文獻(xiàn)綜述修改10頁(yè)

1、官方與網(wǎng)絡(luò)字幕翻譯對(duì)比研究以黑衣人3字幕翻譯為例1.2文獻(xiàn)綜述 要研究這個(gè)問題，就不得不考察一下國(guó)內(nèi)外對(duì)字幕翻譯的研究現(xiàn)狀。(identify the general topic) 自電視電影出現(xiàn)以來，圍繞著影視劇字幕的研究如雨后春筍般逐漸發(fā)展推進(jìn)開來。西方影視劇的開發(fā)早技術(shù)高，對(duì)十字幕翻譯的研究相對(duì)時(shí)間較長(zhǎng)，其廣度及深度都強(qiáng)于國(guó)內(nèi)的研究。反觀國(guó)內(nèi)，雖然字幕翻譯研究起步較晚，但隨著影視劇的不斷深入人心，其發(fā)展態(tài)勢(shì)同樣不可小覷。（影視字幕研究的趨勢(shì)） （introduction 讓讀者對(duì)字幕翻譯研究有一個(gè)初步的認(rèn)識(shí)）1.2.1國(guó)際前沿 上世紀(jì)五十年代末六十年代初，巴別塔雜志刊出了一篇題為電影與翻

2、譯(Cin ema et Traduction)的文章。這篇文章是第一篇討論影音翻譯(AudiovisualTranslation, AVT)的學(xué)術(shù)文章，它拉開了AV T研究的序幕(劉寧2007 : 23 ) o電影剛開始進(jìn)入人們視線并逐漸成為娛樂生活一部分的頭幾十年里，配音電影一直占據(jù)著外國(guó)電影傳播的主要地位，因此上世紀(jì)六七十年代少有的幾篇關(guān)十AV T研究的文章大多是闡釋配音電影的，即最傳統(tǒng)的譯制片。1976年Istvan Fodo:出版的英文著作首次綜合了語(yǔ)言學(xué)、符號(hào)學(xué)、美學(xué)、心理學(xué)等多個(gè)角度來討論配音電影。他的研究是最早的研究電影譯制較為系統(tǒng)的專著，這一研究奠定了西方AVT研究的基礎(chǔ)，F(xiàn)

3、odo:本人也被認(rèn)為是早期配音譯制領(lǐng)域研究的領(lǐng)頭人物(董海雅2007: 13 ) o即便配音譯制研究已經(jīng)開始系統(tǒng)發(fā)展、字幕翻譯仍未引起人們足夠重視，但還是有學(xué)者在字幕翻譯研究方面做出了一些貢獻(xiàn)。1974年，Dollerup一篇關(guān)十字幕研究的文章開始引起人們對(duì)字幕翻譯的關(guān)注。Dollerup深入研究了荷蘭語(yǔ)翻譯的英語(yǔ)電視節(jié)目中的字幕錯(cuò)誤，這一研究對(duì)其本人在后期繼續(xù)研究字幕與語(yǔ)言學(xué)習(xí)也有一定作用。從這之后，字幕翻譯的研究慢慢后來居上，成為AVT研究中重要的一部分。 1982年，ChristophoerTitford發(fā)表了一篇名為字幕:有限制的翻譯(Subtitling:Constrained Tr

4、anslation)的文章，他認(rèn)為字幕翻譯之所以受到限制是因?yàn)橛耙襞c字幕配合上的特殊性，即字幕上時(shí)空的限制等。從這篇文章開始，對(duì)十字幕翻譯的研究開始越來越多樣化。 1987年，歐洲廣播聯(lián)盟(European Broadcasting Union, EBU)在斯德哥爾摩召開了配音與字幕大會(huì)，這是第一個(gè)討論AVT的大會(huì)。1992年，Ivarsson出版了著作OSubtitling for the Media)，從技術(shù)層面討論了字幕翻譯。1995年，非營(yíng)利性民間組織歐洲影視翻譯協(xié)會(huì)(ESIST)成立，該組織由歐洲10個(gè)國(guó)家16名熱愛影視翻譯的高校教師組成(董海雅2007: 14)。這一組織的成立推動(dòng)

5、了AVT研究的發(fā)展，也促成了字幕翻譯研究的進(jìn)一步系統(tǒng)化。 在近二十年來，整個(gè)學(xué)術(shù)界對(duì)字幕研究最深入的還是要屬歐洲的學(xué)者。由歐洲學(xué)者引領(lǐng)的字幕翻譯學(xué)術(shù)界對(duì)字幕翻譯的研究主要集中在字幕實(shí)際操作層面、心理層面和I描述性研究層面上。(1)在字幕實(shí)際操作層面，具體有以下兩個(gè)方面:·第一，在電影字幕質(zhì)量控制方面，Heulwen James建立了一個(gè)回顧模型，EivorGummerus不II CatrineParo建立了字幕翻譯質(zhì)量抓制的六個(gè)步驟，IfnKaramitrogbu則提出了具體字幕翻譯標(biāo)準(zhǔn)。 .第二，在具體翻譯策略操作的討論上，Phyllis Zatlin所著的劇場(chǎng)翻譯及電影改編(Th

6、eatrical Traslatio aced Film Adaptation)一書的第六章詳細(xì)談?wù)摿穗娪暗淖帜缓团湟?。作者站在資深翻譯實(shí)踐者的角度，引用多人觀點(diǎn)和大量實(shí)例，探討了字幕翻譯中遇到的問題不I I對(duì)策。另外Birgit Nedergaard-Larsen不II Georg-Michael Luyken也都就字幕翻譯的實(shí)際操作提出了自己的觀點(diǎn)。(2)從心理方面入手的研究同樣有趣，并目_大多集中在字幕翻譯與配音翻譯的對(duì)比之上。二位來自瑞士的心理學(xué)家的研究非常有意思。他們的Dubbing or Subtitling Effects o助anal Presence, Trasportati

7、o, Flow, aced Ejoymet)一文通過讓觀眾體驗(yàn)兩段分別配有配音和字幕的相同影片來考察配音和字幕在給觀眾效果上的異同，并得出兩者幾乎沒有什么區(qū)別的結(jié)論。同樣比較了配音和字幕差異的還有(The Pros and Cons of Dubbing and Subtitling)。該文從心理學(xué)入手，仔細(xì)分析了二者的差異后，指出受眾和預(yù)期目標(biāo)的不同會(huì)使用不同的方式。(3)描述性研究一直是字幕翻譯的研究重點(diǎn)。1991年，Lukyen出版了重要的學(xué)術(shù)著作跨越電視語(yǔ)言障礙:著眼十歐洲觀眾的配音與字幕譯制(Overcoming Language Barriers Television)，本書雖然不

8、單單只討論字幕翻譯，但是作者從業(yè)內(nèi)人的角度探討了歐洲影視作品的語(yǔ)言轉(zhuǎn)換模式，第一次詳細(xì)系統(tǒng)地探討了歐洲譯制片的數(shù)量、花費(fèi)以及各國(guó)觀眾的喜好(董海雅2007: 13。談到字幕翻譯作用的文章中，Combiatios of Printed Script aced Spokes Dialogue that Show Promise for Students of a Foreign Language一文通過研究發(fā)現(xiàn)，字幕和原語(yǔ)對(duì)話的結(jié)合能夠幫助學(xué)生提升對(duì)外語(yǔ)的理解和記憶。還有一些學(xué)者討論了字幕翻譯軟件的應(yīng)用，例如(MediaTras: Bust-i Subtitling Solution)。多兀系統(tǒng)論

9、和圖里的規(guī)范理論是描述性研究中使用最多的兩種理論，這類的文章不勝枚舉，其目的都在十理解翻譯過程中翻譯策略選擇的原因。不難看出，國(guó)際上對(duì)十字幕翻譯的研究雖然既有深度，但似乎研究重心較為集中。在今后的發(fā)展中，仍然還有許多待完善拓寬的領(lǐng)域等待學(xué)術(shù)界做出相應(yīng)的貢獻(xiàn)。（summary，并提出了前人研究中的一些不完善之處） 1.2.2國(guó)內(nèi)研究反觀國(guó)內(nèi)的情形，關(guān)十字幕翻譯的研究也在近年來愈加成為學(xué)術(shù)界研究的熱點(diǎn)?！芭湟襞c字幕翻譯國(guó)際學(xué)術(shù)研討會(huì)(IcoDS >”就曾數(shù)次十香港舉行，兩岸二地的學(xué)者匯聚十此各抒己見，足見字幕翻譯口益受到學(xué)界的重視。在字幕翻譯的研究方面，雖然學(xué)者們?nèi)搜匝允猓傮w研究大致可以

10、分為三個(gè)方面:其一，從實(shí)際操作經(jīng)驗(yàn)中總結(jié)具體翻譯策略。資深翻譯家錢紹昌先生就從其多年影視翻譯的經(jīng)驗(yàn)中總結(jié)出了許多可貴的經(jīng)驗(yàn)。他在影視翻譯一一翻譯園地中愈來愈重要的領(lǐng)域一文中解釋了影視翻譯的特殊性，總結(jié)了自己的幾條翻譯建議。學(xué)者李運(yùn)興的文章同樣受到了許多關(guān)注，他的字幕翻譯的策略一文就十分具體地探討了字幕翻譯在時(shí)空制約、信息功能和文化等二因素影響下的特點(diǎn)，并給出了針對(duì)相應(yīng)特點(diǎn)應(yīng)該采取的策略。這一類型的文章還包括了李莉的現(xiàn)代紀(jì)錄片的字幕翻譯策略、高紅的以“信、達(dá)、切”的原則評(píng)<二峽好人>的字幕翻譯以及土焰的淺議電影字幕翻譯的微技巧等等。學(xué)者們從實(shí)踐經(jīng)驗(yàn)中總結(jié)出來的策略雖然各有不同，但總體

11、說來都是考慮到了字幕翻譯畫面、情節(jié)、人物和語(yǔ)言之間的相互制約，其實(shí)際操作性很強(qiáng)。 其二，借用翻譯理論討論翻譯策略。從翻譯理論入手的研究分為兩大類:一是從語(yǔ)言學(xué)派入手，二是從描述學(xué)派入手。語(yǔ)言學(xué)派里最被廣泛使用的理論是關(guān)聯(lián)理論和動(dòng)態(tài)對(duì)等理論，如張慧貞的從動(dòng)態(tài)對(duì)等角度探析電影<功夫>對(duì)白翻譯、杜宏飛的從關(guān)聯(lián)理論角度探討戰(zhàn)爭(zhēng)影片字幕翻譯一一以<拯救大兵瑞恩>為文本以及郭靜的從關(guān)聯(lián)理論角度評(píng)析英文電影<泰坦尼克號(hào)>的字幕漢譯。這二篇文章從不同的理論入手，認(rèn)為字幕翻譯選擇策略時(shí)應(yīng)該遵守一定的翻譯規(guī)則，確保完成翻譯的可交流性。還有一些從其他研究方法入手的文章。鄭寶漩的電

12、影字幕的語(yǔ)內(nèi)和語(yǔ)際翻譯一文討論了粵語(yǔ)電影翻譯時(shí)所面臨的獨(dú)特狀況:粵語(yǔ)到普通話的語(yǔ)內(nèi)翻譯和粵語(yǔ)到英文的語(yǔ)際翻譯。這篇文章的落腳點(diǎn)也是在翻譯過程中面對(duì)各種限制如何翻譯的問題。另一方面，從描述學(xué)派入手的研究大部分集中在目的論和功能主義上。<英雄>英文字幕翻譯策略探析和目的論視角下的影視字幕翻譯一一以隋景喜劇<成長(zhǎng)的煩惱>為例就是這一類的文章。同樣的，這類文章仍然是落腳到了字幕翻譯策略的選擇和運(yùn)用上。 其三，探討字幕翻譯現(xiàn)象。方梓勛教授關(guān)十字幕翻譯的兩篇文章一一字幕與翻譯教學(xué)和字幕的兩個(gè)世界:粗俗和性相關(guān)語(yǔ)言的案例都是此類的文章。方教授從薩皮爾一一沃爾夫語(yǔ)言思維決定論出發(fā)，他認(rèn)

13、為字幕處十目的語(yǔ)和源語(yǔ)中間，處十兩種文化之間，譯者需要協(xié)調(diào)兩種文化間的沖突。他指出，字幕翻譯過程中有二種策略:外地化、本土化和中性化，fn這二種策略的選擇都是為譯者協(xié)調(diào)身份服務(wù)，以保證譯者的客觀中性地位的。改編和翻譯中的雙重轉(zhuǎn)向與跨學(xué)科實(shí)踐:從莎士比亞戲居到早期中國(guó)電影一文則從電影談起，得出翻譯的文化轉(zhuǎn)向與改編的社會(huì)學(xué)轉(zhuǎn)向?qū)⑷诤显谝黄鸬慕Y(jié)論。此類的文章還包括了學(xué)位論文從改寫理論的視角看電影字幕翻譯中的創(chuàng)造性叛逆、從規(guī)范理論的角度談?dòng)耙曌帜环g和字幕翻譯的改寫等。(the body of this literature review)根據(jù)筆者的研究粗略統(tǒng)計(jì)，這二類研究(尤其是第二類研究)在整體字

14、幕研究中占了絕大多數(shù)。前兩類研究都是考察字幕“如何譯”以及“譯得如何”的問題，鮮少跳出規(guī)定性研究的范疇，脫離價(jià)值判斷的標(biāo)準(zhǔn)。fn第二類研究，研究數(shù)量較少，但側(cè)重十描述性地看字幕翻譯這一事件，相對(duì)十國(guó)際上的研究來說較顯單薄。正如Frederic Chuame所說，在研究視聽娛樂翻譯方面，尤其是影視作品翻譯方面，我們需要引入多學(xué)科的研究方法(2004: 12)，拓寬研究思路，更加深入全面地研究翻譯事件。也就是說，第二類的研究或許是接下來學(xué)術(shù)界在字幕翻譯研究上的重點(diǎn)，不斷被推進(jìn)拓寬其廣度和深度。（總結(jié)）姓名:許卉如 上海外國(guó)語(yǔ)大學(xué) 碩士學(xué)位論文 院系:高級(jí)翻譯學(xué)院 學(xué)科專業(yè):翻譯學(xué)指導(dǎo)教師:張愛玲

15、2012年12月我們認(rèn)為，總的來說這篇文獻(xiàn)綜述思路比較清晰，分別例舉了國(guó)外和國(guó)內(nèi)的研究狀況，并對(duì)國(guó)內(nèi)和國(guó)外研究的三個(gè)不同的方面研究做了很詳細(xì)的介紹，也有作者自己的總結(jié)，是一篇比較規(guī)范的文獻(xiàn)綜述，但是introduction部分有點(diǎn)短。 從文化翻譯學(xué)角度透視新聞翻譯On the News Translationfrom the Perspective of the Science of Cultural TranslationLiterature Review2.1 Researches on News Translation To begin with the discussion of ne

16、ws translation, it is necessary to get a clear picture of journalism first. Professor Brian McNair, defines journalism in his work The Sociology of Journalism (1998) as: any authored text, in written, audio or visual form, which claims to be (i.e. is presented to its audience as) a truthful statemen

17、t about, or record of, some hitherto unknown (new) feature of the actual, social world. Beginning with the end of 19 century and from then on, journalism has gotten a rapid development in western English-speaking countries, especially in U.K. And U.S.A, where information changes, technology transfor

18、ms and knowledge revolutionizes each day. （background) When China at long last began to open up to the world in 1979, it had been largely denied, to some extent, any opportunity to interact with western countries for about three decades. A profound sense of lack of knowledge of the West was widely f

19、elt by the Chinese People. They were eager to read or hear whatever was made available to them through translation. Moreover, sharing the domestic information with the West was also demanded by them at the same time. For a moment, the so called "translation fever" seemed to affect almost e

20、veryone engaged in the intellectual community. Massive translated materials put together permitted access to a broad range of information for those Chinese or foreigners who did not speak English or Chinese. Among them, news translation was a typical example. Consequently, the researches on news tra

21、nslation have become a center of interest for those journalist-translators since 1980s. Generally speaking, the researches in this respect in China have gone through three stages, namely, the researches based on traditional rhetoric and artistic stylistics in 1980s, the researches based on the Trans

22、formational-Generative Grammar and formal stylistics in the second half of 1980s and the first half of 1990s, and the researches based on functionalism and functional stylistics in the second half of 1990s and the beginning of this century(崔鳳爽，2004: 86). In 1980s, the researches on news translation

23、in China were mostly based on the theories of traditional rhetoric and artistic stylistics. The critics and translators in this period focused on the rhetoric features of journalistic English from the viewpoint of readers or audience. The researches in this stage involved three stylistic features pu

24、t forward by Cz N. Leech (1981), i.e. lexicon, grammar and rhetoric. The noted Chinese researchers, such as Chen Huaijie, Zong Aizhi, Lin Jue and Hou Weirui, emphasized in their works or articles, the choice of words and the usage of rhetoric approaches while doing news translation so as to create a

25、 clear, visual artistic effect on the readers or audience(陳懷杰，1981:10),(宗愛智，1985:56),(林覺，1987:27),(侯維瑞，1987: ?). Their researches laid the foundation of the criteria for the translation activity in this field, but they concentrated too much on the natural effect of the target language, and ignored t

26、he cultural context of the source language. In the second half of 1980s and the first half of 1990s, the rise of Transformational-Generative Grammar and formal stylistics also gave many researchers theoretic support in their studies of news translation. Besides the studies of lexicon, grammar and rh

27、etoric, the studies of the language structure of journalistic English and the relationship among the language units inside the language system came forth. For example, Wang Zuoliang, in his work Introduction to English Stylistics, analyzed the lexicon, syntactical structure and textual structure of

28、journalistic English(王佐良，1985:247); Huang Weihe classified the news into two types in the sense of its form and meaning(黃維合，1994:17); Zhang Delu put forward the translation strategies according to the features of journalistic English's lexical and phonological system(張德祿，1995:3); Guo Ke compared

29、 the Chinese and English journalistic languages and pointed out the difference in their content(郭可，1995:75). All these researches focused on the form, and some dealt with the content at the same time. In the second half of 1990s and the beginning of this century, functionalism and functional stylist

30、ics became the rationale of news translation researches. Zhang Delu used the concept of "theme, subject, and actor" in Systemic-functional Grammar put forward by M.A.K Halliday to expound the influential factors in news translation(張 德祿，1998:16), and some other scholars, such as Yang Xiaod

31、ong, Liao Qiaoyun, Zhao Fuli and Yang Xueyan, also published relevant works and papers to analyze the style, type, and register of news language in light of the functionalism and functional stylistics(楊曉冬，1998:62),(廖巧云，1999:1 S),(趙福利，2001:100),(楊雪燕，2001:367). All of them enlarged the research range

32、and contributed to a better comprehensive understanding in this respect. All the above-mentioned researches of three stages can be summarized and expressed by one point in common, i.e. they all belong to traditional linguistic studies. In author's opinion, as for news and its translation researc

33、hes, too much attention has been paid to the linguistic characteristics, such as the characteristics of the lexicon, grammar, rhetoric and style, but less efforts have been made in their cultural aspects. So it is necessary for news translation activities to be re-examined in a broader context of cu

34、lture, which is claimed in this thesis. （按照時(shí)間順序介紹了新聞翻譯的三個(gè)不同階段）2.2 Researches on the Science of Cultural Translation As mentioned before, the science of cultural translation is a kind of science combined with culturology, cultural linguistics and translatology. This newly-emerged science shows the tr

35、end of translation studies at home and abroad and emphasizes particularly the comparison and translation of two cultures.（分別介紹國(guó)內(nèi)和國(guó)外的翻譯趨勢(shì)） Around 1980, a gradual shift of emphasis began to be perceived in translation studies. The new approach was interdisciplinary and culturally-oriented (Ritva Leppi

36、halme, 1997: 1). Susan Bassnett, the leading figure of cultural translation studies, regarded the cultural issue as the most important issue about translation in her famous work Translation Studies (1980). Then she and Theo Hermans put forward a point of view of "cultural turn" in translat

37、ion studies in Translation, History and Culture (1990). And during the 1990s, Susan Bassnett published lots of related works in this topic, including Comparative Literature: A Critical Introduction (1993), Constructing Cultures: Essays on Literary Translation (1998), etc. The translation theorist Eu

38、gene A: Nida is also a promoter of cultural translation. He said: "Translation is an exchange between two cultures. For a real successful translation, knowing two cultures is more important than grasping two languages, because words become meaningful only in its effective cultural background.&q

39、uot; (1993) Ingo (1992) saw translation studies related at least to philosophy, philology, literary studies, linguistics, information theory, sociology, pragmatics and cultural studies. "Any attempt to make a statement about language, its composition or its usage, draws on many disciplines.&quo

40、t;(Smith, 1987:11) Similar feelings were evident in, for example, Sell (1991), Schogt (1988), and Hickey (1989). As a result, much of the work that has been done in translation studies foregrounds social and cultural aspects of translation, with the emphasis on texts in their "macro-context&quo

41、t; (Snell-Hornby, 1991:15): instead of simply pondering the translatability of source texts, there is a concern with the functioning of the target text in the target language and cultural context.（國(guó)外的研究） The new tendency is soon welcomed and supported by many Chinese critics and translators.（國(guó)內(nèi)的研究）

42、It is believed that in Chinese translation circles, besides the literary school and linguistic school, a new school named "cultural school" has grown up in recent two decades. Wang Zuoliang initiated the combinative studies of the translation and culture in China, and promoted "the tr

43、anslator must be a real cultural man" in his article Cultural Comparisons in Translation(王佐良，1984). In 1995, The Science of Cultural Translation by Wang Bingqin, was published and is regarded as the first monograph in this field in China. According to his views, there are three types of culture

44、 implied in the source language: material, spiritual and social. How to transmit them into the target language correctly is the core task for culture translators(王秉欽，1995). Liu Miqing, another Chinese translation theorist, discussed the science of cultural translation from several aspects such as th

45、e basic category, the identification of cultural information and the corresponding translating strategies(劉必慶， 1998). Many other representatives, such as Wang Xiangang, Xu Chongxin and Xu 3un, wrote articles on this topic from different perspectives(王先剛，1989),(許崇信，1991),(許鈞，1997), and made the "

46、;cultural fever" continuous. To sum up, the author holds that previous studies on science of cultural translation both at home and abroad can be classified into two sorts: theoretical studies and applied studies. The former focuses on the construction of its theoretical framework, while the lat

47、ter on its application in literary translation. In fact, it is necessary and feasible to apply it to other translation fields, such as news translation. （總結(jié)）2.3 Culture-Oriented Researches on News Translation News translation, functioning as an acknowledged medium of cultural propagation and exchanges in modern society, is inevitably under the double restrictions of the culture of both the source language and the target language. Thereby