Subtitle Translation in Sitcoms from the Perspective of Skopostheorie从目的论角度分析情景喜剧的字幕翻译.doc

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1、XXXXX大学本科毕业论文（设计）任务书编 号： 论文（设计）题目：从目的论角度分析情景喜剧的字幕翻译 学 院： XXX学院 专业： XXXX 班级： XXX级XX班 学生姓名： XXX 学号：XXXXX指导教师： XXX老师 职称： XX 1、 论文（设计）研究目标及主要任务本文的研究目标是探讨目的论指导下情景喜剧字幕翻译的特点趋势及其在翻译中的应用。其主要任务是通过相应的翻译方法和策略指导情景喜剧的字幕翻译实践，促进网络字幕翻译的发展和中外文化交流。2、 论文（设计）的主要内容 本文共有四章：第一章介绍目的论及其三个原则；第二章介绍了美国情景喜剧及其特点；第三章介绍情景喜剧字幕翻译以及对译

2、员的要求；第四章通过翻译方法和策略阐明译员如何在目的论指导下做好情景喜剧的字幕翻译。3、论文（设计）的基础条件及研究路线本文的基础条件是翻译学家和网络字幕翻译者对情景喜剧翻译的研究结果。研究路线是对目的论三个原则在影视字幕中的详细阐述，融合恰当的翻译方法和策略，将其应用于美国情景喜剧的网络字幕翻译中去。4、主要参考文献Nord, Christiane. 2001. Translation as a Purposeful Activity-Functional Theory Explained. Shanghai: Shanghai Foreign Language Education Pres

3、s.Vermeer, H.J, and Katharina Reiss. 1984. Skopos and Commission in Translational Action. London and New York: Routledge.金惠康，2002，跨文化交际翻译，北京:中国对外翻译出版公司。麻争旗，2006，影视译制概论，北京：中国传媒大学出版社。5、计划进度阶段起止日期1确定初步论文题目3月16日前2与导师见面，确定大致范围，填开题报告和任务书，导师签字3月16日-3月23日3提交论文提纲3月23日-3月30日4交初稿和文献综述3月30日-4月20日5交终稿和评议书5月8日前指

4、导 教师： 年 月 日教研室主任： 年 月 日XXXX大学本科生毕业论文（设计）开题报告书 XXX 学院 XXX 专业 XXXX 届学生姓名XX论文（设计）题目 从目的论角度分析情景喜剧的字幕翻译指导教师XXX专业职称XX所属教研室翻译系教研室研究方 向翻译理论与实践课题论证：研究在目的论的理论指导下，运用恰当翻译策略和翻译方法实现对情景喜剧的字幕翻译，从而促进网络字幕翻译的发展和中外文化交流。方案设计：第一章 介绍目的论及其三个原则。第二章 阐述情景喜剧及其特点。 第三章探讨字幕翻译的定义及其特点。 第四章阐述目的论指导下情景字幕的翻译方法和策略。进度计划：3.14-3.16 确定论文题目3

5、.16-3.23 拟写论文提纲3.23-3.30 提交并修改论文提纲 3.30-4.20 提交并修改论文初稿4.20-5.8 拟写并提交论文终稿指导教师意见： 指导教师签名： 年 月 日教研室意见：教研室主任签名： 年 月 日XXXX大学本科生毕业论文（设计）评议书姓 名XX学院XXX学院专业XXX年级（班）XX班论 文 题 目从目的论角度分析情景喜剧的字幕翻译完成时间XXXX.5.5论文内容摘要随着中外文化交流的不断加深，中国的大银幕上出现了越来越多的欧美影视剧，而情景喜剧是在中国最受欢迎的美国电视剧类型之一。本文以目的论为理论核心，介绍了目的论指导下美国情景喜剧的字幕翻译及其策略和方法。本

6、文由四个部分构成，第一章主要介绍了目的论及其三个原则。第二章主要介绍了美国情景喜剧及其特点。第三章简要概括了情景喜剧字幕翻译的定义、趋势、特点、问题以及对译员的要求。最后一章则通过简单介绍替代法、注释法、增减法和与流行语相结合的翻译方法，阐明译员如何在目的论指导下做好美国情景喜剧的字幕翻译。指导教师评语 年 月 日指 导 教 师职称讲师初评成绩答辩小组姓名职称教研室组长成员答辩记录：记录人签字： 年 月 日答辩小组意见：组长签字： 年 月 日学院意见：评定成绩： 盖章： 年 月 日XXXX大学本科生毕业论文（设计）文献综述Literature ReviewFor centuries, the

7、basic criterion for translation is “faithfulness”. “Translation is frequently associated with word- for-word faithfulness to the source text, even though the result may not be considered appropriate for the intended purpose” (Nord, 2001:4). Eugene A. Nida puts forward the theory of functional equiva

8、lence and dynamic equivalence. In his opinion, liberal translation can be more faithful than literal translation. And he emphasizes the equivalence between source language and target language. However, in recent years, there are many diverse kinds of translation, so there are different standards. In

9、 this condition, some experts are dissatisfied with the current translation theories.In 1971, Katharina Reisss book Potentials and Limitations of Translation Criticism is regarded as the turning point of translation in Germany and the whole world. Reiss thinks that the ideal translation would be one

10、 “in which the aim in the target language is equivalence as regards the conceptual content, linguistic form and communicative function of a source language text” (Nord, 2001:9). Nord divided the purpose into three parts: the purpose of translators, the communicative purpose in the target language an

11、d the purpose of special translation strategies. As the student of Reiss, Hans Vermeer defines human action as a intentional and purposeful behavior. And then he put forward the famous theorySkopostheorie. After Vermeer, in the 1990s, Chirisane Nord published the book Translating as a Purposeful Act

12、ivity. In her book, Nord analyzed the functional theory in detail and made a supplementary for the latter works.In terms of Skopostheorie, it shows that translation is a special form of human action with the intention of fulfilling the need of target language users. Skopostheorie believes that the p

13、rocess of translation starts from the purpose and function. The choices of translation principles and strategies should achieve the purpose of the translation from the target text. There are three rules: Skopos rule, Coherence rule and Fidelity rule (Vermeer, 1984). In order to meet the demand of Ch

14、inese audiences, the subtitle translation of sitcoms should fit the three rules, among which the first rule is the most important one. The criteria of translation is not static, but changes with the different purposes. And to judge the success of the standard of translation is not a peer-to-peer pri

15、nciple, or the principles of “faithfulness”, “expressiveness”, and “elegance”.These years, with the deepening communication between China and the whole world, the Skopostheorie has injected great vitality to the translation field in China. And China has payed more and more attention to this field in

16、 recent years.Situation comedy, often known as sitcom, is “a regular program on television that shows the same characters in different amusing situations” (Hornby, 2004). It has a history of 50 years in the U.S, which has special methods and styles. It is always one of the most popular TV shows in A

17、merica. In 1992, American sitcom Growing Pains was introduced to the Chinese audience, which was regarded as elementary education of sitcom to the domestic television audience. From the native Home With Kids and other kinds of sitcoms, the whole world sees the huge progress that China has made in th

18、is area. However, Chinese sitcom TV consumer market is far from being indispensable to this type of program and its influence cannot compare with the American sitcoms. So in the future, in order to meet the demand of Chinese audiences, except bringing in more foreign sitcoms, China should work hard

19、to produce its native famous sitcoms and make its own famous international shows.In terms of translation of films, there are two kinds of translations: dubbing and subtitling. Because subtitling is much cheaper and saves a lot of time, so most TV producers choose this way to make online translation.

20、 Besides, the number of dubbed films audience far exceeds the number of translation of a literary audience (readers). As a result, subtitle translation is an inevitable trend in the whole world. In the magazine Chinese Translators Journal, it adheres to both of theoretical and practical tenets, conc

21、erned about the theoretical front, close to the practice of translation, promote the translation teaching, and report the industry trend. In The Strategies of Subtitle Translation by Li Yunxing in Chinese Translators Journal, he makes an overview of the subtitle translation. It analyzes the subtitle

22、 translation features, the cultural factors and the corresponding translation strategies from the perspective of time and space constraints. The subtitle translation should seek to provide the most relevant and the most effective information in the limited time and space. Then, he makes some explana

23、tions by examples. Introduction to Dubbing Film and Television by Ma Zhengqi shows the definition, features and trend of dubbing films and televisions.In Translation in Intercultural Communication, Jin Huikang introduces translation from the perspective of cross-cultural research, making a multiface

24、ted and interdisciplinary comparison between Chinese and English. The book is instance-based and it is together with the theoretical guidance in order to be comprehend and innovative. Contrastive Studies of English and Chinese Language by He Shanfen focuses on the main characteristics of Chinese and

25、 English and makes comparisons in vocabulary, grammar and rhetoric, which makes a detailed discussion of the two languages.In Wu Rongrongs two papers, The Translation Strategies and Features of Anglo-American Films and Television, and The Alternative Paraphrase in Subtitle Translation of Network Ame

26、rican TV Series, she describes the fashionable trend and features of subtitle translation of English and American movies or TV dramas, and how to apply translation strategies in proper ways.Since China is becoming more open to the world, there would be more and more foreign movies and TV series brou

27、ght to Chinese market, the subtitle translation online is a inevitable trend in China. In recent years, the translation groups online are brought together by the enthusiasm towards TV series and they are not professional. So the translations are not that formal and accurate. What we need to improve

28、is the formality of the subtitle translation systems, and we should enhance the translators ability from cross-cultural knowledge to translation skills. Then the Skopostheorie can be fully applied in subtitle translation of sitcoms.本科生毕业论文设计题目： 从目的论角度分析情景喜剧的字幕翻译作者姓名： XX 指导教师： XXX 所在学院： XXX学院 专业（系）：

29、XXXX 班级（届）： XXXX届 完成日期 XXXX 年 5 月 5 日Subtitle Translation in Sitcoms from the Perspective of SkopostheorieBYXX XXX, TutorA Thesis Submitted to Department of English Language and Literature in Partial Fulfillment of the Requirements for the Degree of B.A. in English At XXXX UniversityMay 5th, XXX摘要随着

30、中外文化交流的不断加深，中国的大银幕上出现了越来越多的欧美影视剧，而情景喜剧是在中国最受欢迎的美国电视剧类型之一。本文以目的论为理论核心，介绍了目的论指导下美国情景喜剧的字幕翻译及其策略和方法。本文由四个部分构成，第一章主要介绍了目的论及其三个原则。第二章主要介绍了美国情景喜剧及其特点。第三章简要概括了情景喜剧字幕翻译的定义、趋势、特点、问题以及对译员的要求。最后一章则通过简单介绍替代法、注释法、增减法和与流行语相结合的翻译方法，阐明译员如何在目的论指导下做好美国情景喜剧的字幕翻译。关键词 目的论 情景喜剧 翻译策略 字幕翻译AbstractWith the deepening of cult

31、ural communication between China and foreign countries, more and more European and American movies or TV series appear on the Chinese screen. Sitcom is one of the most popular American TV series. Skopostheorie is the core of this paper. Under the guidance of Skopostheorie, this paper introduces the

32、subtitle translation of American sitcoms and its translation strategies and methods. It consists of four parts: the first chapter introduces Skopostheorie and its three rules; the second chapter makes a brief introduction to American sitcom and its features; the third part generalizes the definition

33、, trend, features, and problems of subtitle translation and the requirements for translators; by substitution, annotation, amplification, omission and combination with popular words, the last chapter explains how to do well in the subtitle translation of American sitcom under the guidance of Skopost

34、heorie.Keywords Skopostheorie sitcom translation strategies subtitle translation Contents摘要iiiAbstractivContentsvIntroduction1Chapter 1 Skopostheorie in Translation51.1 Brief Introduction to Skopostheorie51.2 Three Rules of Skopostheorie61.2.1 Skopos rule61.2.2 Coherence rule71.2.3 Fidelity rule7Cha

35、pter 2 American Sitcoms92.1 Definition of Sitcoms92.2 Laugh Track of Sitcoms92.3 Features of Sitcoms102.3.1 General features of sitcoms112.3.2 Language features of sitcoms122.3.2.1 Contraction132.3.2.2 Verbal phrases132.3.2.3 Colloquial words132.3.2.4 Slangs142.3.2.5 Euphemism142.3.2.6 Pun142.4 Popu

36、larity of Sitcoms15Chapter 3 Subtitle Translation of Sitcoms in Light of Skopostheorie173.1 Basic Introduction of Subtitle Translation in Sitcoms173.1.1 The definition of subtitle translation173.1.2 The inevitable trend of subtitle translation183.1.3 Features of subtitle translation in sitcoms193.1.

37、3.1 Colloquialism193.1.3.2 Synchronicity203.1.3.3 Suitability203.2 Problems and Requirements in Subtitle Translation of Sitcoms213.2.1 Cultural differences showed in subtitle translation213.2.1.1 Language differences between cultures223.2.1.2 Cross-cultural communication in sitcoms223.2.2 Constraint

38、s of subtitle translation233.2.3 Requirements for subtitle translators24Chapter 4 Translation Strategies in Light of Skopostheorie in Sitcoms264.1 Substitution264.2 Annotation274.3 Amplification274.4 Omission284.5 The Application of Popular Words29Conclusion31Bibliography3334IntroductionWith the dee

39、pening cooperation in politics and economy between China and the Western countries, the cultural connection is getting closer and closer. There are more and more foreign films and TV series appearing on Chinese screen in recent years. Now, people regard television as a relaxing living style which le

40、ssens the pressure of daily life. Among all those TV programs, the famous ones are those which bring happiness and enjoyment to the audience. So as a special kind of American TV series, sitcom is especially popular in China. Sitcom has become the main category of the research in television art. It i

41、s appeared in America. In 1992, American sitcom Growing Pains was introduced to the Chinese audience, which was regarded as elementary education of sitcom to the domestic television audience. It is reported that since 1947, the first sitcom Mary Kay and Johnny appeared to the middle period of 1990s,

42、 there were more than 27,000 sitcoms. Generally speaking, American people are into this kind of TV program so much that sitcom has been at the top rank since it appeared. Today, the sitcom has been widely accepted in many countries, and it is already one of the most popular TV shows around the whole

43、 world. Some popular sitcoms are The Big Bang Theory, Friends, How I Met Your Mother, Two and a Half Men and Two Broken Girls, and so on. As a result, the subtitle translation of sitcoms is in great need, and translator plays a decisive role to the target language audience. Sitcoms describe the comm

44、on life of ordinary people in some common environment such as home and workplace. Usually, the main characters are in some fixed locations and live their own lives. A sitcom often lasts only about 20 minutes centering on different themes on each episode. Given the popularity of sitcoms in China, sub

45、title translation of sitcoms is in high demand. This kind of translation should keep pace with the times, so in terms of translation theory, Skopostheorie is the most suitable one. Skopos is a Greek word which means “aim” and “purpose”. In 1971, Katharina Reiss put forward that the best translation should be equivalent in concept and content, in language form and communicative function between target language and the source language. Vermeer is Reisss student who carried forward part of his teachers theory. Together they put