目的論視角下字幕翻譯研究以《破產(chǎn)姐妹》為例

ChapterOneIntroductionInthecontextofglobalization,political,economicandculturalexchangesbetweencountrieshavebecomeincreasinglyfrequent.AnumberofforeignfilmsandtelevisionhavebeguntoentertheChinesemarket,andforeignfilmandtelevisionworkshavebecomeanimportantwayforthepublictounderstandothercountries.However,duetofactorssuchaslanguagebarriersandculturaldifferences,itisdifficultfordomesticaudiencestoresonatewiththesourcelanguageaudience,whichmakestheimportanceofsubtitletranslationoffilmandtelevisiondramasincreasinglyprominent.Withthehelpofsubtitles,theaudiencecansimplyunderstandthetheme,plot,dialogueandeventhewholestoryofthefilm.Amongthemanysitcoms,“2Brokegirls”hasbecomeoneofthehitdramassoughtafterbymanyfans.Theunremittingeffortsconveyedbythetwoheroinesintheplay,andthepositiveenergyofsharinghappinessandhardshipleftadeepimpressionontheaudience.Therefore,undertheframeworkoftranslationtheory,thispaperwilluseteleologicalguidancetoanalyzehowtoapplythethreeprinciplesofteleologyandthesubtitletranslationmethodsusedinthesubtitletranslationof“2Brokegirls”.TheAmericansitcom“2BrokeGirls”,asoneofthewidelylovedEnglish-languageTVseries,hasachievedgreatsuccessinboththeUnitedStatesandChina.“2BrokeGirls”isasitcomthatairedontheColumbiaBroadcastingSystem.Eachepisodeisabout22minuteslong.TheplaytakesplaceinBrooklyn,NewYork,MaxisasophisticatedgirlwhoworksasanightattendantattheLensburgHotel;

TheotherisCaroline,afashionablegirlindistress.Shewastheownerofatrustfund,butherfather'sbankruptcycosthereverything.Inordertosurvive,shedevelopedsuperadaptability,andshehadtoputdownherdignityasayoungladytoworkintheWilliamsburgHotel.Carolineisverybusiness-minded,andbychance,shediscoversthatMaxhasauniqueskillinbakingcupcakes,andCarolineimmediatelyhasanideainhermind,thisideaisenoughtogetthemoutoftheircurrentpredicament,butonlyiftheyneedtofindawaytoraisethestart-upcapitalofthesmallcakeshop,butafterall,dreamsaredreams,andrealitybeatsthembacktoreality.Thetwobankruptsistershadtoworkinasmallrestaurant,savingmoneypennies.Ofcourse,theirlivesarenotboring,andtheyworkwithlike-minded,motivatedandinterestedcolleagues.TogethertocreatedramabyMichaelPatrickKingandWhitneyCummingsGan,productioncompanyWarnerBros.Television.TheplayissetinplaceisBrooklyn,NewYorkCity,tellsthestoryoftwocompletelydifferentidentitiesbackgroundstoryofurbangirls.Withitshumorousdialogueanddistinctivepersonalitieswonthesoaringpopularity.Thereasonwhythisarticleselect“2BrokeGirls”asacasestudy,oneisbecausetheplayisverypopularathomeandabroad,withthehighpopularity;thesecondisbecausethesitcomisatypicalrepresentationthatfullyembodiesAmericanculture;thethirdisbecausethesubtitlestranslatorusingavarietyofflexiblestrategiesinthissitcom,althoughtherearedifferentstrategies,buttheyallhavethesamegoalandeffect:tomakethetargetlanguageChineseaudiencefullyunderstandthewordsandemotions,andasfaraspossibletomeetthehumorousexpectationsoftheaudience.ChapterTwoSkoposTheorie2.1TheConceptofSkoposTheoryInthe1970s,functionaltranslationtheoryemergedinGermany.SkoposTheorywasfirsttranslatedbyHans.VermeerproposedintheTheoryofGeneralTranslation.Vermeerbelievesthattranslationhasaclearpurposeandintention,toaskoposandSociocultural-orientedway.Italsowidensthefieldoftranslationresearchtoalargeextent.Atthesametime,Vermeerfurtherdevelopedthetheoryandnarrowedthegapbetweentranslationtheoryandpractice.Skopostheory,guidedbyhumanskopostheory,holdsthattranslationisacross-culturalcommunicationactivitywithclearpurposeandintention.Inotherwords,translationisapurposefulinteractiveactivity.InthetranslationprocessofAmericanTVseriessubtitles,thelanguageandculturallevelofthetargetaudienceandthecharacteristicsofthepresentationofsubtitlesshouldbetakenintoaccount,andtranslationstrategiesandmethodsshouldbeflexiblyadoptedtoenabletheaudiencetoobtainthemaximuminformationofthefilmandtelevisionworkswiththeminimumeffortinalimitedtime.Teleologyhasthreeprinciples,Thepurposeprinciplereferstothedeterminationofthetranslationprocessaccordingtothepurposetobeachievedbythetranslationact;Theprincipleofcoherencemeansthatthetranslationshouldachieveintra-linguisticcoherence,thetranslationcouldconformtotheexpressionhabitsofthetargetlanguage;Ofthethreeprinciples,theprincipleofpurposeisprimary.Then,inordertoavoidtheemergenceofradicalfunctionalisttranslation,Norddevelopedteleologyandproposedtheprincipleof“function+loyalty”(Layaliy),thatis,thetranslatorshouldcoordinatetheconstraintsofthesourcelanguageandthetranslatedlanguageonthetranslation,andberesponsibleforeachtranslationparticipant.Therefore,onthepremiseofteleology,thetranslationofthehumorouslanguageofAmericansitcomsunderitscareshouldcloselyusethecommunicativepurposeofthetranslated,thatis,thehumorouseffectofthetranslationinthetargetlanguageshouldbemaintainedfirst,followedbycoherenceandfaithfulness,soastoachievecross-culturalintertextualcommunication.2.2TheApplicationoftheThreeTeleologicalPrinciplesin2BrokeGirls2.2.1TheSkoposRuleThepurposeprinciple,thatis,inthetranslationprocess,thechoiceoftranslationmethodandtranslationstrategyisdeterminedaccordingtothepurposeofthetranslationact.InVermeer'sview,humanactivityisapurposefuldecision,andthereismorethanonepurposeoftranslation,asistranslationactivitythatfollowsoneormorepurposes.Inotherwords,inthetranslationprocess,whatkindoftranslationstrategythetranslatoradoptsisdeterminedbythepurposeorfunctionofthetranslation,notbythecoreconceptof“faithfulness”or“equivalence”ofthetraditionaltheorysetoutintheoriginaltext.Theprincipleofpurposivenesscanbeclassifiedasthetypeofprinciplethatthetranslatorshouldfollow,thatis,thepurposedeterminestheactoftranslation.Inaddition,theteleologicalprinciplerequirestranslatorstobuildbridgestotherequirementsoflanguage.Theteleologicalprinciplestatesthattranslationshouldachievetheeffectofthetargetlanguageinthedesiredwayofthetargetaudienceinthetargetlanguageandculturalcontext.2.2.2TheCoherenceRuleAnotherprincipleofteleologyistheprincipleofcoherence,thatis,thetranslationmustmeettherequirementsofinternalcoherence,andthetranslatormustfollowthehabitofthetranslator'slinguisticizationtokeepthetranslationsmoothandcoherent,andreadable.Theprincipleofcoherencerequiresthatthetranslationbeasunderstandableandacceptableaspossible,soastoultimatelyachievecoherencebetweendiscourses,conformtothecommunicationsituationoftherecipientofthetargetlanguage,andensurethattherecipientunderstandsthetargetlanguage.Theruleofcoherencestatesthat“thetranslationmustbeacceptableinthesenseconsistentwiththecontextoftherecipient.”Thatsaid,intheprocessofinformationtransformation,theprincipleofcoherenceshouldbeapriority.Inthecommunicativecontextandcultureinwhichthetranslationisaccepted,therecipientshouldbeabletounderstandthemeaningofthetranslation.Inshort,theruleofcoherenceputstherecipient'sunderstandingfirst.Inshort,translatorsshouldtakeintoaccounttheculturalenvironmentandsocialcontexttocontributetoatranslationprocess.Therefore,translatorsarerequiredtouseandadoptstrategiesandmethodsthatcantrulyachievethepurposeofinterculturalcommunicationinappropriatetranslations.2.2.3TheFidelityRuleTheprincipleoffidelityisverydifferentfromtheprincipleofcoherence,itisregardedastheenrichmentbetweentexts,aspecialrelationshipbetweenthecontentoftheoriginallanguageandthecontentofthetargetlanguage,andalthoughtheprincipleoffidelityandtheprincipleoffidelityhavesimilarities,therearealsodifferences.Faithfulnessisbasedontheinterpretationoftheoriginalcontentandthepurposeoftranslation.Ontheotherhand,theprincipleoffidelityisnotexactlythesameasthetraditionalprincipleofequivalence.Thetranslatedversionmakestheoriginalcontentworkwell.Basedontheprincipleoffidelity,thetranslatedcontentdoesnothavetobeexactlythesameastheoriginal.Faithfulsubstanceandformcanbeachievedthroughtheoriginalcontentandtranslationpurposes.Tosumup,theapplicationofteleologyhasachievedabreakthroughinthetheoryof“equivalence”.First,teleologyoffersusadifferentwayofthinkingintranslationactivities.Moreimportantly,itshiftsthefocustothetargetrecipientandtheireffects,atranslationbreakthroughthatboththeoriginaltextandtheauthorhavebeenfocusingon.Cross-culturalinteractionisachieved.Finally,“reciprocity”isnotapriority,while“adequacy”isthenormforthetranslationprocess.Nordargues,aswehavealreadymentioned,thattranslatinganoriginalcontentisawillingnesstopointouttherelationshipbetweentheoriginalcontentandthetargetcontent.Insummary,teleology,asamajorbreakthroughincontemporaryWesterntranslationtheory,breaksthetheoreticallimitationsofreciprocal-basedtranslationtheoryinlanguage,andputsforwardrule-drivenstandardsforthispurpose.TeleologyprovidesanewperspectiveforIraniantranslatorsintranslationpractice,whichismoreconducivetothechoiceoftranslationmethods.Inaddition,theinvolvementoftranslatorswasemphasized,consideringthatthemainroleoftheoriginaltextwastoprovideinformation.Therefore,thefocusoftranslationshouldshiftfromfaithfulnesstothecreationoftheoriginaltext.Finally,teleologyfurtherstudiesthedevelopmentoftranslationfromaculturalperspective,arguingthattranslationseemstobeculturalcomparisonandcross-culturalcommunicationinacertainculturalcontext.ChapterThreeAnAnalysisofSubtitleTranslationof2BrokeGirlsundertheGuidanceofSkoposTheory3.1FeaturesofSubtitleTranslationin2BrokeGirlsundertheGuidanceofSkoposTheory3.1.1ImmediacyFilmandtelevisionworksandtextworkshaveobviousdifferencesinreading,infilmandtelevisionworkstheaudiencethroughthechangingcontentofthefilmandfleetingsubtitlestoexperiencethefeelingsofthecharactersandthemeaningofthelinesinthefilm,whileintextworks,readersthroughcontinuousscrutinyofthetexttofigureouttheinneractivitiesofthecharacters,andevenreadrepeatedly.Therefore,thefilmandtelevisionsubtitlesstayonthescreenforashorttime,andtheycannotbereadrepeatedly,whichmakesthetranslationofthefilmandthenewTVscreenhavethecharacteristicsofinstantaneousness.Instantaneousnessemphasizestheaudiovisualexperiencebroughttotheaudiencebythecurrentmomentoffilmandtelevisionworks,andthefleetingprocessingofthelines,whichhastomakethefilmandtelevisionsubtitlesconciseandclear,nottoolengthytooccupythescreen,sothattheaudiencecanfullyunderstandandexperiencethefilmandtelevisionworksatthatmoment.3.1.2PopularityWiththeincreasingdevelopmentofmediatechnology,thetransmissionoffilmandtelevisiondramashasdevelopedrapidlyandextensively.Filmandtelevisiondramasaredifferentfromliteraryworks,andtheinterpretationofliteraryworksrequiresreaderstohaveacertaindegreeofrighteousnessandliteraryliteracy,behinditisastrongdegreeoftransformation,andthewideaudienceoffilmandtelevisiondramasrequiresitslanguagetobeeasytounderstand.Elegantandcommonappreciation,noobscurewords,nocondescendingsentences.Infilmandtelevisiondramas,theplotanddevelopmentofthestorycannotbeseparatedfromtheactionsanddialoguesofthecharacters,sothedifficultyofsubtitletranslationisincreasedandmorespecialrequirementsaregiven.Inorderfortheaudiencetounderstandandperceivethecontentoffilmandtelevisionworks,inthetranslationprocess,translationisthewrittenexpressionofspokenlanguage.Wemustavoidthesituationthatthetranslatedsentencesaretoolongandcomplex,soweneedtoadoptthoseeverydaycolloquiallanguagethatiseasytounderstandataglance,sothatthetranslationiselegantandpopular.Eventhetranslatorwillchoosetheappropriatelanguagestylecorrespondingtothecategoryofdifferentmoviesforsubtitletranslation.3.2ThePrinciplesofSubtitleTranslationin2BrokeGirlsundertheGuidanceofSkoposTheory.3.2.1ThePrincipleofFidelityTheprincipleoffidelityreferstothecontinuityofsentencesbetweenthetranslatedtextandtheoriginaltext,whichputsforwardthefundamentalrequirementsforthetranslatortobefaithfultotheoriginaltextwhentranslating.Thesameistrueoftheprincipleoffidelity,whichissubordinatedtotheprincipleofends.However,incontrast,theprincipleoffidelityintheteleologyoftranslation,thatis,thisfidelityisbasedonthetranslator’sunderstandingoftheoriginaltextandthepurposeofthetranslation.Simplyput,theleveloffidelitychangesdependingonthepurposeofthetranslation.3.2.2ThePrincipleofSimplicityDuetotheparticularityoffilmsubtitletranslation,thetranslationshouldbeasconciseandfluentaspossibleandretainimportantinformation.Therefore,subtitletranslationshouldbeeasytounderstandinordertoreducethedifficultyandtimeofreadingcomprehension.Secondly,filmandtelevisionisthemassmedia,itsaudienceispeoplefromallwalksoflife,whichalsodeterminesthepopularityoffilmandfilmsubtitles.Intheneedforcarefultranslation,weshouldpayattentiontothecomprehensivenessofinformationandformalintegrity,butthereisnoneedtolistalltheinformation.Translationshouldnotbeencyclopedic.Translationshouldnotbeamechanicaltransformation,regardlessoftheaudience’sknowledgebackgroundandinformationrelevanceabilityThisprinciple,inthefinalanalysis,istohelpdifferentneedsoftheaudience,getagoodviewingexperience.3.3TheSubtitleTranslationMethodof2BrokeGirlsundertheGuidanceofSkoposTheory3.3.1LiteralTranslationIn1996,FengQinghuapointedoutthattheso-calledliteraltranslationisamethodorversionthatretainstheoriginalcontentandformofatext.Usuallywhenthismethodisadopted,inthetranslatedversion,thesameexpressioneffectastheoriginaltextcanbefound,andthesamecontentcanbeconveyedinthesameexpression.Itisaverbatimtranslation.Italsopreservesthewordorderoftheoriginaltextasmuchaspossible.Let’stakealookatthefollowingexamples.Example1:

Careline:

Really,han,

it's

so

so

generous.譯文：真的嗎?憨,你太太大方了。Thisexamplecompletelyretainsthetextoftheoriginaltext,withoutasingledeletion,andtranslatesitwordbyword.Thisliteraltranslationmethodcancompletelyretaintheoriginalcontentandstyle,whichcanmakeourtargetlanguageaudiencefullyexperiencetheexoticflavor.Example2:Okay.

We

have

some

friends

coming

in

for

a

meal

andwedon’twantyouguystoembarrassusandoverreact.譯文：是這樣的，我們有朋友想來店里用餐，我們不想你們讓我們丟人或者反應(yīng)過敏。Intheaboveexample,nolanguageskillsandculturalknowledgeareinvolved.Audiencesofdifferentnationalitiescanonlygainasenseofhumorthroughsharedlifeexperiences.Thetranslatorusesliteraltranslationasthemainmeans,almostwordforword,toconveythehumoroftheoriginalworktotheChineseaudience,sothattheycangetthesamehumorousfeelingastheAmericanaudience.3.3.2FreeTranslationExample1:Max:Okay,youhadtobustamove,andget“thetruth”on

my

ass?Translation:不到黃河心不死，不見棺材不掉淚嗎?Thisquotecomesfromtheafter-hourschatofMax,CarolineandHaninthethirdepisodeofthefirstseasonof“BankruptcySisters”.AskMax,threeweekslater,whyhestillhasn'tacceptedhisFacebookfriendrequest.Maxignoredhimfirst.Askedwhyheignoredhim,Maxsaidwithaperfunctorylookthathehadwornheadphones.Embarrassingly,theheadsetisonthetableagain.HanquestionedMax,andMaxspoke“Okay,youhad

to

bust

a

move，and

get“the

truth”

on

my

ass?”DirectlyhurtHan’sheart.Iftheliteraltranslationisusedhere,theaudiencehasnowaytounderstandhowheartfeltMax’ssentenceishere.Butifweusetheparaphrasemethod,directlyusethetraditionalsaying“donotdieuntiltheheartoftheYellowRiver,donotseethecoffinanddonotshedtears”toreflectthefeelingofnothittingthesouthernwallandnotlookingback,anduseourChineseexpressionhabitsanddialectphoneticformstoexpressthemeaningofthetranslation,sothatthetranslationthingswillbeeasytounderstand.Example2:Well，hereismycard.Andlet'sfaceit.Youlooklikeyoucoulduse$500.譯文:這是本宮的名片，明人不說暗話。你長了一張很缺錢的臉。Thebackgroundofthissentenceisalow-endrestaurantwhereMaxworksasawaiter.AcustomertakesafancytoMax'sdoll,andMaxseeswhathemeansandtellshimthatthedollisnotforsale.Inresponse,thecustomerimmediatelytookouthisbusinesscardandrespondedlikethis.Ifthissentenceistranslatedas“Thisismybusinesscard,let'sfaceit.”“Lookslikeyouneed$500,”atediousandunsatisfactorytranslation.Therefore,thetranslatorusesidiomswithtypicalChineseelementssuchas“mainpalace”,“Mingpeopledonotspeaksecretwords”,and“thefacethatlacksmoney”toexpressthem,andthetranslatorhasmadeaperfectswitchbetweenChineseandforeigncultures,whichnotonlystrengthensthe“poisonoustongue”effectofcustomers,butalsomakestheaudiencefeelhumorousandcordial.3.3.3OmissionTranslationExample1:Caroline:

You're

right,

max,

you

only

live

once.

Yolo沒錯，麥克斯，人就一輩子，該吃吃，該喝喝。Duetoethnicandculturaldifferencesanddifferentlanguageexpressionhabits,itisimpossibleforthetranslationtobecompletelyconsistentwiththesourcelanguage.Thenecessarydeletionswillmakethetranslationmorefluentandmoreacceptabletothetargetlanguageaudience.TheaboveexamplesusetheexpressionhabitsoftheChinesefour-charactergridandtheformofdialectsandcolloquialisms,respectively,tomakethetranslationappeareasytounderstand.ThistranslationmethodcannotonlyenableChineseaudiencestoobtaintheinterpretationoftheplaybyChineseculture,butalsoincreasethehumorouseffectoftheplay,andportraytheimageofthepoisonoustonguewomanvividly.Sonecessarydeletionsonly,itisdesirablethatsubtitlesmaketheploteasilyaccessibleandunderstandabletothetargetlanguageaudience.3.3.4AmplificationTranslationThe

target

text

should

be

adequately

coherent

to

make

the

target

user

understand

it,

given

their

particular

background

knowledge

and

situational

circumstances

(Schaffner,

2004:32).“2BrokeGirls”isasituationcomedy,whichisfilledwithalotofhumorwithculturalcharacteristics,therefore,itisnotsameasthegeneraldramaorTVseries.Tofullyreproducethehumorofthestoryandachievetheintendedeffect,itisnecessarytomakeexplanatorynotesonthescreen.However,timeandspaceconstrainthenumberofwordsandlinesofsubtitles.Thetranslatorcanadoptannotatedtranslationtodealwiththeculturalhumor(CaiHui,2005:32).Theauthorshowssomeoftheexamplesasfollowing:Example1

Max:

How

many

pounds

of

clothes

are

you

getting?

這么多錢你打算買多少斤衣服啊？Caroline:

Look,

it’s

for

one

pair

of

amazing

Dries

Van

Noten

silk

brocade

pants.

Super

cute.拜托，這些錢是用來買一條德賴斯·范諾頓（世界名牌服飾品牌）家的織綿段褲子,超級可愛。InthisexampleCarolinewantstofund1500dollarsforhertobuyapairofnewtrousers,that’smakeMaxsurprisedbecauseinheropinion1500dollarscanbuymanyclothes.Fromtheexplanation,thetargetaudiencecanknowthereasonwhythepantsaresoexpensiveandmakethewholeconversationmeaningful.AccordingtotheSkopostheoryanditsthreebasicrules,thepurposeortheaimdecideswhichtranslationstrategyshouldbeadopted.Asaconsequence,thesubtitlershouldfigureoutwhichstrategyisthemostpreferredoneforthespecificsituation.Thesubtitletranslationshouldnotonlycarrythebasicinformationforthetargetaudiences,butaddsthenecessaryinformationinordertomakethewholedialoguesmoothandreasonable.Insummary,thereareaplentyofexamplestoillustratetheamplificationstrategyinthecomedy2BrokeGirls.Example2Caroline:Max,theguywhodiedinfrontourshoplastnightwasarockstar.HeusedtodateKateMoss.麥克斯，昨晚在我們門口死去的人是個搖滾明星。是凱特·摩斯（英國超級模特）前男友。Max:Nooffense,butdatingKateMossislikealawinEngland.無意冒犯，但是貌似全英國的男人都和凱特交往過。Inthisexample,CarolineandMaxfoundthatahandsomeyoungmanfaintedinfrontoftheircupcakesshoplastnight,whilethenextmorning,theyheardthatthemandeadandlearnedabouthewasarockstarandusedtodateKateMoss.Ifthereisnoextrainformationabouttheperson,wecanfigureitoutthatKateisafamousmodelinEngland.AndiftheaudiencejustregardsKateasanaverageperson,thesitcomcannotachieveitsdesiredeffect.Atthesametime,theaudiencewillnothaveanysenseaboutthenextlinewhatMaxsaid.ChapterFourTheMainFindingsoftheStudyThroughthesubtitleanalysisofthefilmandtelevisionfilm“2BrokeGirls”,thispapersystematicallystudiestheapplicationofteleologyinsubtitletranslation.Teleologyholdsthatanytranslationactivityandprocesshasapurpose.Subtitlesandsubtitletranslationarecomprehensivelyintroduced,suchasthefunctionsofsubtitles,thecharacteristicsofsubtitles,themethodsofsubtitles,andthefactorsaffectingthequalityofsubtitletranslation.Thesedetailedintroductionspreparethereaderforthetranslationofthesubtitleofthenextchapterof“2BrokeGirls”underteleology.Then,abriefintroductiontothefilmandtelevisionfilm“2BrokeGirls”wasgiven.Throughtheunderstandingoftheplotofthefilm,theauthorcananalyzethesubtitletranslationof“2BrokeGirls”.Thenthepurposeoftranslationunderthecasefilmisstudiedindetail.AlargenumberofexamplesaregiventocompareChinese-Englishconversions,andwell-establishedtranslationstrategiesandtechniquesareusedtoexploresubtitletranslation.Finally,fromateleologicalpointofview,ifthetargettextisfullofsubtitleswithteleology,thenitisasuccessfulproduct.Therefore,usingtheprinciplesandrulesofteleologyof“2BrokeGirls”andthetranslator'spriorityintranslation,wecanseethatthesubtitletranslationofthisfilmandtelevisionfilmissuccessful.Withtheexpansionofthefilmandtelevisiondramamarket,especiallythepopularityoftheInternet,moreandmoreforeignfilmandtelevisiondramashavebeenintroducedintoChina.Watchingforeignfilmandtelevisiondramashasbecomeanimportantmeanstolearnmoreaboutforeignsociety,economy,politics,cultureandcustoms.However,thedevelopmentsituationofimbalancebetweentheintroductionofalargenumberofforeignlanguagefilmsandthebackwardnessofsubtitletranslationneedstobeimproved.Sincethisstudyisacasestudyofthe“2BrokeGirls”andtherearemultipletranslations,itisdifficulttoconductalotofresearchinashortperiodoftime.Andduetothelackoftranslation,knowledgeislimited,andaccuratetranslationisnotpossible.Inaddition,theanalysisofexamplesisbasedonself-understanding.Thisresultsinanincompleteunderstanding,someofwhicharenotcorrectenoughandwarrantsfurtheranalysis.Ofcourse,therearestillsometranslationsthatweneedtoconsider,andsometranslationswhoseaccuracyisquestionableandyettobeproven.Lastbutnotleast,TVseriessubtitlingisjustonetypeofaudiovisualsubtitlingtranslation,andthereareawidevarietyofothergenres,includingmovies,TVshows,anddocumentaries,whichmayemploydifferentspacetranslationstrategies.Furthermore,fromtheanalysisdiscussedabove,wecanseethattherearestillmanyproblemsinthefieldofaudiovisualtranslation.Firstofall,itdoesnothaveastandardizedandeffectivetranslationsystem,anditstilllacksprofessionaltranslatorswhoareactivelyinvolvedinthisfield.Buttheseproblemsarelong-terminnature,andimprovementstakealongtimetoexploreandpractice.Therefore,theauthorcallsfortherationalizationandstandardizationofaudiovisualtranslation.Finally,itshouldbenotedthattherearesomeshortcomingsinthisarticle.Duetospacelimitations,theexamplesinthisarticlearealsoverylimited.ChapterFiveConclusionWiththeprogressanddevelopmentofsociety,theinfluenceofmassmediaontranslationstudies.Theresoundingisbecomingmoreandmorepronounced.Tobetterunderstandtheoriginal,theneedforsubtitletranslationisself-evident.Asatextgenrewithastrongsenseofpicture,extremelyrichcontent,andextremelytightdialogue,itisnoteasytotouchtheinneremotionsofthetranslatedaudienceandmakethemresonate.Practicehasprovedthatfunctionaltranslationteleologycanguidesubtitletranslationwell.“BankruptcySisters”isaclassicexample.Undertheguidanceoffunctionalteleology,thesubtitletranslationoftheplaytakesint