肖申克的救贖中語言順應(yīng)論指導(dǎo)下的字幕翻譯

IChapterOneIntroduction1.1ResearchBackgroundandSignificanceForeignfilmsandTVworkshavebecomeincreasinglypopularwithdomesticaudiencesinrecentyears.ApartfromthemarvelousplotsofthemoviesandTVshowsthemselves,thereisnodoubt

as

to

thefunctionofsubtitletranslation.SubtitlesarenotonlyacarrieroflanguageinformationinfilmsandTV,butalsoabridgeforculturalexchangebetweenforeigncountries.Excellentsubtitletranslationcanenableviewersofdifferentlanguagestocrosstheculturalbarrierandenjoytheoriginalwork.Theauthorfindsthathowtoexpressthewordsoffilmcharactersintheappropriateandfluentlanguageandmakethetargetlanguageaudiencereactsimilarlytothesourcelanguageaudiencewhenenjoyingthefilmisverymuchinlinewiththe“dynamicadaptation”inthetheoryofadaptation.Therefore,thispaperusescontextualadaptationtheorytoanalyzethephenomenonofsubtitletranslationinTheShawshankRedemptionanddiscussesitsstrategiesandmethodstoprovidemoreideasandreferencesforsubtitletranslationresearchundertheguidanceoflinguisticadaptationtheory,aswellastohelpaudiencesbetterunderstandthecharacterandculturalconnotationscontainedinthefilm’slines.1.2StructureofthePaperThis

thesis

can

be

divided

into

five

chapters.Chapter

One

introduces

the

present

research,

including

the

background

and

the

significance

of

the

research,

and

the

structure

of

the

thesis.Chapter

Two

presentsindetailthetheoreticalframeworkoflinguisticadaptationtheory,includingthefeaturesoflanguageuseprocesses,theinterplayoflinguisticstructuralobjectsandcontextualrelationsindynamicadaptation.Chapter

Three

presentsthetranslationofdynamiclinguisticstructuraladaptationinthesubtitlesofthefilmTheShawshankRedemption,whichwillbedevelopedintermsofcharacters’languagestylesadaptation,VocabularyadaptationandSyntaxadaptation.Chapter

Four

presentsthetranslationofdynamiccontextualrelationaladaptationinthesubtitlesofthefilmTheShawshankRedemption,whichwillbedevelopedintermsofboththesocialworldandthementalworld.Chapter

Five

draws

a

conclusion

about

the

findings

and

limitations

of

the

research.ChapterTwoVerschueren’sFrameworkfortheStudyofAdaptationIn1987,JefVerschuerenproposedthetheoryofadaptioninhisbookentitledPragmaticsasaTheoryofLinguisticAdaptation,whichillustratedtheunderstandingoflanguageuse.In1999,hefurtherimprovedandcomplementedthetheoryinthearticleUnderstandingPragmatics.Itisa

sort

of

pragmatic

perspective

on

language,

aiming

to

explore

each

respect

of

language

from

a

macroscopical

and

new

perspective.AccordingtoVerschueren,thetraditionalpragmaticsthattakesintentionasthesoledeterminantofmeaningisinappropriate.Becauseinverbalcommunication,expressingintentionisonlyamatterforthespeaker,butitisequallyimportantforthespeakertoexpressmeaningandthehearertounderstandit;andsincecommunicationitselfisanextremelycomplexprocess,meaningcannotbegeneratedbyintentionalone,andtherearetoomanyfactorsinvolved.Therefore,weshouldstudylinguisticmeaningfromcognitive,social,andculturalperspectivesatthesametime.2.1TheProcessofContinuousSelectioninLanguageUseAccordingtoVerschueren’sview,tousealanguageistochooseit,andlanguageisaprocessthatiscontinuouslyselected.Inotherwords,whentranslating,weneedtomakechangesinresponsetothelinguisticcontextofthemoment.Thisprocessofchangeisaprocessoflinguisticselection,whetherforinternalorexternalreasons.Adaptationtheoryisnotonlyapowerfulexplanationoftranslation,butalsoaguidetotranslationpractice,aswillbeseeninthefollowinganalysis.In

short,

the

process

of

language

use

actually

means

that

the

speakers

continuously

make

choicesbetween

the

language

structure

and

the

context

in

order

to

meet

the

communicative

needs.

When

using

and

comprehending

the

language,

people

should

pay

close

attention

to

the

dynamic

adaptation

between

the

language

structure

and

the

context.2.2FeaturesintheLanguageSelectionProcessTousealanguageistochoosealanguage.Theuseoflanguageis,intheendis“acontinuousprocessoflanguagechoice,whetherthischoicewhetheritisconsciousorunconscious,andwhetheritismadeinternalorexternalreasons.”[1]Languagechoiceisdrivenbyreasonsinternaltothelanguage(structural)orexternaltothelanguage;choicecanoccursimultaneouslyatanylinguisticlevel,includingphonology,intonation,vocabulary,syntax,partsofspeech,etc.;choicefromphonologyandintonationtogrammaticalstructure,fromcodetopartofspeech,etc.;speakerschoosenotonlytheformofthelanguagebutalsothestrategyofuse.Onceauserusesalanguage,heorsheisconstantlymakingchoicesaboutitbasedonthethreecharacteristicsthatthelanguageitselfhas.2.2.1TheThreeCharacteristicsofLanguageInAdaptationtheory,languageusersareabletomakeappropriatechoicesbecauseofthreecharacteristics:Variability,NegotiabilityandAdaptability.“Linguisticvariabilityreferstothefactthatitmakeslinguisticchoicespossibleandstipulatesthattheymustbeconfinedtoacertainrangeandcannotbechangedatwill.Thedeliberativenatureoflanguagemeansthatlanguagechoicesarenotmadeinarigidorstrictlyformalway,butofbasedonahighdegreeofflexibility,whichmakeslanguageflexiblebecauseitdoesawaywithmechanicalexpressions.Adaptability,ontheotherhand,buildsonthevariabilityandnegotiabilityoflanguage,allowingthespeakertomakeflexiblechangesfromtheoptionsavailabletomeettheneedsofthecommunicator,dependingonthespecificcommunicativepurpose.”.[2]Thesethreecharacteristicsareinterrelatedandaremainlycharacterizedbyatheoryofadaptation,wherevariabilityandnegotiationaretheconditionsandfoundationsandadaptationisthecentralandfundamentalpurpose.2.2.2FourPerspectivesontheStudyofLanguageItisprecisebecauseofthecharacteristicsofadaptationinlanguageusethatwecancompletepragmaticdescriptionandpragmaticinterpretationfromthefollowingfouraspects.Specifically,theyincludeContextualCorrelates,StructuralObjectsDynamicsandSalienceoftheAdaptionProcess.Amongthem,thecoreoflanguageadaptationtheoryisadynamicadaptation,thatis,thedynamicgenerationofmeaning,whichincludesthevariablescopeofspeechtypesandlanguageusestrategies,whichcanbereflectedfromthetimedimensionandspacedimensionintranslation.Inaddition,thedynamicnatureofadaptationiscloselyrelatedtocontext-relatedpeople,suchasthepsychologicalworld,thesocialworld,andthephysicalworld.Itmeansthatcommunicationparticipantsmustchoosethecontent,occasion,andwayofspeakingaccordingtotheirspecificcontext.Thispaperwillmainlytakedynamicadaptationasabreakthroughtoanalyzetheadaptationphenomenoninfilmsubtitlesfromthetwoaspectsoflanguagestructureandcontextualrelationship.2.3TheInterplayofLinguisticStructuralObjectandContextualRelationsinDynamicAdaptationTheobjectofVerschueren’sadaptationtheoryislanguage.Inthefinalanalysis,languageusersneedtoachievebetterinterpersonalcommunicationthroughlanguageadaptation.Toachievecommunicativepurposes,languagemustachievecontextualadaptation,structuraladaptation,anddynamicadaptation.Context,asthenamesuggests,istheenvironmentinwhichlanguageisused.Contextualadaptationmeansthatthechoiceoflanguageintheprocessoflanguageusemustconformtothecommunicativecontext;Structuraladaptationoflanguageallowstranslatorstomakelanguagechoicesfromaspectssuchaspronunciation,vocabulary,andsentencetothemaximumextent;Dynamicadaptationreferstothecontinuousadjustmentsandchangesmadebylanguagetoadapttovariouscontextsandlanguagestructures,achievingmutualadaptationbetweenlanguagechoicesandcommunicativecontexts.Atthesametime,itisalsotheperfectcombinationofthecommunicator’sadaptationtovariouslanguagelevelsinthestructuralobjectasthecontextchanges,therebydynamicallyexplainingtheadaptiveroleofthecommunicatorintheprocessofselectingalanguage.Whilethesecontentsareaimedatachievingdynamicadaptationinthespecificadaptationprocess,dynamicadaptationisthecoreofadaptationtheory.Inshort,dynamicadaptationistheperfectcombinationofstructuralobjectsandcontextualrelationships.Therearethreemainaspectsofthedynamicadaptationofthelanguageselectionprocess:thetemporaldimension,thecommunicativecontext,andthelinguisticstructure.Adaptationtostructuralobjectsreferstoprinciplesofstructureandcompositionatavarietyoflevelsoflanguage.Thatis,thelanguagestructurementionedaboveincludescontentatthephonetic,grammatical,lexical,syntactic,andtextuallevels.Dynamicadaptationofcontextualrelationscomprisesthreeaspectsofadaptationtothemental,social,andphysicalworldsofbothcommunicators.Verschuerenbelievesthatintheprocessoflanguageusebetweenthetwosidesofcommunicationproducesthecontext,whichisconstantlychangingandupdatingwiththedevelopmentofthecommunicativeprocess,ratherthaninthecommunicativeoccurrenceisgiven,weshouldfocusontheprocessofproperuseandhandling.ChapterThreeDynamicLinguisticStructuralAdaptationintheTranslationofTheShawshankRedemption3.1AdaptationofCharacters’LanguageStylesThelanguagestyleoftenreflectsthepersonalitycharacteristicsofthecharactersinthefilm.Intheprocessoftranslation,itisnecessarytoadapttothecharacteristicsofthecharacters’languageandtranslateaccordingly.Intheprocessoftranslation,weoftenencountertheproblemofthelanguagestyleofcharactersinfilms.Whenwetranslatethelanguagestyleofafilmcharacter,wemustfirstunderstandthelanguagecharacteristicsofthatcharacter,thenanalyzeandunderstandthecharacter’slanguagecharacteristics,andtranslateonthisbasisinordertomakethetranslationmoreaccurate,fluentandsmooth.Linguisticadaptationtheorysuggeststhatlanguageuseisaprocessofcontinuousselection,sointhetranslationprocess,thetranslatorhastotranslateagainstthedifferentcharacteristicsofdifferentcharacters.Thismeansthatthetranslatorneedstotranslateagainstthelinguisticcharacteristicsofthecharacterstoensureadapttothecharacters.3.1.1Brooks’CharacterTraitsBrooks:Ihavetroublesleepingatnight．IhavebaddreamslikeI'mfalling．Iwakeupscared．SometimesittakesmeawhiletorememberwhereIam．MaybeIshouldgetagunandrobtheFood－Way，sothey’dsendmehome…I’mtiredofbeingafraidallthetime．I’vedecidednottostay．譯文：布魯克斯:晚上我睡不好，常做噩夢，夢見跌落無底深淵，驚醒過來，有時半天才想起自己身在何處，也許我該弄把槍去搶劫超市，好讓他們送我回家……我不喜歡這里，我厭倦了成天擔(dān)驚受怕，我決定離開。Brookshasspentmostofhislifeinprison,andthislineisBrooks’lastwords.Afterhisreleasefromprison,hesimplycouldnotintegrateintotherapidlydevelopingandchangingsociety,sohefinallychosetoendhislifebyhanging.Inmyopinion,thetranslationhereisveryconsistentwithBrooks’charactertraits.Comparedtootherprisoners,BrooksisaculturedmanwhomanagesShawshank’slibrary,soitisnecessarytomakeadistinctionbetweenhisspeakingstyleandotherswhentranslating.The

translatorof

“I'm

falling”,

for

example,

didnot

select

aliteraltranslation,but

rather

translateditas

“falling

intothebottomlessabyss”whichfullyreflected

Brooks’

feelings

of

hopelessness

aboutlife.Thetranslatorof“I’mfalling”,forexample,didmotselectaliteraltranslation,butrathertranslateditas“fallingintothebottomlessabyss”whichfullyreflectedBrooks’feelingsofhopelessnessaboutlife.“Beingafraid”

istranslatedbythetranslatoras“擔(dān)驚受怕”,Thetranslationofthewholeparagraphachievestheadaptationofcharacterizationandlanguagestyle.3.1.2Wardens’CharacterTraitsTheWarden:Ibelieveintwothings，discipline,andtheBible．Hereyou’llreceiveboth．Putyourtrustinthelord．Yourassbelongstome.譯文：典獄長：我只相信兩件事，紀(jì)律和《圣經(jīng)》。在這里你們兩樣都少不了。把你們的信仰寄托于主，把你們的賤命交給我。Thewardenisasymbolofpower,andhissubordinatesareall“extremelyguilty”people.Therefore,hisspeechmusthaveasenseofauthorityandoppressiontomaketheprisonerscomply.ThewardenequateshimselfwiththeBible,sowhentranslating,itisimportanttoreflecthisaloofstanceandbegenerouswithoffensivevocabulary.“You’llreceiveboth.”Ifwetranslateliterallyfromwordtoword,itseemstooprosaic,andthetranslationherecanestablishtheimageoftheprisonwardenasarrogant,givingasenseofgenerosityfromtoptobottom.“把你們的賤命交給我”thisphraseisextremelyinsulting,andthetranslationmadeherefitsthecharacterofthewardenperfectlyimage.Inafewseconds,thetranslationofthesetwosentencesdepictstheimageofthecaretaker,settingthestageforthesubsequentplot.3.2VocabularyAdaptationAdaptationtheorypointsoutthatwhenwetranslatesubtitles,thetranslatordoesnotneedtosticktotheformatandcross-translatewordbyword,butneedstofindwordsinthetargetlanguagethatareclosetoitssemanticsandmakesynonymoussubstitutionsforit,sothatthetargetlanguagebecomestheaudiencelanguage.Thetargetlanguageaudiencecanmaketheaudienceunderstandthemeaningofthemoviedialogueanddynamicallyadaptthewordsaccordingtothespecificsituation.VocabularyAdaptationreferstotheadjustmentofsubtitlesduetowordgapsinthetranslationprocesscausedbytheinequalitybetweenEnglishandChineseatthelexicallevel.Toachievevocabularyadaptationmeansthatthetranslatormustchoosetherightlanguage,andsincethereisoftenadisparitybetweenthemeaningsofwordsinEnglishandChinese,itisworthwhileforthetranslatortoconsiderhowtochoosethewordsinthesubtitletranslation.3.2.1DoubleEntendreAndy:There’ssomethinginsidethattheycan’tgetto，thattheycan’ttouch．It’syours．譯文：安迪：有些東西，在你心里，他們無法奪走，他們無法觸碰。那是屬于你自己的。AndywasclosedforaweekafterheplayedItalianoperainviolationofregulations,buthestillenjoyedafewminutesbeforehehadbeenfree.Sohiswordswerefulloflongingandhope,butRedwascompletelytheoppositeofhim.HehaskindlypersuadedAndy,butitjustprovedthathehadbeencompletelyassimilatedbythesystem.Inthisdialogue,thewords“inside”appearedinthelinesofAndyandRed.ThetranslatortranslatedAndy's"inside"as“心里”andtranslatedRed’s“inside”as“這里”(Referstoprison),thetranslationhereseemstobepoor.Accordingtothefrontandbackscenesandpicturesofthemovie,Red’s“inside”hereisadoubleentendre,whichreferstoboththeprison.Hebelievesthathehopesthatnomatterwhereitisuseless.Everywhereisuseless.“It’sgotnouseontheinside”shouldbetranslatedas“它在心里沒有用，更何況在監(jiān)獄中”。3.2.2SynonymousSubstitutionTheShawshankRedemptionisa

crime-themedAmericanfilm.Whileretainingthemiddle-classAmericanculture,weshouldhighlighttheoppressiveatmosphereofprisonsandtheexpressionofpeople’sspeakingstylesfromthebackgroundmusictotheactor’smonologues.Sir:Weseeyou’veserved20yearsofalifesentence.Sir:Youfeelyou’vebeenrehabilitated?譯文：獄警：你因被判終身監(jiān)禁已在此二十年了嗎？獄警：你改過自新了嗎？Theabovedialogueoccursatthebeginningofthemovie,buthisbailisrejectedtoday,20yearslater.“Rehabilitate”alsosettledRed’ssituation.Thelastsentence“ILearnedMyLesson”wastranslatedas“我吸取了教訓(xùn)”,butthetranslatorreplaceditwithsynonymsaccordingtotheneedsoftheplot.Sucharewriteisveryattractivetotheaudience,whichcanmakethemfeelRed’sdeephelplessnessandregret.Atthesametime,suchatranslationretainsthesourcestyleofthefilm,andtheplotistightandinfectious.Ouraudiencescanunderstandtheemotionsthattheactorisexpressedinaveryshorttime.3.2.3AmplificationAdditionalmethod

of

translation

involves

replacing

or

supplementing

partsthatexistinthetargetlanguagebutarenotclearlyexpressedor

are

unable

to

findcorrespondingblood

components

inthetargetlanguage.

The

culturaldifferencesbetweenChinaandtheWest

mean

that

theChineseaudiencedoesnotknowenoughaboutmanyWesternphenomenaor

noun

phrases,sowhentranslatingthemthey

need

to

addsomeinformation

in

order

for

theaudience

to

fullyabsorbtheconnotationoftheoriginaltext.

Rather

than

lookingatwhat

we

don’t

knowfor

much

longer.It’sBrooks.譯文:布魯克斯出事了。HeywoodwasveryhappytohearthatBrooks’parolepassed,andherantosaygoodbyetohim,buttohissurpriseBrookswasnotveryhappyaboutit,insteadheactedsosadthathehadtoputaknifeonHeywood’sneck,inavainattempttostayinthelibrarybydoingso.Thereisnoverbintheoriginalline,ifdirectlytranslatedas“是布魯克斯”,thenthisdoesnotconveythemeaningofthefilmtoexpress,butalsoconfusetheChineseaudience.Therefore,thetranslatoraddedaverb“somethinghappened”,sothattheaudienceinstantlyunderstoodthemeaningandhadafurtherunderstandingoftheplot.OmissionOmission,alsoknownassubtractionorellipsis,referstotheomissionofsomeinsignificantwordsorwordswithrepetitivemeaningsfromtheoriginaltext.Thismethodcanbeusedfortonewordsappearinginsubtitlesorinformationunrelatedtotheplot.SubtitlesaretextthatflashesatthebottomofthescreenandIsaisisaspecialformoftexttranslation.[6]Thespaceitoccupiescannotaffecttheaudience’sappreciationofthefilm.Therefore,ingeneral,subtitleshaveonlyoneline,andthenumberofwordsperlinecannotexceedtheallowablerangeofscreenspace.Therefore,thetranslatormustconveythefilminformationtotheaudienceinalimitedspacewithoutaffectingtheaudience’sunderstandingofthefilm.Thistranslationmethodusuallyomitsunnecessarypunctuation,repetitivewords,andinformationirrelevanttothetargetlanguageaudienceinsubtitles,therebyachievingeffectivetransmissionofinformationandenablingtheaudiencetobetterunderstandtheplot.Red:Thattalldrinkofwaterwiththesilverspoonuphisass.原譯文：那個面帶富貴相的大個子。Thedirecttranslationisasfollows:“他屁股上沾著銀勺的那杯高高的水”.Whyistherewaterhangingontheirbuttocks?Therefore,accordingtothelinesoftheplot,thetranslatoradoptsthedeletionmethodtodirectlydeletetheuselessparts,namely:drinkingwater.Thecorepart“tall,silverspoon”isdirectlyretained.“Silverspoon”heremeans銀湯匙.InChina,thewordisendowedwithculturalconnotations,symbolizingwealthandhonor.Therefore,herethetranslatorcaterstoChinesecultureandtranslatesitas富貴.Thisexampleembodiestheculturaladaptationofadaptationtheoryinlanguagestructure.3.3SyntaxAdaptation3.3.1LiteralTranslationInTheShawshankRedemption,apopularfilm,someofitslanguagesareeasytounderstand,andmostofthedialogueinthefilmtakesplaceinprisons.Duetoclasslimitations,mostofthecharactershavenotreceivedagoodeducation,somanydialoguesareconciseandsimple.Inthiscase,theliteraltranslationisthemostappropriatetranslationmethod.Hopeisagoodthing,maybethebestofthings,andnogoodthingeverdies.譯文：希望是美好的，也許是人間至善，而美好的事物永不消逝。Letmetellyousomethingmyfriend:Hopeisadangerousthing.Hopecandriveamaninsane.譯文：聽我說，朋友，希望是件危險的事。希望能叫人發(fā)瘋。InthetranslationofTheShawshank’sRedemption,mostoftheliteraltranslationisthedialogueofthecharacters,whichissimpleinwordsandsimpleingrammar,sothereisnoneedtochangetheformofthetranslationandthemeaningoftheoriginalcanbetranslated.Inthisway,thetranslationnotonlyretainstheshapeoftheoriginaltextbutalsoconveysthemeaningoftheoriginaltext,soliteraltranslationisthemostappropriatetranslationmethod.3.3.2FreeTranslationFreetranslationallowstranslatorsgreaterfreedomtobypasstheconstraintsofsubtitleformsandadoptformsthataremoreinlinewithaudiencehabitstoconveycontent.Therefore,theadvantageoffreetranslationisthatitcanfacilitatetheaudienceandmakeiteasierfortheaudiencetounderstandtheoriginalcontent.Wesatanddrankwiththesunonourshouldersandfeltlikefreemen.譯文：陽光灑肩頭，仿佛自由人。Thissentenceadoptsfreetranslation,whicherasesthesubjectinEnglishandturnsitintoasentencewithoutasubjectinmodernChinese.Althoughtheformoftheoriginaltextisdiscardedinthetranslation,thesituationoutlinedbyafewsimplewordsisnodifferentfromthatoftheoriginaltext.Thistranslationmethodofsimplifyingandsimplifyinghighlightsthetranslator’sChineseknowledgemorethanthecorrespondingfreetranslationofonewordandonesentence,andatthesametimenarrowsthedistancebetweenreadersandthetext.3.3.3NegationOnthenegativeside,somepositiveexpressionsinEnglishmaybetranslatedintoChinese,orthenegativeaspectinEnglish,andthepositiveaspectinChinese.Inadoptingbothpositiveandnegativetranslation,theultimategoalistomakethetranslationmoreintunewiththetargetlanguage’shabitsofexpression.ItoldherIwouldnotgrantone.譯文：我拒絕離婚。Thissentenceistranslatedinnegation,insteadofdirectlytranslating“notgrant”into“不同意”,itistreatedasasynonymous“拒絕”.EventhoughAndywasveryangryatthetime,hisangerwasrestrained,inlinewithhischaracterization.Suchtranslationtreatmentisinlinewiththebackgroundofthetime.ChapterFourDynamicContextualRelationAdaptationintheTranslationofTheShawshankRedemptionSocialWorldAdaptationThe

social

world,

according

toadaptationtheory,referstotheprinciplesandnorms

according

to

which

socialsituationsandthesocialenvironmentregulatethespeechactsofcommunicators.

Thelanguagechoicesofcommunicatorsmustconformtothecommunicationnormsofsocialsituations,socialenvironments,andlanguagecommunities.

Thus,whendiscussingcontextualadaptation,oneshouldnaturallyincludeculture.Thetranslationstrategiesweoftenemployinfilmsubtitletranslationareforeignizationanddomesticationstrategies,whichbothattempttoremoveculturaldifferencesbetweenthesourcelanguageandthetargetlanguageaudienceindifferentcontextstoachieveagreateradaptiveeffect.Suchadaptationsaredynamicandever-changing.4.1.1ForeignizationForeignizationreferstotheprocessoftranslationinwhichthetranslatortriestoapproachtheoriginalauthorascloseaspossible,retainingthestyleoftheworkitself,andallowingthetargetlanguagereadertoexperiencethecharmofforeignculture.UncleSamputshishandinyourshirtandsqueezesyourtittillit’spurple．Alwaysgettheshortend．That’safact．譯文：“山姆大叔把手伸進(jìn)你的襯衫，直到把你掏得一干二凈!這就是事實!”Whentherearesignificantdifferencesinlanguageandculturethatmaketheinformationinthesourcelanguageincomprehensibletothetargetlanguagereader,considerationshouldbegiventoreplacingitwiththecultureofthetargetlanguage.Theexportoffilmshasboththepurposeofearningboxofficeandtheconsiderationofculturaldissemination.Audiencesappreciateforeignmoviesnotonlytoappreciatetheplotandcontentbutalsotogainanunderstandingofforeignlanguagesandcultures.Forthispurpose,ifthecultureinthesourcelanguagehasbeenwidelycirculatedandcanbeunderstoodandacceptedbythetargetlanguage'sreaders,thentheoriginalculturalinformationshouldberetainedduringtranslation.Asmentionedabove,UncleSamisanicknameoftheUnitedStates,especiallytheUnitedStatesgovernment.Withthisinformationalreadyknowntous,ifwetranslatethisinto“theUnitedStatesgovernmentreachesintoyourshirt,”itnotonlylosesitsoriginalcolorbutalsolosesthesenseofhumorintheoriginaltext.Therefore,adoptingthemethodofalienationmeetstherequirementsofadaptationtheory.4.1.2DomesticationGiventhedifferentculturalbackgroundsbetweenChinaandtheUnitedStates,forChineseaudiencestobetterunderstandthefilm,itisoftennecessarytoadoptanaturalizationapproach,adapttothethinkinghabitsandexpressionsofChineseaudiences,andincorporatesomeChineseelementswhennecessary.DomesticationtranslationDomestication,byimplication,stipulatesthatthetranslatorneedstospeaktoeachotherandthereaderofthetargetlanguageandthatthetranslatormustspeaklikeanativespeaker.Thecontentofthemovieisreproducedusingexpressionsthatarerelativelyclosetowhatthetargetlanguageisusedto.Thepurposeofthisistohelpthereaderbetterunderstandthemoviecharacters.Terriblefuckingluck?huh.Cryingshame.譯文：過路財神，真夠倒霉的！Andyandseveralofhisprisonfriendsweresenttoworkwhentheyoverheardseveralprisonofficialsdiscussingthepaymentoftaxes.Thechiefguardreceivedagenerousinheritance,butaccordingtoAmericanlaw,hewasrequiredtopayalargeamountoftaxes.Insuchascenario,translatingitinto“PassingGodofWealth”canmoreresonatewiththeChineseaudienceandbevividandprecise.PutyourtrustintheLord.Yourassbelongstome.譯文：把信仰交給神，把賤命交給我。ThisisWardenNorton’smottofornewprisoners.Theword“ass”herereferstothewholebody.Ifitisvulgarandindecenttotranslateitdirectly,itisbettertochangetheconceptandtranslateitinto“despicablelife”tobetterreflectthewarden’shypocriticalface.4.2MentalWorldAdaptationTheso-calledpsychologicalworldincludescommunicationonbothsidesofthepersonality,mood,andcognitiveandemotionalfactorssuchasdesireandintention.4.2.1TranslationoftheFilmTitleTheShawshankRedemption譯文：肖申克的救贖“Shawshank”isthenameoftheprisoninthismovie,andistheplacewhereAndywasdetained,mainlyincluding“肖申克”and“鯊堡”.SuchatranslationismostlikelytoconfuseChineseviewers,who,withlittleknowledgeofforeigncultures,willthinkofnamesorsimplynotunderstandtheword“Shawshank”whentheyfirsthearit.Infact,“鯊堡”isnotjustphysicalprison,alsoreferstotheintangible“prison”,namelytheinstitutionalizationoftheinnerworld.Intheprocessoftranslatingfilmtitles,wecandirectlytranslatetheminsteadofchoosingthefreetranslationmethod,firstly,toavoidmisunderstanding,andsecondly,dire