreign movies or TV series are properly understood and digested. However, for foreign movies or TV series, there is one important factor that affects their quality: the tr anslation of the subtitles in the movies and TV series. The following reasons explain in details why improving translating subtitling is very necessary and important. First, most of the Chinese audience are not English learners, so without proper subtitle translation, they can hardly understand what is happening in the foreign movies. In this way, they not only lose the chance to know the story and plot in the movie but also miss a good chance to know foreign culture and lifestyle. But we should be aware that the majority are not able to understand and appreciate foreign movies without translated subtitling. Second, from cognitive linguistics we know that in human being’s mind, the mother tongue leaves the deepest mark. Therefore good audiovisual translation can help the audience correctly understand the original movie, satisfy the audience’s emotional need and make the movie impressive to them. From the above we know that subtitle translation is very necessary and important for our Chinese audience. It can help them understand the foreign movies better and more properly. Literature Review 2.1 Meaning of Domestication and Foreignization Foreignization privileges the source culture over the target culture while domestication favors the target culture. They are two contradictory concepts and there is no compromise or reconciliation between them; however, in the translating process, domestication and foreignization are complementary to each other. 2.1.1 Domestication Domestication refers to a kind of translation taking target language as the result, namely it takes expression and the language standard which target language culture can accept, making the text fluent and coherent, which is more suitable for the target audience. Domestication is the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers.(venuti,1995:23) Venuti states "The translator seeks to bulid a community with foreign cultures, to share an understanding with and of them and to collaborate on projects founded on that understand, going so far as to allow it to revise and develop domestic values and institutions."(Venuti 1992:58) 2.1.2 Foreignization Venuti defines foreignization as:"deviation of the local mainstream values and reservation of differences in original language and culture".(Venuti,2001:140) Foreignization aims at taking source language as result, namely trying best to keep the original style and making the exotic culture of source language survive. To adopt language standard which does not conform to target language in order to make the target readers enjoy authentic exotic style. Alienation (homogenization): the translator was as far as possible not to disturb the author, so that readers closer to the author". Translation is to accommodate foreign culture language features to absorb foreign language expression, requires the translator to the closer, take corresponding to the source language expression, to convey the original content, namely to target language culture as a result. The purpose of using the alienation strategy is to consider the differences of national culture, to preserve and reflect the characteristics of foreign nationality and language style. So alienation is that deviate from the local mainstream values, retain the original language and cultural differences; or to retain the foreignness of the original text (foreignness) in a certain extent, deliberately breaks target language conventions translation (Shuttleworth&Cowie,1997:59), advocate retained in the translation. The purpose of the reader's reading is to understand the foreign culture, the translator should believe that the reader's intelligence and imagination can understand the exotic culture of Venuti (Venuti) can be said to be the representative figure of alienation. He put forward the concept of "anti-translation theory". This kind of translation is deliberately in the text of the target text, in style and other aspects of the outstanding original "different". Venturi openly declared,"the purpose is to develop a kind of translation theory and practice, in order to resist the culture of the target language for the dominance of certain tendency, thus highlighti ng the differences in language and culture, the two aspects of text." In this concept, he put forward a good strategy against translation. 2.2 Development history of Domestication and Foreignization Elaboration for domestication and foreignization’s origin and different views of different scho ols of translation theory can be helpful to get deeper understanding of domestication and foreignization, correctly deal with the relationship between them. In the early, scholars tend to regard domestication and foreignization as two completely contrary translation strategies. Venuti thinks that the biggest characteristic of domestication is adopting smooth and pure English to translate(Venuti,1991:73). Foreignization may highlight translator’s status and desalt cultural center and cultural hegemony of Europe and America. It is thus clear that western scholars’ domestication and foreignization are two opposite concepts in political ideology and two extremes in discourse right. They cannot be mediated or compromised. But we regard them as equivalent concepts in our many discussions, in this way, it could bring misunderstandings in practice and theoretical confusion. Historically, homogenization and domestication can be regarded as the extension of the concept of literal translation and free translation, but it is not exactly equivalent to a literal translation and free translation. The core issue of literal translation and free translation is how to deal with the form and meaning in the linguistic level, while homogenization and domestication break through the limitations of language factors and extend the field of vision to the factors of language, culture, aesthetics and so on. According to Venuti (Venuti), the adaptation law is to "bring the original author into the target language culture", while the alienation rule is "to accept the language and cultural differences of the foreign language text, and bring the reader into a foreign language".(Venuti,1995:20) thus, literal translation and free translation is mainly limited to the value orientation of the language level, homogenization and domestication is based on the cultural context of the value orientation, the difference is obvious between the two, not to be confused with. Dome stication and homogenization, a "close reader", a "close to the author", has a strong definition; in contrast, the literal translation and free translation are more emphasis on the "form" of free and. Some of the equivalent of domestication translation, homogenization is equivalent to literal translation, do actually be not scientific. Domestication and homogenization are actually in faithfully convey the original "say what" based on, if possible to show the original is "how to say" whether maximally reproduce the original in the language and culture of a unique flavor to take different attitudes. Compared to two terms, domestication and homogenization is more of the cultural problems. Whether to keep the original flavor of the ocean. 2.3 Previous Studies on subtitle translation Subtitle translation began to emerge in 1929 in western countries. It was a long history for the western scholars doing researches in this field. Nowadays, well-known scholars in the field are still the people in Western Europe. Multimedia translation appeared much later in China compared to the western countries. However, with China’s development in carious aspects, things have changed greatly. Under the background of globalization, the communication between China and other countries over the world is speeding up, which makes the cultural exchanges more comprehensive. The year 2001 marked the publication of Li Yunxing’s article Strategies for Translating Subtitles. The breakthrough in it lies in the exploration of the informative function of subtitles, the application of the "relevance" principle and the use of "deduction" strategy, which is also called "constrained translation". After that, Sun Zhili published Literature Translation in China: From Domestication to Foreignization, Wang Ping published Domestication to Foreignization: Equifinality Translation Strategy. All of these make significant contribution to make popularity of the foreign movies in China. In turn, the introduction of domestic foreign film demand increases. Although the research in translation community is still ignored by scholars in China, some scholars now pay more attention to it than before. 2.5 Subtitle translation To audience, subtitles are the words on the screen to show what is being said. Subtitles have to be read and understood in a few seconds when they are visible on the screen. Subtitle translation or subtitling is the written translation of the spoken language of a film into the language of viewing audiences; the translated text usually appears in one or two lines at the bottom of the screen simultaneously with the dialogue or narration on the source language. 2.5.1Definition Subtitle, just as its name implies, subtitle is words displayed on the screen, so that the audiences can better understand the story’s plot."Abusive subtitles circulate between the foreign and the familiar, the known and the unknown, just as they shift between sense-for-sense and word-for-word modalities."(Gottlieb 1998:17-34) For subtitle, there are some accepted definitions in film subtitle translation field. The following are different kinds of definitions. First, subtitling is the process of providing synchronous captions for film and television dialogue. Second, subtitles are sometimes defined as captions and are transcriptions of film or TV dialogues provided simultaneously on the screen. Third, subtitling is a printed statement or fragment of dialogue provided in the screen between the scenes of a silent motion picture or appearing as a translation at the bottom of the screen during the scenes of a motion picture or television show in a foreign language. Forth, the words printed or superimposed on a film in a foreign language to translate what is being said on the sound track. The above several definitions in a degree explain what the subtitle is, but each has its particular emphasis. The first and second definition emphasize that subtitles are the process of providing synchronous captions for film and television dialogue. This is the key research point of this thesis. 2.5.2 Features Subtitles can help audiences to better understand the obscure contents or segments in the film."Sometimes the lack of comprehensive study on contrastive paralingusitic results in a lack of systematic criteria"(Connell,1998:69) Film subtitles generally has a few features. Judging from the form, it is a written text, the text can be the same language with the original sound, and it also can be another kind of language which is different from the original sound. It is a kind of additional auxiliary tool which cannot exist independently. It has the synchronicity, which must synchronously appear with corresponding sound language, otherwise it will be easy to cause confusion and misunderstanding. Transient refers to subtitles that appear on the screen stay only very short time, it does not like words on book which can be a reference for people. From the perspective of content, subtitles have popularity and fusion of language features. On one hand, its content should conform to the cultural education degree of numerous audiences. There is no obstacles for audiences to accept it. On the other hand, the fusion of language refers to in film and TV, the characters’ language, music and dynamic picture affect and mutually complement each other and they are closely linked together. Methodology 3.1 Controversy and Countermeasures of Domestication and Foreignization 3.1.1Controversy Controversy between domestication and foreignization has existed since translation activities appeared. The original controversy between literal and free translation makes controversy between domestication and foreignization preliminarily appears. After large-scale translation activity occurs, controversy between domestication and foreignization is becoming increasingly fierce. Frome ancient Buddhist translation, domestication and foreignization emerge a few times large-scale controversy. Through carefully study, we found that their differences mainly lie in the choice of domestication and foreignization in process of translation. First, it’s controversy of definition. There are different terminologies for domestication and fo reignization English names. For "归化", there are adaptation, assimilation or domestication, and for "异化", there are difference between alienation and foreignization. Second, it’s controversy of attitude. For ten yeas many domestic and foreign scholars have done further research on domestication and foreignization. There are generally three types: domestication oriented; foreignization oriented; sharing of them oriented. Third, it’s controversy of method or strategy. Domestication and foreignization are exactly m ethod or strategy? Many people use both and do not distinguish. Liu Yanli clearly puts forward that domestication and foreignization is translation strategy rather than method. Forth, it’s controversy of domestication and foreignization’s value. Some scholars think foreig nization can widen readers’ horizon and it accord with the communication of various national culture. While some think domestication breaks the original text’s bondage, it can convey the original spirit when foreignization can’t express properly, and this is much closer to the readers. So foreignization has become the main aspect of contradiction, is in the first place; and domestication becomes the secondary contradiction as a compromise settlement of language barrier. However, domestication and foreignization are two sides of a pair of contradictory. They are not only opposite, but also should be unified. Therefore, to handle the relationship between them, the key is still use dialectical view. 3.1.2Countermeasures We need to take dialectical view on discussing the problem of controversy between domestication and foreignization. Using of domestication and foreignization principle is inseparable with writer’s intention, translation’s purpose, text type and readers’ factors. For a translator, it’s important that he should have profound cultural consciousness in process of translation. We cannot completely receive source language culture in translation, and must make appropriate adjustment to adapt to the need of target language culture. A most important principle to implement domestication and foreignization in translation practice is not to oppose them and to absolution. We should consciously think and grasp domestication and foreignization these two methodological principles in the practice. For domestication and foreignization, we should describe them from theory and practice these two aspects. We can not only debate in theory, but finally put them into practice. So in this way we can objectively grasp the relationship between them and direct our translation practice. Results and Discussion 4.1 Domestication and foreignization in The Hunger Games. "The Hunger Games" shows a reality show like "survival game" in the perspective of Katniss. Participants are seen as "tributes", and they have to struggle to live on until there is only one of them left. 4.1.1 Reflection of domestication. Example 1:"Which would come in handy if, in fact, you were still alive."如果还活着的话这招 很管用 This is what the mentor said, when the leading actor and actress asked the mentor how to survive. Which means the method to hide themselves. The translator didn't literally translate the sentence, but made use of common expressions of the target language and rearranged the word order as well, which corresponds to the feature of the target language."Trick" and "make sense" are two words with strong feature of Chinese. Example 2:"He’s going to come around."我想让他回心转意 This means that we would like him to change his mind, which comes out from the leading actor. If with literal translation, the result will be "he is leaving", which didn't correspond to context. With free translation, corresponding to the context, making use of the Chinese idiom of "Changing one's mind" not only expressed the original meanings correctly, but ,because of the use of id iom, is simple and clear, saves the space of subtitles and time of reading and makes audience feel comfortable. Example 3:"I’m sorry that this happened to you."很遗憾你摊上这种事儿 The reason for adopting domestication method is that the translation effects of the word "happened". In target language,"摊上" is a much colloquial and highly emotional word. If it was translated into "很抱歉这事儿发生在你身上", the sympathy and hopeless of the character can’t been expressed thoroughly. Example 4:"lovely boy"小白脸 It would be "可爱的男孩" if in literal translation. However, the translator translated it into a familiar word "小白脸" in literal translation according to the current situation and whole plot. It’s also reflected the speaker’s dissatisfied and satire for the listerner. Example 5:"you’re the first one I get, so watch you back.你将是我干掉的第一个人,给我小心点 The original’s underlying message is that I will kill you at first, and caution your behavior. T he translator didn’t translate word-by-word, but adopted dissimilation to show the cruel of duel through more rude word "干掉""小心点" replace "杀掉""注意", and translated text omitted causal conj unction- so, it suit for the features of target language. 4.1.2 Reflection of foreignization. Example 1:"It just gives you goose bumps."它让你起鸡皮疙瘩 "Goose bumps" is a meaningful translation." This expresses what people react when they see the strange dress-up of the "tributes". Both target and original language have this oral expression method, therefore literal translation is just the correct solution. Example 2:"That was really something."这是厉害 The translation in target language is just clean and precise. The way of translation doesn’t only express the original idea, but make audience feel easy to accept. For example, the similar translations like "Bravo" and "excellent". Example 3:"There is one girl that I have had a crush on forever."有一个我一直迷恋的女孩 The translation is usually through literal translation to implement foreignization. This are the words of male leading character to show his true love, so that make it consistent with the original at the greatest extent as well as show male leading character’s sincere and shame. 4.2The balance between domestication and Foreignization in the Hunger Games In fact, domestication and homogenization are only a relative distinction. From the concept of translation (meaning) of the original meaning, translation is the paradox of domestication and homogenization. The word translation itself contains a process of naturalization. Because translation means to convey information to the target language and culture, to set the target language and culture, so as to let the target language readers understand, adapt and understand. As Lawrence Venuti believes that translation is to convey a kind of interpretation, convey a tendency, after the change of the foreign text, inside added some target unique qualities and make it no longer mysterious, with rich characteristics of the native style to become easy to understand; and the whole process show translation must perform the function of a naturalized. However, as a cross cultural translation, there are always some challenges in the translation of the information content of the exotic traits, which must be translated. Lu also said that, in fact, in the world also won't have fully naturalized translation, if there is, is dubious, strict discrimination up, it calculates shall not be translated. As a result, there is always a sense of alienation in translation. (For example: Hunger Games dialogue subtitles: "布拉德利:是的,一个是走出在即.现在! 尼斯:这三个客人刚走到你身后的门。 尼斯:小心身后的Yahtzee!或者扣篮。 布拉德利:我带来了更多的弹药。 尼斯:我认为它的巧克力片。 它可能消耗了一把。但是,它的味道像,我不知道怎么回事.由于老鼠的酱油?") Translate: "Bradley: Yes, one is coming out soon.! Kniss: the three guests came to the door behind you. Kniss: be careful Yahtzee! Or dunk. Bradley: I brought more ammunition. Kniss: I think it's a chocolate chip. It might have been a drain. But it tastes like, I don't know what's going on. because of the soy sauce of the rat?" As Lawrence Venuti, domesticating translation is to assimilate originally, inhibition, eliminate the exotic or customs, the translated text in line with the target language and culture of the mainstream values, social norms, poetics and ideology; homogenizing translation is to break the target language culture, social norms and dominant poetics, retain the original foreign features and differences. Homogenization is usually an important method to enrich the target language culture, because it can introduce more new things (exotic), help to expand the boundaries of reader's horizon and the target culture. However, homogenization is always relative, from the primitive to the target language itself contains a domestication process; furthermore, the translators adopt homogenization translation must consider the target language readers accepted accept homogenizing translation cannot sacrifice versions, otherwise translation is meaningless. For the reception of the target language readers, there are always the elements of domestication in homogenization. Therefore, translation also includes domestication and homogenization, which is the carrier of the integration of domestication and homogenization. In practical translation, there are two kinds of processes. (For example: Hunger Games dialogue subtitles: "保加利亚瓦尔纳:这意味着我是谁知道只有一个确切的地方,这个小,便携式核电厂的位置。所以. 蒂霍米尔:我要说的是,我已经超过10秒。 然后我想看看在这种情况下,建议. 保加利亚瓦尔纳:哦,他妈的! 哦,我的上帝!你为什么要这么做? 蒂霍米尔:我不是故意的。在这里,因为它有吨花粉。 哦,上帝,我的饼干!你把你的药? 蒂霍米尔:我把它上飞机。 今天早上我告诉你。我把它送给你,在所有的夹克衫。 蒂霍米尔:你做到了。 保加利亚瓦尔纳:妈的。谢谢。 你知道吗?它进入我的帐户。 我听说šmrku?eš,有什么我承担。 所以这是我的错。好不好? 蒂霍米尔:你有3,进入。走出后门。") Translate: "Varna: It means I know who is only an exact place, this small, portable nuclear power pla nt location. So. Thomas: I want to say is that I have more than 10 seconds. Then I want to see in this case, suggestions. Varna: Oh, fuck! Oh, my God! Why are you doing this? Thomas: I am not intentional. Here, because it has tons of pollen. Oh, God, my biscuits! You take your medicine? Thomas: I put it on the plane. I told you this morning. I give it to you, in all the jacket. Thomas: You can do it. Varna: Mother of a vulgarian. Thank you。 You know what? It comes into my account. I heard make e s c s, what I take. So this is my fault. Okay? Thomas: You have 3. Out of the back door." Some scholars believe that domestication and homogenization, regardless of which one must adhere to the end, cannot be confused with the use of the two. But we can't do it in the actual translation. Translation requires us to faithfully reproduce the thought and style of the original author, and these are in strong exoticism, the alienation is inevitable; and translation but also taking into account the reader's understanding of the source text and smooth. Therefore, the domestication is inevitable. It is undesirable to choose one strategy and completely eliminate another one, and it is not realistic. They have their own advantages and disadvantages, and therefore cannot achieve the ultimate care for this and lose that the purpose of translation. So we in the translation process, just by choosing to make the text on the proximity readers and approaches the author to find a "fusion point". The "blending" is not static,"centered", it sometimes authorial distance closer, sometimes distance readers closer, but no matter how close the which side, should follow a principle: close to the author, readers not distance too far; close to the readers, not authorial distance too far. That alienation does not hinder the translation fluent and easy to be understood. Domestication does not lose the original taste. At the same time, we should adhere to the domestication of language form to take the strategy, and the cultural factors of alienation. In this way, the translation works can be as long as the two strategies to avoid its short, so that both have a common development of space. Therefore, domestication and formalization should complement eac h other in the actual translation process, and have a dialectical and unified relationship between each other. 2.4 Features of Film and Television Language Qian Shaochang who is engaged in film and television translation for many years summarized the film and television language characteristics for listening, comprehensiveness, instant, popularity and no notes these five kinds in his article "Film translation- More and More Important Area of Translation Garden". This is the authoritative interpretation for film and television language’s f eatures of film translation research field at present. Today, since there is more perceptual knowledge than rational thinking of film and television translation research field, it is quite commendable that he has so original and unique views for film and television language characteristics. Conclusion In China, most people cannot appreciate that the films with foreign languages and subtitle translation did not in the past attract enough academic attention. People used to think that it is not worth mentioning. But as times goes by, more and more foreign movies and other audiovisual material flood in China and they bring great influence to our Chinese entertaining ways and even lifestyles. For many movie viewers, It is the Chinese subtitles of foreign films that play the key role to help them to understand the contents of the films. So the quality of subtitles has great influence upon the understanding of the films. Two basic translation strategies, domestication and foreignization, are frequently used in subtitle translation. Foreignization helps to reflect the cultural different and faithful to the source text while domestication contributes to the naturalness and smoothness of the target text and make it more understandable and acceptable. In any film translation, the initial decision on domestication and foreignization strategies influence the translation process, resulting in either the target easily identifiable, or easily access to the target audience, or constantly reminding the audience that c ultural difference, to all viewers, the protection film integrity, performance and characters of the show. From the above on, naturalization and dissimilation takes great roles in movie subtitle translation. But you must use these flexibly, and do not use naturalization and dissimilation loosely to lose the original meaning so that audience will feel hard to understand. Combine them flexibly during translation, thus your translation will not only remain the feature of foreign customs, but make audience feel free to accept as well. Acknowledgement Firstly, I want to express my sincere thanks to teachers taught me once. The past few months I have gone through many difficulties and setbacks. During these several months, I have been through joy, confusion, distress and sadness, and my feeling is so complicated in the process of this paper writing. Now, with the completion of this graduation paper, it means that my college life is coming to an end. Besides my own efforts, there are also the teachers’ earnest instructi on, Now, this article is completed, it represents my college life is about to draw to a successful conclusion. In addition to thanking my teacher Wu Ling-tao, during the study, teachers’ rigorous scholar ship, rich profound knowledge, a keen academic thinking, better work attitude and tireless teacher who insult my demeanor lifelong learning model, mentors of profound knowledge and skills of rigorous and realistic academic spirit will forever inspire me. She is an easy-going, enthusiastic, and careful person. From thesis choosing to thesis setting, from content to format, from the design of framework, layout of structure to the repeated modification and polishing on my paper, Miss Wu has always been guiding me so carefully and professionally. She helped me to develop my thought and encouraged me continuously. Finally, I will say thank-you to my parents and classmates. I am appreciated that they also helped me a lot and supported me on my paper and learning. They taught me everything they knew since I was born. Thank you for giving me a lot of love and making me full of energy all the wa y. They are my dearest persons in the world.