中西方思維差異對(duì)影視作品翻譯的影響

1、南 通 大 學(xué) 畢 業(yè) 設(shè) 計(jì)（論文）題目：中西方思維差異對(duì)影視作品翻譯的影響 姓 名： 指導(dǎo)教師： 專 業(yè)： 南通大學(xué)外國(guó)語(yǔ)學(xué)院2012年6月III南通大學(xué)畢業(yè)設(shè)計(jì)（論文）The Impact of Chinese and Western Thinking Differences On Screen TranslationbyUnder the Supervision ofSubmitted in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts School of Foreign Studi

2、esNantong UniversityJune 2012摘 要本文介紹和分析了中西方思維差異對(duì)影視作品翻譯的影響。通過(guò)對(duì)中西方影視作品翻譯的研究，我們一方面可以培養(yǎng)自己的探究技能，另一方面也可以探究在影視作品臺(tái)詞和翻譯的對(duì)比之中所體現(xiàn)出的中西方思維的異同，從而避免誤解，正確理解他國(guó)的文化。本文通過(guò)研究影視作品中臺(tái)詞和翻譯之間的異同，探索其所體現(xiàn)的中西方思維的差異。首先，本文從文化的角度研究中西方在思維方式上的差異，探討這些差異的由來(lái)及其演變。然后，對(duì)比中西方影視作品中常見(jiàn)的翻譯中體現(xiàn)的差異。最后，分析中西方思維差異在影視作品翻譯上的體現(xiàn)。關(guān)鍵詞：中西方，思維差異, 影視作品，翻譯ABSTRA

3、CTThis paper gives a brief introduction and analysis of the impact of Chinese and Western thinking differences on the screen translation. Through the study on the screen translation between Chinese and western, on one hand we can cultivate our research skills, on the other hand we can also explore t

4、he similarities and differences of works in the translation that in film and television works and contrast reflects of Chinese and Western thinking, so as to avoid misunderstanding, and get a correct understanding of other country's culture. Through the study of film and television works and the

5、 similarities and differences of translation, we aim to explore the Chinese and Western thinking differences. First of all, this article explores these differences in the origin and evolution from the angle of culture of Chinese and western in the differences in ways of thinking. Then, points out th

6、e contrast between Chinese and Western movie and television works in the common translation differences. Finally, makes an analysis of Chinese and Western thinking differences in the translation of movie works.Key words: Chinese and Western, thinking differences, film and television works, translate

7、AcknowledgementsThis paper grew out of my preparation for months. I would like to express my heartfelt gratitude to all respectable teachers who have taught and helped me during the process of my thesis. Special thanks go to my supervisor. He has been available at all times with a helpful advice and

8、 a helping hand throughout my whole writing process of the thesis. He has provided me with instructive guidance in modifying the topic, in preparing the material pertinent to the topic and in writing the thesis, and has paid great patience in reading and revising the entire manuscript. Without his p

9、atience, generous help and advice, I would never have been able to bring this thesis into light. His erudition and strictness as a supervisor, kindness and consideration and tolerance as a friend make my study more than meaningful. In a word, it is his profound knowledge and insight, and constant st

10、rictness and kind understanding that helps me overcoming many difficulties, mastering basic writing skills, and forming my own ideals, which consequently have enabled me to finish this thesis. In addition, I give my heartfelt thanks to my dear friends who have accompanied me throughout the four year

11、s at the university, sharing sadness and happiness with me and teaching me a lot. I should acknowledge a debt to those whos ideal or work has been adopted in this thesis.Contents摘 要IIABSTRACTIIIAcknowledgementsIV1. Introduction11.1 Background11.2 The history of the study on film and television works

12、11.3 The current situation in China11.4 Significance of the study22. Chinese and Western thinking differences22.1 Differences in values22.2 Differences in viewpoints32.3 Differences in authority32.4 Differences in national character and aesthetic standards43. The uniqueness of film translation43.1 A

13、nalysis of film dialogues43.2 The uniqueness in Linguistic Feature63.3 Constrains on Translation of Dubbed Texts74. Framework apply to the practice of film translation94.1 Domestication in translating images94.2 Domestication in Translating Humor104.3 Domestication in Translating Puns115. Conclusion

14、12Reference14V1. Introduction1.1 The current situation of the screen translationWith the rapid development, the world linked more and more closely today. The film and television works today, as a global and popular media, in a direct and rapid way, is a reflection of the thinking difference in the d

15、issemination and communication. Understanding the differences of Chinese and Western in thinking will do great help to understand the similarities and differences between foreign language of both the original script and the later translations. 1.2 The history of the study on film and television work

16、s Studies on the screen translation field initialed in the western countries, and now the experts who are active in the forefront of the field are mainly western scholars, especially the European researchers. Ivarsson, a Sweden subtitle translator, published Subtitling for the Media: A Handbook of a

17、n Art(Ivarsson,1992). This book can be said to be the first comprehensive study of subtitle translation of book in Europe, and in the book, Ivarsson describes in detail the subtitle translation technology development. The experience that the author long engaged in translation practice makes the book

18、 in translation skills and other aspects one-upmanship, and has theoretical value and practical value at the same time. In 1998, with the help of Carroll, Ivarsson published the second edition of the book, adding many strategies and skills such as digital technology and other new technologies under

19、the screen translation into the book, and the title was changed to be more neutral as Subtitling at the same time. Ivarsson can be said to be the clear leader of the screen translation field. The scope his research involves is deep and wide, His study are quite accomplished at the point on the class

20、ification of the translation model, the strategies and skills of the screen translation, and the audience of screen translation and so on.1.3 The screen translation in China China started late compared with western countries, the number of related papers and monographs of the screen translation can

21、be said to be much rarer. Professor Qian Shaochang, from School of Journalism and Communication of Shanghai International Studies University, is one of the most famous scholars in the field of media translation, and he published the paper "Film Translation - Growing Importance of Translation Fi

22、eld" in 2000 and called for the translation field to give attention to the screen translation. In this paper he pointed out the importance of screen translation, the in-depth analysis of the film language and literary works and written language difference, and summarizes five characteristics of

23、 the language about film and television work. They are the characteristic of listen, the characteristic of comprehensive, the characteristic of moments, the characteristic of popular and the characteristic of without injection. And based on his experience for many years of translation, he put forwar

24、d the seven experiences to the screen translation. He believes that in film translation, to achieve the goal of "Fluency" is of the most importance among the "Honesty, Fluency and Elegancy".1.4 Significance of the studyTranslation as a conversion activity from one language to ano

25、ther language, it in nature is not only a kind of language activity, but also a kind of thinking activity. In the long historical process of Chinese and Western development, it has formed great differences on the way of thinking. This difference has often been overlooked in the conversion process of

26、 the two languages, and it makes the translation to be obscurity, or even mistake. Therefore, understanding the Chinese and Western differences in thinking is of great help to understand the similarities and differences between the original script and later translation.2. Chinese and Western thinkin

27、g differencesThinking differences refer to the expressions shared by different countries but implying different connotation. Although human beings have the same biological drive, they keep their own unique way of life, set of mind and values which are shaped by their unique experience in certain cir

28、cumstances.2.1 Differences in valuesValues are the defining expressions of thinking. They express in words and deeds what is important to thinking. Value is the bedrock and enduring of thinking. It cannot be changed quickly or easily. Think of values as the very strong and rigid foundation on which

29、mutable attitudes rest. Attitudes are, in turn, influenced by values, as well as by many other sources.Obviously, translation has to be consistent with values, but cannot easily or quickly changes. What translators should do is to make the translations consistent with the values of a people. If they

30、 are not, they will be likely rejected.Many argue that the best (most effective) translations are those that best express and affirm core thinking values. For example, one American core value is individualism, or the predisposition to value the individual over the group. It is at the center of Ameri

31、can social identity. Translators that celebrate or affirm this value are more likely to succeed than the ones that denigrate or ignore it.2.2 Differences in viewpointsPeople all hold a view of themselves. Chinese thinking has the monism viewpoint and the western thinking has the pluralism viewpoint.

32、 "Nature and human are in oneness" is one of Chinese philosophy concepts in Chinese traditional thinking. It insists that nature and human should be in harmony. Contrary to the Chinese thinking, the western thinking insists on the view of pluralism. It emphasizes on the changes and differe

33、nces of the matter, self-development, and enterprising spirits.Some Chinese translators meet the culture psychology of Chinese public, and create some preferable translation words. They show the ideas in western value system that people can change everything and people can create everything. The tra

34、nslations manifest the belief that people should pursuit the freedom and self-development, and create the future. These expressions satisfy the consumers' personality development and arouse the agreeable responses.2.3 Differences in authorityAuthority worship is the product of state. Because of

35、power concentration under monarch that had reigned for thousands of years, Chinese have a strong hierarchical notion. From the angle of the "Honesty" of translation, this attitude is mainly embodied in authority worship. 2.4Differences in national character and aesthetic standardsDifferent

36、 nations have different characters and temperaments. People often choose several kinds of animals or plants as a symbol of their national character and temperament. And people tend to combine the names of these animals and plants as the name of their translation. Diversified national characters and

37、temperaments becomes the barrier in the communication. For example, the Chinese nation has a firm, pure and noble mind and an unyielding national character. And the pine tree(松)，bamboo(竹)，plum(梅)and chrysanthemum(菊)are endowed with this national character and temperament.3. The uniqueness of film tr

38、anslationFilm is a multi-media performance where the dialogue works together with the visual image, soundtrack and music. Before any translation is possible, however, it is important to understand fully the function of the dialogue in films. 3.1 Analysis of film dialoguesFilm is a multi-media perfor

39、mance where the dialogue works together with the visual image, soundtrack and music. Before any translation is possible however, it is important to understand fully the function of the dialogue in films. First and foremost, the dialogue in film is largely responsible for communicating the narrative.

40、 It identifies the time and place of the story and characterizes the protagonists by giving them idiosyncratic voices in the form of regional accent, register, timbre and delivery of speech. In this sense, the dialogue is extremely important for audience to understand what the story goes on. Without

41、 it, the film will become incomprehensible to the audience, and finally lose its meaning of being a film. Second, dialogue can also be used to control audiences' emotions, for example, as in setting up suspense or fear. In the third place, dialogue serves to reveal a persons class, occupation, p

42、rejudice, etc., the director doesnt need to waste time establishing these facts visually. A few lines of dialogue can convey all that is necessary, thus freeing the camera to go on to other matters. Dialogue as well as voice-off monologue, is considered to be the most economical and precise way of c

43、onveying information in film. An example to show this point:Knightly: I agree, he is not her equal. Good. He is her superior in sense and situation. What are Harriet Smiths claims of birth or education that make her higher than Robert Martin? She is the natural daughter of nobody knows whom. The adv

44、antage of the match was entirely on her side.Emma: What? A farmer? Even with all his merit, a match of my dear friend? It would be degradation for her to marry a person whom I could not admit as my own acquaintance (Crazy English: Classic Movie Dialogues.).After knowing about the functions of dialog

45、ues in movies, it is necessary to indicate the language characteristics of movie dialogue. First of all, dialogues in movies serve audience to understand the story. From this sense, it is a listening art. Second, film is a combination of all kinds of art elements like dialogue, gestures, pantomime,

46、and other situational attributes of acting performance etc. Therefore, there is a close relation between actors' dialogues and their movements. The dialogues must go in accordance with the movement, for example, if the movement of passing a glass of water happened, "here you are" shoul

47、d accompany. The third characteristic is its transience. All the dialogues are just spoken only once. Spectators can not have the chance to go back to where they left out. Fourth, in real life, people dont articulate their ideas and feelings with such precision. In films, the convention of articulat

48、ion and grammar can be relaxed. For example, in the sentence "I got to get my cool back." (我要"重整酷風(fēng)"了。)The translated subtitles borrow the Chinese idiom "重整雄風(fēng)" and make certain modification into "重整酷風(fēng)"just to retain the sense of humor conveyed by the source lan

49、guage (Selected from the movies Under covered Brothers).3.2 The uniqueness in Linguistic Feature The screen translation is different from other translations such as literary translation. Literary translation and film translation serve for different purposes, that is, translators produce translated v

50、ersion for reading purpose and for listening purpose respectively. Therefore, language in film like those of the live theater is spoken, not written, and human voice is capable of far more nuances than the cold print page. Because language is spoken in movies, this medium enjoys an advantage over pr

51、inted language in that the words of a text can be juxtaposed with ideas and emotions of a subtext. Briefly, a subtext refers to those meanings implicit behind the language of a film or play script. The following example can best explain this point:"You want a confession in blood? Huh? All right

52、! That night at the movie, I was attracted to you. I was. You caught me. I admit it. I mean, let's see, maybe I was little unsure about the whole marriage thing. I don't know, maybe I was just being a guy and an opportunity presented itself. Bottom line? I never thought I'd see you again

53、. Bottom line? Nothing happened. Bottom line? Now more than ever, I believe Fran is the one for me." "你想我坦白承認(rèn)嗎?是嗎?好吧，那晚在電影院里，我承認(rèn)，我的確被你吸引，一點(diǎn)不假。你迷住了我，我承認(rèn)，我的意思是，也許我對(duì)整個(gè)婚姻缺乏自信，我不知道，也許我是個(gè)普通人，然后有個(gè)機(jī)會(huì)出現(xiàn)了。關(guān)鍵是什么?我沒(méi)想過(guò)能再遇見(jiàn)你，關(guān)鍵是什么都沒(méi)發(fā)生，關(guān)鍵是我從來(lái)沒(méi)有象現(xiàn)在這么肯定芬蘭就是適合我的人。"The above conversation strongly reveal

54、s that Eddie was irritated by Mary and speaks what he does not mean to say by using "confession in blood" and repeatedly using "bottom line" for three times. Those words and his way of talking together serve the emotions of a subtext.3.3 Constrains on Translation of Dubbed TextsA

55、fter analyzing those various differences between film translation and other translations such as literary translation, we can draw a conclusion on the basic requirements of film translators. It is evident that translating film scripts is not an easy job. In the following, Im going to explore certain

56、 constrains faced by film translators.The first constraint film translator have to face with is the right recognition and the acceptability of the target audiences. In other words, translators should take the mass audiences into consideration, evaluate their acceptability of foreign cultures, and he

57、lp them better enjoy the movies. Translator should try their best to eliminate the comprehension difficulty, or to domesticate the foreign culture so that spectators can understand them when they enjoy the movies.Second, the translation of film language should be prepared to more idiomatic and collo

58、quial. The language in film settings is a vivid spoken language, it is colloquial and different from the literary language, which is full of elegant words and complex sentence patterns (there is one exception that when the film is intended to convey a certain literary atmosphere purposefully).Third,

59、 since the translated film script will present with the film dubbing, the lip movements of the actors and the dubbed dialogues must be accounted. The length and phonetic structure, for example, the distribution of vowels, consonants, and stressed syllables should be identical with that of the original - open mouth, closed mouth, and tense facial muscles respectively.