英文學(xué)專業(yè) 從功能對(duì)等理論看 泰囧 對(duì)白

1、An Analysis of Dialogue Translation in Lost in Thailand from the Perspective of Functional Equivalence TheoryContent TOC o 1-3 h z u HYPERLINK l _Toc379469123 Chapter I Introduction PAGEREF _Toc379469123 h 1 HYPERLINK l _Toc379469124 Chapter II Literature Review PAGEREF _Toc379469124 h 2 HYPERLINK l

2、 _Toc379469125 2.1 Eugene Nida PAGEREF _Toc379469125 h 2 HYPERLINK l _Toc379469126 2.1.1 Nidas Criteria of Translation PAGEREF _Toc379469126 h 2 HYPERLINK l _Toc379469127 2.1.2 Nidas Functional Equivalence Theory PAGEREF _Toc379469127 h 3 HYPERLINK l _Toc379469128 2.2 Dialogue Translation PAGEREF _T

3、oc379469128 h 4 HYPERLINK l _Toc379469129 2.3 Functional Equivalence in Dialogue Translation PAGEREF _Toc379469129 h 5 HYPERLINK l _Toc379469130 2.3.1 Receptors Similar Life Experiences PAGEREF _Toc379469130 h 5 HYPERLINK l _Toc379469131 2.3.2 Similarity between Different Cultures PAGEREF _Toc379469

4、131 h 6 HYPERLINK l _Toc379469132 Chapter III Dialogue and its Translation in Lost in Thailand PAGEREF _Toc379469132 h 6 HYPERLINK l _Toc379469133 3.1 Lost in Thailand and Dialogue Translation for Three Protagonists PAGEREF _Toc379469133 h 6 HYPERLINK l _Toc379469134 3.2 Translation Strategies Adopt

5、ed in Lost in Thailand PAGEREF _Toc379469134 h 8 HYPERLINK l _Toc379469135 3.2.1 Deduction PAGEREF _Toc379469135 h 8 HYPERLINK l _Toc379469136 3.2.2 Foreignization PAGEREF _Toc379469136 h 10 HYPERLINK l _Toc379469137 3.2.3 Domestication PAGEREF _Toc379469137 h 10 HYPERLINK l _Toc379469138 3.3 Dialog

6、ue Translation Problems in Lost in Thailand PAGEREF _Toc379469138 h 11 HYPERLINK l _Toc379469139 Chapter IV Dialogue Translation in Lost in Thailand under Functional Equivalence Theory PAGEREF _Toc379469139 h 12 HYPERLINK l _Toc379469140 4.1 The Superiority of Content over Form in Dialogue Translati

7、on PAGEREF _Toc379469140 h 12 HYPERLINK l _Toc379469141 4.2 Adopting Adaptation Translation Strategy in Dialogue Translation PAGEREF _Toc379469141 h 13 HYPERLINK l _Toc379469142 4.3 Principle of “Similarity in Effect, Correspondence in Function” PAGEREF _Toc379469142 h 14 HYPERLINK l _Toc379469143 C

8、hapter V Conclusion PAGEREF _Toc379469143 h 15 HYPERLINK l _Toc379469144 References PAGEREF _Toc379469144 h 16Chapter I IntroductionWith the development of society, film is a favorite way for foreign people to understand Chinese culture and tradition. However, most of foreign people do not know the

9、deep meaning of dialogue in Chinese movie. To these people, they have to understand the connotation of Chinese movie through seeing the subtitles under the screen. To adapting to their needs, more and more translators begin to translate dialogue in Chinese movie. But many of them can not translate t

10、he dialogue in an effective way. Because of their translated skills, many foreign people can not understand Chinese movie totally. They can not understand what people say in the movie so that they can not love Chinese movie and Chinese culture. The difficulty of translation is not in comprehension a

11、nd expression, but in the knowledge of cultural background information. Apparently, translation is not only language transformation; it is the channel for culture, communication and the process of integration. The relationship between language and culture is mutual existence and reliance. Language i

12、s not only the part of culture, but also an independent system of culture. Nowadays, movies and TV series have become the indispensable communication media for cross-cultural communication. Meanwhile, they have become one of the forms of arts, which have the most audience. This paper is based on fam

13、ous American translation theorist Eugene Nidas functional equivalence theory. It analyzes and studies the dialogue translation of the popular Chinese movie Lost in Thailand in order to prove the practical instruction and significance of Nidas functional equivalence theory. Chapter II Literature Revi

14、ew2.1 Eugene Nida 2.1.1 Nidas Criteria of TranslationNida has introduced a reader-response-based approach to translation equivalence under the name of dynamic equivalence. Dynamic equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor lang

15、uage respond to it insubstantially the same manner as the receptors in the source language. This response can never be identical, for the cultural and historical settings are too different. But there should be a high degree of equivalence of response, or the translation will have failed to accomplis

16、h its purpose. Significantly, their notion of audience response lies in an understanding of the “correctness” of the message. Correctness must be determined by the extent to which the average reader for which a translation is intended will be likely to understand it correctly. In other words, the me

17、asure of the correctness of the message in target translation form is not in the form itself, but in how the target readers respond to the translated text. Nida has three general criteria for assessing the quality of a translation as follows: (1) general efficiency of the communication process, (2)

18、comprehension of intent, and (3) equivalence of response. The third and also the most important criterion is closely related to Nidas well-known basic principles of “Dynamic (or Functional) Equivalence of a Translation”, that is, the manner in which receptors of the translated text respond to the tr

19、anslated text must be equivalent to the manner in which the receptors of the source text respond to the source text. This reader-response model has taken readers into consideration. Nidas dynamic equivalence theory for the first time switched the attention in analyzing a text from static equivalence

20、 to a dynamic and functional one. He is creative in introducing the readers response theory to translation theories. A new vision of criticizing the translation from readers angle is beneficial for the exploration of translation criticism. Nidas “Functional Equivalence” made translation criteria beg

21、in to transfer from the original text orientation to the target reader orientation. This shows that he is influenced by the trend of readers response developed on the basis of reception aesthetics. In the following part, the author will introduce Nidas functional equivalence theory in detail. 2.1.2

22、Nidas Functional Equivalence TheoryIt is universally accepted that there are no two identical things in the world, so all the translators should bear in mind that they can never produce a version exactly equivalent to the original, and what a translator seeks for in translating should be the closest

23、 possible equivalent rather than absolute or complete equivalent. As to equivalence in translation, Nida basically divides it into two types: formal equivalence and functional equivalence. Formal Equivalence is text-oriented, thus the reader is permitted to “identify himself as fully as possible wit

24、h a person in the source-language context, and to understand as much as he can of the customs, manner of thought, and means of express”. (Nida 1964:159) Nida made a comparison between “formal equivalence” and “dynamic equivalence” and pointed out that “dynamic equivalence” demands the complete natur

25、alness of expression while “formal equivalence” demands the translator to reproduce as literally and meaningfully as possible the form and content of the original”. (Nida, 1954:159) Literally, formal equivalence is in the aspect of language form while functional pays much more attention to the langu

26、age function.Functional-equivalence translation is receptor-oriented and pays great attention to target receptors response. Nida puts receptors in a very important place when judging a version. Traditionally, translations are always judged by the comparison between the original text and the translat

27、ed text. In contrast with formal-equivalence translation, functional-equivalence translation pays much more attention to the receptors response and the naturalness of the target language than language forms. Nida thinks that it is important to estimate the extent to which receptors correctly underst

28、and and appreciate the translated text. Whats more, Nidas ideal situation is essentially the same as the original receptors response to the target text. 2.2 Dialogue TranslationDialogue translation develops along with the development of the movies and TV series. Dialogue is subtitle on the movie whi

29、ch has become the commonest way for the audiences to enjoy the foreign movies and TV series. Dialogue translation is a printed statement appearing on the screen between the scenes of a silent motion picture or appearing as a translation at the bottom of the screen during the sentences of a motion pi

30、cture or television show in a foreign language. It is the main media of cross-cultural communication. Dialogue translates translate a foreign language into the audiences native language. At the same time, the audience can appreciate the beauty of the actors original dialogue, their tones, intonation

31、, and charm. Unlike written text translation, dialogue translation emphasizes the meaning of the original dialogue more than the form of the dialogue. It has to reflect the meaning of the dialogue instantly and immediately. The audiences can only use two to three seconds to read and absorb the essen

32、ce of the lines. Usually translators have to achieve a purpose, an accepted reading speed and so on. Sometimes, it could be confusing and even frustrating. People should have the standard translation strategies and translation principles to instruct the practical subtitle translation.There are mainl

33、y four features of dialogue translation: 1) Instancy. Because the limitation of space and time, dialogues translation are brief and precise texts tagged at the bottom of the screen within two to three seconds, and at most two rows of lines. The instant dialogue, image and motion should grab the audi

34、ences attention. It is indispensable for the audience to understand the film or TV series. Otherwise, it will cause the loss of information. 2) There are strict restrictions about the size of the subtitles, the length of the translated sentences, and even restrictions of the pronunciation. All these restrictions s