FilmTitlesandThe_省略_turalPerspective_张媛.docx

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1、 分类号 . UDC 学 密级 . 位 办 Film Titles and Their Translation - A Cross-cultural Perspective (题名和副题名） 张媛 (作者姓名） 指导教师姓名 _ 邸爱英 _ 教授 _ _ 电 子 科 技 大 学 成 者 K (职务、职称、学位、单位名称及地址） 申请学位级别 硕士 专业名称 外国语言学与应用语言学 论文提交 R 期 2004.5 _ 论文答辩 R 期 2004.6.12 学位授予单位和 R 期 _ 电子科技大学 _ 答辩委员会主席 _ 教授 _ 评阅人 _ 2 0 0 4 年月 R 注 1 注明国际十进分类法

2、UDC 的类号 独创性声明 本人声明所呈交的学位论文是本人在导师指导下进行的研究工作及取得 的研究成果。据我所知，除了文中特别加以标注和致谢的地方外，论文中不包 含其他人已经发表或撰写过的研究成果，也不包含为获得电子科技大学或其它 教育机构的学位或证书而使用过的材料。与我一同工作的同志对本研究所做的 任何贡献均已在论文中作了明确的说明并表示谢意。 签名： 张嫒 _ 日期： 2004 年 5 月 8 日 关于论文使用授权的说明 本学位论文作者完全了解电子科技大学有关保留、使用学位论文 的规定，有权保留并向国豕有关部门或机构送父论文的复印件和磁 盘，允许论文被查阅和借阅。本人授权电子科技大学可以将

3、学位论文 的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或 扫描等复制手段保存、汇编学位论文。 (保密的学位论文在解密后应遵守此规定 ） 签名： 张媛 导师签名： 邸爱英 日期： 2004 年 5 月 8 日 Acknowledgement The completion of the thesis is not only the result of the authors industrious work but more of the inspiration, encouragement and assistance from those whom I would like to

4、 acknowledge with cordial appreciation. I am deeply grateful to Prof. Di Aiying (氐 P 爱 英 )， my academic adviser, for her patient guidance and valuable instruction and suggestions on thesis organization and revision. Her careful reading and critical insights into the proposal helps a great deal to la

5、y fundamental basis for this thesis. My thankfulness is also extended to the professors in the Foreign Languages College of UESTC, for their enlightening courses and lectures in these three years of study. Finally, I wish to express my profound gratitude to my classmates, whose assistance and encour

6、agement in the course of completing the thesis are extremely cherished. Here a special word of appreciation is due to Meng Jin and Feng Yuan, my classmates and best friends. 中文摘要 电影这一大众传媒与声光艺术，对于时代特征的反映比其它艺术形式更敏感，更直接。改 革开放以来，随着文化交流的 发展，配音电影的受众范围也有了极大的扩展。与此同时，针对 电影而进行的方方面面的研究也蓬勃发展起来。但作为电影特殊而重要的组成部分的片

7、名，其 研究却相对较弱，有关片名翻译的研究更是少之又少。 本文从跨文化的角度来研究片名的翻译。语言和文化有着密切的联系。语言既是文化的载 体，又是文化的写照， “ 语言的产生和发展才使得人类文化得以产生和传承 ” （ 胡文仲， 2002: 73)。片名，作为语言的一部分，必然会体现其所处的文化。同时，片名又是电影这一紧扣时代 脉搏的艺术形式的点睛之笔，时代精神的变化和发展必然会在片名中有 所体现。本文分析了片 名中所体现的中国与美国文化的差异、中英片名互译（着重英译汉 ） 常用的方法及文化在其中 所起的作用，目的是找到解决片名翻译中最大的难题 一一 文化差异 的方法和 原则。 本文包含结论部分

8、共有六章，各章主要内容如下： 第一章首先简短地介绍了选择这一研究课题的动机及目的。然后引出了跨文化交际的定义 以及语言与文化的关系。要理解一种文化必须通过它的语言；要理解一个词的意义又必须参照 它的文化。语言可以被看作是代表某种文化的符号系统，这一符号系统同时又是文化的一部分。 语言中的任何表达都会直接或间接的指向文化。 第二章概括的介绍了电影片名。电影一般分为记录片，科教片和故事片 （ 张朝丽，徐美恒， 2003: 65)，本文将讨论集中在故事片片名上。电影命名的主要方法被归结为四种：对情节的指 示、对主人公的指示、对主题的指示以及对故事背景或场景的指示。每一类命名方法都用中文 以及英文片名

9、进行了解释说明。本章还对片名各方面的特征进行了分析：从语言学角度讲，片 名一般都采用短语形式，十分简洁；从审美角度讲，在片名中经常会使用修辞格，以加强表达 的效果，吸引人们的注意力；对于文化特点， 本章只做了简短介绍，具体的分析在第三章进行。 最后，本章还提到了片名所起的作用。 第三章是本文的一个重要部分：从文化角度分析中文与英文片名所体现的文化差异。文化 有三类：物质文化，体制文化与心理文化，这 3 类文化在片名中都有所体现。因为物质与体制 文化属于表层现象，文章只作了简单的介绍，而将重点放在了心理文化方面。在心理文化方面， 文章先从整体上把握中西在知觉认知事物方法上的不同，然后比较了电影片

10、名所体现的二者在 一些具体价值观方面的差别。之后，又提到了审美和商业化对片名的影响。在对片名所体现的 II 文化作了静态分析之后，本章又从动态的角度分析了片名所体现的文化。如前所述，电影是一 种紧扣时代脉搏的艺术形式，不同时代的时代精神在电影中都会有所体现，而作为电影点睛之 笔的片名，也会体现这种时代精神。 第四章对片名翻译中的常用方法作了分析，指出了文化在每类翻译方法中所起的作用。并 对比了大陆、香港和台湾由于文化差异而对同一英文电影片名所做的不同处理。 在前几章分析的基础上，第五章引入接受美学的观点来服务电影片名的翻译。接受美学强 调读者在文学作品中的地位和作用，运用到片名翻译，则是指对观

11、众作用的重视。在片名翻译 时，一定要把目的语言的文化考虑在内，才能吸引目的语言的观众，使目标语言的观众得到美 学的享受。为了达到这样的目标，结合前几章的讨论，本文提出了片名翻译中需要考虑的四个 因素，即片名的介绍价值、文化价值、审美价值及商业价值，以供参考。 关键词：电影片名，文化因素，跨文化交际，翻译 III Abstract Film, one of the most important mass media, is an audio-visual art. It creates images, narrates stories, expresses feelings, states ph

12、ilosophy and attracts the audience by its sound, color and moving pictures. Film is more direct and sensitive than any other form of art to keep pace with times. Ever since the adoption of the policy of reform and opening up to the outside world at the end of the 1970s, cultural exchanges have becom

13、e increasingly prevalent and the receptors of dubbed films have greatly expanded. Meanwhile, people begin to investigate the films from various angles and comparison between films of different countries also starts to prosper. However, being a special and significant part of films, film titles are f

14、ar from being explored and there is a relative paucity of writings on film title translation. Language and culture are two inseparable twins. Language is a reflection of culture and also part of culture. Culture regards language as one of its manifestation forms and exerts profound influence on lang

15、uage. To film titles, there is no exception. As part of language and the enlightening part of films that keeps up with times, film titles bear rich culture imprints. This paper adopts a cross-cultural perspective to explore film titles, analyzing the cultural factors reflected in film titles. Based

16、on this analysis, the second half of this thesis sets out to explore the translation of film titles, aiming to lay down some practical rules for film title translation. This paper consists of six chapters, including the conclusion. As a starting point, the first chapter briefly discusses the motivat

17、ion and objectives of choosing this topic. Then the definition of cross-cultural communication and inter-relations of language and culture are dealt with. It is pointed out that language and culture are intrinsically bound to each other. Any language can be seen as a sign system representing a parti

18、cular culture as well as a part of it, and the meanings of any expressions refer directly or indirectly to the corresponding culture. Chapter Two is a profile of film titles. In this chapter, one of the most common ways of categorizing films is introduced and the subject of this studytitles of featu

19、re films are brought up. Four popular ways of film naming are then summarized with rich IV examples from both Chinese and American films: indication of plot, subject, theme and settings. The linguistic, aesthetic and cultural features born by film titles are explained in this chapter and at last the

20、 four functions of these titles are touched upon, that is, vocative function, informative function, expressive function and aesthetic function. The third chapter is an important part of this paperanalyzing the different cultural elements reflected in film titles. Here culture falls into three groups

21、: material culture, institutional culture and psychological culture. Differences between Chinese and American cultures in each of these culture types are expounded with large numbers of examples given to demonstrate these discrepancies. Psychological cultural factors, which are the core of this anal

22、ysis, are further divided into perception and values, and values of various kinds are then elaborated in detail. Aesthetical and commercial factors also play an important role in the naming of films, and therefore the two factors are also investigated in order to have an overall idea about the facto

23、rs affecting film naming and set the stage for the translation of film titles. The above research is conducted from a static point of view and the last section of Chapter Three sets out to approach the influence of cultural factors from a dynamic perspective, that is, different times shape different

24、 time spirits and this kind of differences in time spirits can also be seen from film titles. Chapter Two and Three give a relatively thorough idea about film titles and the second half of the thesis, starting from Chapter Four, begins to look into film title translation. Translation is never an eas

25、y task, which is influenced by linguistic factors, culture factors, translation theories as well as aesthetics, etc. This is also true with film tile translation. Besides, film echoes the spirits of different times far more quickly than any other art form and this echoing of time spirits is also ref

26、lected in film titles. From the above analysis, it can be concluded that culture is a major factor that acts upon film titles and hardly any film titles can be successfully translated without appropriately dealing with the differences between source and target cultures. Just as Nida says, for truly

27、successful translating, biculturalism is even more important than bilingualism. Three common ways of film title translation are explored here and the role culture plays in each of this method is also made clear by examples. Film title translation is also a product of a particular time in a particula

28、r place. Different time and places may result in different v translation works. Chapter Five introduces Reception Aesthetics and its influence on translation, especially on film title translations. Then the reception theory is employed to solve the difficulties resulting from culture differences in

29、the process of film title translation. Reception Aesthetics, with its emphasis on the position of receptors in literary works, works very well in film title translation. Focusing on audience-centered fundamental, the author also comes up with four basic points that must be given due attention in tra

30、nslation process, with an eye to put forward some guiding principles in film title translation. Keywords: film titles, cultural factors, cross-cultural communication, translation VI 电子科技大学硕士论文 Contents Acknowledgement . I 4s対商 M . ii Abstract . IV Chapter One Research Background and Literature Revie

31、w . 1 1.1 Motivation and Objectives of the Study . 1 1.2 Literature Review . 1 1.2.1 Cross-cultural Communication . 1 1.2.2 Language and Culture . 2 Chapter Two Profile of Film Titles . 3 2.1 Cinema Genres of Films . 3 2.2 Naming Approaches of Films . 4 2.3 Features of Film Titles . 5 2.4 Functions

32、of Film Titles . 9 Chapter Three Cultural Differences Reflected in Film Titles . 11 3.1 . Cultural Factors Reflected in Film Titles . 11 3.1.1 Material Cultural Factors . 11 3.1.2 Institutional Cultural Factors . 12 3.1.3 Psychological Cultural Factors . 12 3.1.4 Miscellanea . 18 3.2 Other Factors .

33、 19 3.3 The Temporal Characteristics of Film Naming . 20 3.3.1 American Film . 20 3.3.2 Chinese Film . 21 Chapter Four Analyzing Film Title Translation . 24 4.1 Methods of Film Title Translation . 24 4.1.1 Transliteration . 24 4.1.2 Literal Translation . 26 4.1.3 Free Translation . 27 4.2 Film Title

34、 Translation Influenced by Temporal Factors . 27 4.2.1 Influence of Translation History . 27 4.2.2 Influence of Cultural Factors . 28 4.3 . Comparison of Translation Works between Hong Kong, Taiwan and the Mainland . 29 Chapter Five Speculation on Film Title Translation . 33 5.1 Reception Aesthetics

35、 and Its Influence on Translation . 33 5.2 Questioning Functional Equivalence in Film Title Translation . 36 5.3 Realization of Four Basic Points . 38 5.3.1 Informative Value . 38 5.3.2 Cultural Value . 40 5.3.3 Aesthetic Value . 43 5.3.4 Commercial Value . 46 Chapter Six Conclusion . 48 Bibliograph

36、y . 49 Paper Published . 51 电子科技大学硕士论文 Chapter One Research Background and Literature Review 1.1 Motivation and Objectives of the Study Ever since the importing and exporting of films, the translation of film titles are always faced with the problem of incongruity. At first glance, it seems like a q

37、uestion of personal preference or the language proficiency of the translators. However, after thinking it over, we find that cultural factors play a very important role in the translation process. Although there are numbers of articles dealing with the translation of literary works or scientific lit

38、erature, few essays are written concerning the translation of films, let alone film titles. The paper looks at the translation process of film titles from the point view of cross-cultural communication, analyzing the various cultural factors reflected in film titles and then speculating on some tentative approaches to deal with the problems of cultural difference. 1.2 Literature Review Contrastive study of cultural differences in translation is often related to or included