英文-從功能對等理論看 泰囧 對白

1、1An Analysis of Dialogue Translation in Lost in Thailand from the Perspective of Functional Equivalence Theory2ContentChapter I Introduction.1Chapter II Literature Review.22.1 Eugene Nida .22.1.1 Nidas Criteria of Translation .22.1.2 Nidas Functional Equivalence Theory.32.2 Dialogue Translation .42.

2、3 Functional Equivalence in Dialogue Translation .52.3.1 Receptors Similar Life Experiences .52.3.2 Similarity between Different Cultures.6Chapter III Dialogue and its Translation in Lost in Thailand.63.1 Lost in Thailand and Dialogue Translation for Three Protagonists .63.2 Translation Strategies A

3、dopted in Lost in Thailand.83.2.1 Deduction.83.2.2 Foreignization .103.2.3 Domestication .103.3 Dialogue Translation Problems in Lost in Thailand.11Chapter IV Dialogue Translation in Lost in Thailand under Functional Equivalence Theory .124.1 The Superiority of Content over Form in Dialogue Translat

4、ion .124.2 Adopting Adaptation Translation Strategy in Dialogue Translation.134.3 Principle of “Similarity in Effect, Correspondence in Function”.14Chapter V Conclusion.15References.161Chapter I IntroductionWith the development of society, film is a favorite way for foreign people to understand Chin

5、ese culture and tradition. However, most of foreign people do not know the deep meaning of dialogue in Chinese movie. To these people, they have to understand the connotation of Chinese movie through seeing the subtitles under the screen. To adapting to their needs, more and more translators begin t

6、o translate dialogue in Chinese movie. But many of them can not translate the dialogue in an effective way. Because of their translated skills, many foreign people can not understand Chinese movie totally. They can not understand what people say in the movie so that they can not love Chinese movie a

7、nd Chinese culture. The difficulty of translation is not in comprehension and expression, but in the knowledge of cultural background information. Apparently, translation is not only language transformation; it is the channel for culture, communication and the process of integration. The relationshi

8、p between language and culture is mutual existence and reliance. Language is not only the part of culture, but also an independent system of culture. Nowadays, movies and TV series have become the indispensable communication media for cross-cultural communication. Meanwhile, they have become one of

9、the forms of arts, which have the most audience. This paper is based on famous American translation theorist Eugene Nidas functional equivalence theory. It analyzes and studies the dialogue translation of the popular Chinese movie Lost in Thailand in order to prove the practical instruction and sign

10、ificance of Nidas functional equivalence theory. 2Chapter II Literature Review2.1 Eugene Nida 2.1.1 Nidas Criteria of TranslationNida has introduced a reader-response-based approach to translation equivalence under the name of dynamic equivalence. Dynamic equivalence is therefore to be defined in te

11、rms of the degree to which the receptors of the message in the receptor language respond to it insubstantially the same manner as the receptors in the source language. This response can never be identical, for the cultural and historical settings are too different. But there should be a high degree

12、of equivalence of response, or the translation will have failed to accomplish its purpose. Significantly, their notion of audience response lies in an understanding of the “correctness” of the message. Correctness must be determined by the extent to which the average reader for which a translation i

13、s intended will be likely to understand it correctly. In other words, the measure of the correctness of the message in target translation form is not in the form itself, but in how the target readers respond to the translated text. Nida has three general criteria for assessing the quality of a trans

14、lation as follows: (1) general efficiency of the communication process, (2) comprehension of intent, and (3) equivalence of response. The third and also the most important criterion is closely related to Nidas well-known basic principles of “Dynamic (or Functional) Equivalence of a Translation”, tha

15、t is, the manner in which receptors of the translated text respond to the translated text must be equivalent to the manner in which the receptors of the source text respond to the source text. This reader-response model has taken readers into consideration. Nidas dynamic equivalence theory for the f

16、irst time switched the attention in analyzing a text from static equivalence to a dynamic and functional one. He is creative in introducing the readers response theory to translation theories. A new vision of criticizing the translation from readers angle is beneficial for the exploration of transla

17、tion criticism. Nidas “Functional 3Equivalence” made translation criteria begin to transfer from the original text orientation to the target reader orientation. This shows that he is influenced by the trend of readers response developed on the basis of reception aesthetics. In the following part, th

18、e author will introduce Nidas functional equivalence theory in detail. 2.1.2 Nidas Functional Equivalence TheoryIt is universally accepted that there are no two identical things in the world, so all the translators should bear in mind that they can never produce a version exactly equivalent to the o

19、riginal, and what a translator seeks for in translating should be the closest possible equivalent rather than absolute or complete equivalent. As to equivalence in translation, Nida basically divides it into two types: formal equivalence and functional equivalence. Formal Equivalence is text-oriente

20、d, thus the reader is permitted to “identify himself as fully as possible with a person in the source-language context, and to understand as much as he can of the customs, manner of thought, and means of express”. (Nida 1964:159) Nida made a comparison between “formal equivalence” and “dynamic equiv

21、alence” and pointed out that “dynamic equivalence” demands the complete naturalness of expression while “formal equivalence” demands the translator to reproduce as literally and meaningfully as possible the form and content of the original”. (Nida, 1954:159) Literally, formal equivalence is in the a

22、spect of language form while functional pays much more attention to the language function.Functional-equivalence translation is receptor-oriented and pays great attention to target receptors response. Nida puts receptors in a very important place when judging a version. Traditionally, translations a

23、re always judged by the comparison between the original text and the translated text. In contrast with formal-equivalence translation, functional-equivalence translation pays much more attention to the receptors response and the naturalness of the target language than language forms. Nida thinks tha

24、t it is important to estimate the extent to which receptors correctly understand and appreciate the translated text. Whats more, Nidas ideal 4situation is essentially the same as the original receptors response to the target text. 2.2 Dialogue TranslationDialogue translation develops along with the

25、development of the movies and TV series. Dialogue is subtitle on the movie which has become the commonest way for the audiences to enjoy the foreign movies and TV series. Dialogue translation is a printed statement appearing on the screen between the scenes of a silent motion picture or appearing as

26、 a translation at the bottom of the screen during the sentences of a motion picture or television show in a foreign language. It is the main media of cross-cultural communication. Dialogue translates translate a foreign language into the audiences native language. At the same time, the audience can

27、appreciate the beauty of the actors original dialogue, their tones, intonation, and charm. Unlike written text translation, dialogue translation emphasizes the meaning of the original dialogue more than the form of the dialogue. It has to reflect the meaning of the dialogue instantly and immediately

28、. The audiences can only use two to three seconds to read and absorb the essence of the lines. Usually translators have to achieve a purpose, an accepted reading speed and so on. Sometimes, it could be confusing and even frustrating. People should have the standard translation strategies and transla

29、tion principles to instruct the practical subtitle translation.There are mainly four features of dialogue translation: 1) Instancy. Because the limitation of space and time, dialogues translation are brief and precise texts tagged at the bottom of the screen within two to three seconds, and at most

30、two rows of lines. The instant dialogue, image and motion should grab the audiences attention. It is indispensable for the audience to understand the film or TV series. Otherwise, it will cause the loss of information. 2) There are strict restrictions about the size of the subtitles, the length of the translated sentences, and even restrictions of the pronunciation. All these restrictions should be conformed strictly. If the subtitles are too long, the audience will not have enough time to read the lin