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Topic

An Analysis of Functional Equivalence Theory with the Example of film Subtitle Translation Cao Shuxian Ssakia 202030097017

Abstract

Functional equivalence theory is the principle of equivalence between the translated text and the original language in the translation process, and it is a relatively new translation technique as well as a translation theory. The article takes the translation of film subtitles as an example and analyses its meaning in different contexts. The aim is to find some information from the translation and the original language for comparison, so that we can understand the theory of functional equivalence. Finally, some suggestions and methods are proposed according to the theory of functional equivalence, so that translators can make their translation of film subtitles more valuable.

Keywords

Functional Equivalence Theory, Film Subtitles Translation, Eugene A. Nida, 《Green Book》, 《I Am Not a Druggist》

题目

以电影字幕翻译为例浅析功能对等理论

摘要

功能对等理论是对翻译过程中译文和原语的对等原则，它是一个相对较新的翻译技巧，同时也是一种翻译理论。文章以电影字幕翻译为例，分析其在不同语境中的意义。目的在于从译文和原语中找到一些信息进行对比，让我们了解功能对等理论。最后根据功能对等理论提出一些建议和方法，使译者在进行电影字幕翻译时更能体现其价值。

关键词

功能对等理论，电影字幕翻译，尤金·A·奈达（Eugene Nida），《绿皮书》，《我不是药神》,《哈利波特7》

I. Introduction

In a globalised world, more and more foreign films are coming to people's attention. Although it is said that great works can stir the hearts of everyone, language barriers greatly affect the transmission of excellent ideas in film and television, and people cannot spend years learning a new language just to watch a film, which makes film subtitles particularly important. In this article, we will take into account Eugene A. Naida's famous translation theory - the theory of functional equivalence - to analyse how to make the translation of film subtitles not only not detached from the original text, but also better serve the audience in different language environments.

II. Captions and their constraints

Subtitles of motion picture refers to the non-visual content of a television, film or stage production in the form of text, and also refers generally to the post-production text of a film or television production. The narrative text that appears on the screen of a film or at the bottom of a television set, as well as various texts such as the title of the film, the cast and crew list, the lyrics, the dialogue, the explanatory notes, the introduction of characters, the names of places and dates, etc., are called subtitles. Subtitles for dialogue in a film or television production usually appear at the bottom of the screen, while subtitles for theatre productions may be displayed on the sides or above the stage. The translation of subtitles for film and television generally refers to the translation of subtitles for films, i.e. the main information in the film is conveyed to the audience through subtitles so that they can better grasp the content of the film. Communication and mutual understanding between people is not an easy task, and this is especially true when it comes to language transfer between languages. Language is part of culture and is a mapping of culture, so translation between different languages is inevitably affected by cultural differences; in addition, as an art of sound and picture, film has its own unique presentation, and subtitles are often confined to a small space, and the speed at which images are switched is a constraint to translation. Nida points out that "language and culture cannot exist separately from each other", so translation must necessarily take into account the cultural context of the language. Different countries often have different climates, geographical environments, social systems, etc., on top of which different production activities, customs and cultural histories have gradually developed. The different cultures of different countries together make up a rich and varied world culture, but cultural differences also hinder communication between countries to a certain extent. For example, Chinese and Westerners initially had different views on "dog", as Westerners regarded dogs as loyal friends of human beings, while traditional Chinese thought often considered dogs to be lowly.In English, dog is often used in a positive sense, like “big dog(大人物）, lucky dog（幸运儿）, love me, love my dog（爱屋及乌）” . But in Chinese, dog is often used in a pejorative sense, as in "狗胆包天, 狗仗人势, 狗眼看人低" and so on. In addition, films are a product of culture, and film subtitles carry a rich cultural connotation, in which English idioms and slang may appear with rich cultural connotations, some of which can be found in Chinese, while others are not. In order to translate well, one must have a good understanding of the cultural background of the foreign country, and then combine it with the film context in order to handle such vocabulary well. Therefore, we must pay attention to cultural differences when translating. Temporal and spatial factors also govern the translation of film subtitles. Subtitles cannot exist independently of film images and film sound, and therefore have a distinctly temporal and spatial nature, existing within the world of film [3]. The length of the subtitles is limited by the actors' diction and the size of the screen, and because the film images are so fleeting, the subtitles have to be synchronised with the sound and images, and the viewer has less time to understand them, so the translation of film subtitles must be concise and of the right length, not too long to affect the images, but also ensure that the language of the subtitles is easy to understand and does not take the viewer a lot of time to understand, otherwise it will affect the viewer's experience.

III. Nida and his theory of functional equivalence

The theory of functional equivalence was developed by AmericanLinguists Eugene A. Nida in 1969.

Eugene Nida is a distinguished translator and translation theorist, best known for his 'dynamic reciprocity' theory of translation, and is regarded as the 'father of contemporary translation theory'. Nida was a leading structuralist linguist and a linguist of great stature in his own right, having served as President of the Linguistic Society of America. He died in 2011 in Brussels, Belgium, at the age of 97. As one of the representative figures of the linguistic school of translation theory, Nida was the first to introduce information theory, semiotics and hermeneutics into translation theory, and was also the first in the history of translation to incorporate the principle of social benefit (reader response) into translation standards. This not only provides a sufficient theoretical basis for translation to become an independent discipline, but also makes translation a more significant interdisciplinary bridge. In China, Nida's translation theory was the earliest and most widely introduced among contemporary Western translation theories, and has had the greatest impact. For more than 30 years, Nida and his translation theory have been a hot topic in the translation community in China.

In his lifetime, Nida has travelled to nearly a hundred countries and given lectures at more than a hundred universities, including 13 academic exchanges in China. The author remembers that in October 1997, Nida participated in the "Shanghai Foreign Language University Translation Seminar" in Shanghai. At the invitation of the conference, Professor Zhou Haizhong, a well-known scholar and a long-time friend of his, introduced Nida's important contribution to the discipline of translation and his academic thinking. He also described Nida's significant influence on the Chinese translation community and his selfless assistance to later students.

But this well-known figure in academic circles has stayed away from the heavyweights of scholarship, quietly serving for more than half a century in the American Bible Society. His main scholarly activities throughout his life revolved around theThe Bible translation of the Bible. In the process of translating the Bible, Nida developed his own theory of translation from a practical perspective, which eventually became one of the classics of translation studies. The core concept of Nida's theory is 'functional equivalence'. Functional equivalence' means that the translation does not seek to achieve a superficial correspondence between the words, but rather a functional equivalence between the two languages.
In order to reduce the discrepancy between the source and target languages by providing a standard for translation, Eugene A. Naida proposed the famous "dynamic reciprocity" theory of translation, or "functional reciprocity", based on the nature of translation from a linguistic perspective. In this theory, he states that "translation is the reproduction of information from the source language in the most appropriate, natural and reciprocal language, from semantic to stylistic" (Guo Jianzhong In this theory, he states that 'translation is the reproduction of information from the source language to the text in the most appropriate, natural and reciprocal language' ( Nida's definition of translation indicates that translation is not only about lexical equivalence but also about semantic, stylistic and stylistic equivalence, and that the message conveyed by translation is both superficial lexical and deep cultural. The definition of "dynamic equivalence" includes four aspects: 1. lexical equivalence, 2. syntactic equivalence, 3. stylistic equivalence, and 4. stylistic equivalence. Of these four aspects, Nida argues that 'meaning is the most important, and form is the second most important' (Guo, 2000, p. 67). Form may conceal the cultural meaning of the source language and hinder cultural exchange. Therefore, in literary translation, according to Nida's theory, the translator should use the four aspects of dynamic equivalence as the principle of translation to accurately reproduce the cultural connotation of the source language in the target language.

In order to accurately reproduce the culture of the source language and eliminate cultural differences, translators can follow these three steps. 1.Strive to create a translation that is both semantically and culturally appropriate to the original. However, the two languages represent two completely different cultures, which may have similar elements, but cannot be identical. Therefore, it is impossible to create a perfect translation that fully expresses the cultural connotations of the original text; the translator can only reproduce the culture of the source language to the greatest extent possible. 2.If meaning and culture cannot be reconciled at the same time, the translator has to abandon formal equivalence and reproduce the semantics and culture of the original by changing the form of the text in the translation. 3. If the change in form is still insufficient to express the semantics and culture of the original language, the translation technique of "re-creation" can be used to resolve cultural differences and bring about a meaningful equivalence between the source and target languages. The term "re-creation" refers to the conversion of the deep structure of the source language into that of the target language.Surface Structure ( Guo Jianzhong The term "re-invention" refers to the conversion of the deep structure of the source language into that of the target language (,2000, P67), i.e. the cultural connotations of the source language text are elaborated and explained in the vocabulary of the translated language. For instance: "He thinks by infection , catching an opinion like a cold.""人家怎么想他就怎么想,就像人家得了伤风,他就染上感冒。" ( Liu Miqing , 1998, P122) In the original English version of this sentence, the connotation of the original text is not expressed by the surface meaning of the words, but is hidden between the lines. We can see from the passage above that there is functional equivalence between the original and the translation. In the translation of film subtitles, we follow the principle of reciprocity as the language of the subtitles is different from the content of the film itself. As we can see from the above passage, different texts have different requirements for the sentences they need to translate. One part of this requires equivalence, i.e. the translated sentence conveys the same meaning as the original (which can of course also convey a difference). But this part of the equivalence is not the most important part; what is most important for the film is the content. The theory of functional equivalence provides a principle for translators when translating film subtitles: the translation should not be treated as if it were the original language. According to the theory of functional equivalence, the corresponding meaning can be found in the translation; instead of comparing and calculating the literal similarity according to the original text, which would be contradictory, the theory of functional equivalence also advocates that the translator makes a reasonable choice of the original language according to his or her own choice of content, rather than following the principle of original language form alone.

IV. Application of functional equivalence

In the following paper, we will take the subtitle translation of several films as an example and talk about the art of subtitle translation for film and television in the light of Nida's theory of functional equivalence. The first film to be analysed is Green Book, which won the 91st Academy Award for Best Picture. As the film is set in 1960s America, a time of 'black and white insurmountability' and overt racism, there are many scenes of exclamations and vulgarities in Green Book. Not only are these exclamations and vulgarities poorly translated, they cannot be translated badly, and if the wrong strategies are used in the translation, they can cause the audience to be derailed in their understanding. However, if they are omitted and not translated, they do not show the film scenes in detail. For example, in Green Book, the main character Tony also frequently uses the phrase "Jesus Christ!", an exclamation often used in spoken English to express shock, anger and discontent. In the subtitle translation of the film, the translator has cleverly combined the principle of functional equivalence by translating this exclamation as "真是飞来横祸！" This is a good way of expressing the main character's feelings in the scene, while allowing the audience to fully understand it, thus achieving the purpose of the translation. For example, after Tony helps Don out of a difficult situation, Tony blurts out the phrase "You ungrateful bastard!", which literally means "你个不懂感恩的混蛋！”But this is clearly not in keeping with Chinese colloquial usage. There is a Chinese word for "白眼狼", which fits the context. So the line translates as "你个白眼狼!" is a perfect translation. In addition, the translation of "Your mother's ass" as "雨太大了" and "Son of a bitch" as "可真够倒霉的！ " are excellent uses of the theory of functional equivalence.

In addition to the English to Chinese translation, this paper will also analyse the theme of this occasion from the perspective of Chinese to English translation in the context of the film 《我不是药神》. In the film I Am Not the God of Medicine, Cheng Yong and Lu Shouyi from a cheaper generic version of the Indian drug GELENINE, which they were selling to leukaemia patients, but no one dared to buy the drug because they thought they were frauds. Cheng Yong said to Lu: 我发现你就是个骗子。In the film, we might translate the phrase as "I found that you are a big liar", but by combining Nida's theory of functional equivalence, the translator translates the subtitle as "You big liar", which not only avoids being cumbersome, but also highlights the key message, which is easy for English-speaking audiences to understand and more in line with the characteristics of spoken communication. It is more in line with the characteristics of oral communication.

Third，the reduction method, taking into account the unannotated nature of the film translation and the multi-colloquial lines, in the subtitle translation, if there are no words and phrases in the target language that correspond to the information in the source language, according to Nida's theory of functional equivalence, we can appropriately add the information that is not expressed omitted in the lines. After Cheng Yong was reported by his peers for selling fake pills, the police came to his shop and searched it, finding many banners sent to him by his patients. Here, the police use an exclamation to question Cheng Yong: "你一卖壮阳药的，送你这么多锦旗干什么！” This shows their contempt for a small trader like Cheng Yong, who does not think that a seller of miracle oil deserves a banner. The subtitles translate as follows You are merely an afrodyn seller, how is it possible?Such good drugs in your possession,what a waste! The translator's addition of the phrase "what a waste!", using an exclamation, serves to emphasise the point. The word "waste" conveys the psychology of the policeman very well and conveys the meaning of the source language precisely. When translating film subtitles, the translation of some common colloquialisms also requires the attention of the translator. We will talk about this in the context of 《Harry Potter 7》. Mr. Ollivander: I see ni reason to put stock into an old wife's tale. 我觉得去不该相信这些无稽之谈。 Harry asks about the idea of the Horcruxes being hidden in the Pavilion, and this is Mr. Ollivander's answer. The translation of "put stock into an old wife's tale" as "无稽之谈" is an excellent translation. "an old wife's tale" literally means "一个老妇人所讲的故事", and to translate this directly would not only be inaccurate, but would also be wordy and not bring out the character. Just like the Chinese hiccups, it is easy to see that the phrase "an old wife's tale" here also has a cultural background in English, and that "无稽之谈", as a four-character idiom, not only accurately expresses the meaning that the character wants to express, but also very well finds the Chinese ground The use of Chinese idioms in this film is a very important part of the film. There are many other idioms used in this film, such as "like hell--惨不忍睹", "you only--别无他人" and "blithering--胡言乱语". " and so on.

V. Summary of suggestions and methods for film subtitle translation

From the above analysis, a few suggestions for translating film subtitles can be briefly summarised. 1.Starting from the characteristics of the film language itself, the information in the original text is processed and translated at different levels according to the theory of functional equivalence. 2.In dealing with these spoken translations it is necessary to translate the sentence according to the meaning it conveys in the context of the scene and the linguistic conventions of the target language audience. 3.Film subtitles are transient in nature, requiring effective subtitling information to be listed on a limited screen, without being verbose or lengthy, but as concise as possible. Due to the constraints of time and space, subtitle translators often have to adopt a reductionist translation strategy. 4.Considering the unannotated nature of the film translation and the multiple spoken lines, in the subtitle translation, if there are no words and phrases in the target language that correspond to the information in the source language, we can appropriately add the information that is not expressed in the lines that are omitted.

References

Wen Quan.温泉.《动态功能对等理论在电影翻译中的应用》. TheApplication of Dynamic Functional Equivalence Theory in Film Translation 》. Liu Miqing.刘宓庆.《文体与翻译》.Style and Translation.北京：中国对外翻译出版公司，1998.Beijing. China Foreign Translation and Publishing Corporation , 1998. Guo Jianzhong.郭建中--《当代美国翻译理论》.Contemporary American Translation Theory .武汉 :湖北教育出版社，2000.Wuhan :Hubei Education Press, 2000. Lu Lu.陆璐.《功能对等指导下的字幕翻译》——以电影《绿皮书》为例.Translation of subtitles under the guidance of functional equivalence - the example of the film Green Book. Ji Yanling.纪艳玲.《功能对等理论在电影字幕翻译中的应用——以《我不是药神》为例》.Application of Functional Equivalence Theory in Film Subtitle Translation: The Case of "I am not the God of Medicine". Shi Chunhong.施春宏.词义结构和词语调节的认知研究[M].A cognitive study of word sense structure and word regulation [M]. 北京：北京语言大学出版社，2015.Beijing: Beijing Language and Culture University Press, 2015. Jia Lijuan.贾立娟. 《功能对等理论在电影字幕翻译中的应用 ——以电影《小妇人》为例》.The Application of Functional Equivalence Theory in Film Subtitle Translation - A Case Study of the Film Little Women. Eugene Nida: the father of contemporary translation theory (baidu.com) Liu Manman.刘满满.功能对等理论在电影字幕翻译中的应用——以《哈利波特7》的字幕翻译为例. The application of functional equivalence theory in film subtitle translation - an example of subtitle translation of Harry Potter 7.

= Topic =

Die Analyse des Phänomens der Über-Lokalisierung bei der Übersetzung von Liedtexten < c e n t e r > 陈衣卉, 202030097001 < / c e n t e r >

= = Abstract = =

Mit der Entwicklung des Internets werden jedes Jahr unzählige fremdsprachige Lieder eingeführt, und die Urheberrechtsinhaber stellen in der Regel keine Übersetzungen zur Verfügung, was zu einem Mangel an Standardisierung bei der Übersetzung fremdsprachiger Lieder führt. Es fehlt den meisten Übersetzern von Leidtext an ausreichenden Kenntnissen der Übersetzungstheorie, was zu einer größeren Abweichung von den traditionellen Gedichtübersetzungen führt, was den Schwerpunkt der Übersetzung und die Einstellung zur Übersetzung betrifft.

Selbst bei sehr populären Liedern ist die Übersetzung ihrer Texte oft problematisch, wobei das Problem der Über-Lokalisierung der Übersetzung besonders schwerwiegend und in den meisten Übersetzungen weit verbreitet ist, vor allem in Form des Missbrauchs von Wörtern mit vier Buchstaben oder der Umgangssprache, der willkürlichen Streichung oder Hinzufügung von Rhetorik und Symbolik, der Abweichung vom Stil des Originals und der Veränderung der Bedeutung des Textes. In diesem Beitrag wird der Autor die Ursachen und Nachteile einer Über-Lokalisierung bei der Übersetzung von Liedtexten hauptsächlich unter diesen vier Aspekten erörtern.

= = Key Words = =

Übersetzung von Liedtexten, Über-Lokalisierung, Lokalisirung

= = 题目 = =

浅析歌词翻译中的过度归化现象

= = 摘要 = =

随着互联网的发展，外文歌曲的引进数量每年不可胜数，而版权方一般不会提供翻译，造成了外文歌曲翻译缺乏规范的现状。大多数歌词的译者都缺乏足够的翻译理论知识，在翻译的侧重点、对待译文的态度等方面与传统的诗歌翻译产生了较大的分歧。即使是流行度高的歌曲，其歌词翻译往往也存在问题，其中翻译的过度归化的问题尤为严重，大多数译作都有此问题，危害甚广，主要表现为滥用四字词语或俗语、对修辞与意象的随意删改或增加、背离原文风格以及对文义的修改。作者将在本文中主要从这四个方面，就歌词翻译中的过度归化的成因、弊害等展开论述。

= = 关键词 = =

歌词翻译，过度归化，归化

= = Die Geschichte und die Situation der Liedtextübersetzung in China = =

Nach den von Professor Qian Renkang angeführten Belegen lässt sich die Geschichte der Übersetzung von Liedtexten in China bis in die Qing-Dynastie zurückverfolgen und reicht bis zu Ye Zhonglengs Übersetzung des amerikanischen Liedes "March to Georgia" aus dem Jahr 1908 zurück. Damals wurden nur wenige Lieder ins Land gebracht, hauptsächlich Schullieder, Revolutionslieder und klassische Lieder aus verschiedenen Ländern. Die Lieder wurden auf unterschiedliche Weise übersetzt, wobei einige Übersetzer chinesische literarische Texte und alte chinesische Gedichte verwendeten, um den Text entsprechend der Melodie ausländischer Lieder zu ergänzen, oder den Text selbst neu schrieben; andere übersetzten aus den Originaltexten. (He Gaoda, Chen Shuiping, 2009, 24)

Nach der Gründung des Neuen China wurde die Übersetzung von Liedtexten wohlhabender, und es gab eine große Zahl talentierter Übersetzer, die eine große Anzahl von Liedern übersetzten und viele populäre Meisterwerke hinterließen. (He Gaoda, Chen Shuiping, 2009, 24)

Zu diesem Zeitraum beruhte die Verbreitung ausländischer Lieder hauptsächlich auf Papierbüchern und physischen Schallplatten, die teurer, weniger zahlreich und in der Übersetzung relativ standardisiert waren. Mit dem Eintritt in das Internetzeitalter hat sich die digitale Musik jedoch zu einem wichtigen Verbreitungsweg für Lieder entwickelt, und die Kosten für die Einführung ausländischer Lieder sind stark gesunken und die Zahl der Lieder ist drastisch gestiegen.

Die wichtigste Musiksoftware in China sind derzeit Tencent Music und Netease Cloud Music, wobei erstere im Jahr 2020 einen Marktanteil von 72,8 % und letztere von 20,5 % haben wird. Sie nutzen zwei unterschiedliche Übersetzungsmechanismen, wobei Tencent Music im Grunde nur offizielle Übersetzungen von Liedern anbietet und es den Nutzern nicht erlaubt, sie selbst zu übersetzen, und Netease Cloud Music im Grunde nur den Nutzern erlaubt, Liedtexte zu übersetzen und selbst hochzuladen, ohne offizielle Übersetzungen anzubieten. (Huajing-Institut für industrielle Forschung, 2022)

= = Erscheinungsformen der Über-Lokalisierung = =

(1)Die missbräuchliche Verwendung von Wörtern mit vier chinesischen Zeichen oder umgangssprachlichen Ausdrücken.

Beispiel: Ursprünglicher Text: Hot summer nights mid July When you and I were forever wild (Rick Nowell, 2013, “Young and Beautiful”) Chinesische Übersetzung: 仲夏夜茫，七月未央 我们年少轻狂，不惧岁月漫长 (QQ Music) Im ersten Satz bezieht sich "仲夏" speziell auf den mittleren Monat des Sommers, was nicht der Bedeutung der ersten Hälfte des Originals entspricht, "茫" könnte sich in dieser Übersetzung auf eine Sommernacht ohne Ende beziehen, aber im Original findet sich keine entsprechende Bedeutung. Die Bedeutung von "未央" unterscheidet sich auch von der Bedeutung von "mid" in der Mitte, und das Wort "hot" wird in der Übersetzung weggelassen. Im zweiten Satz entspricht nur das Wort "wild" dem Wort "轻狂" in der Formulierung "年少轻狂", und die Formulierung "不惧岁月漫长" scheint keine Übersetzung des Textes zu sein, sondern eher die persönliche Interpretation des Übersetzers des Wortes "forever". Diese Art der Übersetzung kommt häufiger bei Übersetzungen englischer Texte vor, bei denen der Übersetzer oft die Wörter mit vier chinesischen Zeichen nachahmt, um sie zusammenzubringen, wodurch die Übersetzung erheblich vom Original abweicht.

Beispiel: Ursprünglicher Text: And I know you've been in A couple more relationships than me(Charlie Puth, Jacob Kasher, 2018, “BOY”) Chinesische Übersetzung: 我也知道 你早已 名花有主 不可能属于我 (Fuka, NetEase Cloud Musik) Die chinesische Übersetzung des Satzes "A couple more relationships than me" sollte "比我多了几段恋情" lauten, nicht "在一段恋情中", was sich von der Bedeutung von "名花有主" unterscheidet, und die Übersetzung ist hier unpassend.

Beispiel: Ursprünglicher Text: Hung high and dry, where no one can see If there's no one to blame, blame it on me (Matt Maeson, 2018, “Put it on me”) Chinesische Übersetzung: 濒临绝境，无人可知 若无人可以责备，就加诸于我 (QQ Music) Die Formulierung "濒临绝境" ist eine Erläuterung oder Zusammenfassung der ursprünglichen Formulierung "Hung high and dry", bietet dem Leser aber nicht dieselben Informationen und ist keine angemessene Übersetzung. Die Übersetzung von "Blame it on me" mit "加诸于我" ist ebenfalls falsch, da "加诸" eine Abkürzung für "加之于" ist. Es ist grammatikalisch falsch, das Wort "于" am Ende hinzuzufügen.

(2)Willkürliche Streichungen oder Hinzufügungen von Rhetorik und Bildsprache

Beispiel: Ursprünglicher Text: Cause we never go out of style We never go out of style (Payami, Ali, 2015, “Style”) Chinesische Übersetzung: 因为我们是天生一对 我们是丘比特独一无二的典范 (Fuka, NetEase Cloud Musik) Die wörtliche Bedeutung von "go out of style" ist "aus der Mode kommen". Der Autor macht nicht deutlich, ob sich dies auf den Aspekt der Liebe beschränkt, und es wird keine Rhetorik verwendet. Es ist nicht angemessen, dies als "丘比特的典范" zu bezeichnen.

Beispiel: Ursprünglicher Text: Changing like the weather oh that’s so like you The Santa Ana moves you (Lana Del Ray, 2019, “California”) Chinesische Übersetzung: 你的脾气和天气一样喜怒无常 和你如出一辙 未曾改变的风撩动你的心弦 (QQ Music) Der Übersetzer geht davon aus, dass die chinesischen Leser mit dem Hurrikan Santa Ana nicht vertraut sind, so dass es eindeutig unangebracht ist, die Bilder zu streichen und mit "未曾改变的风" zu übersetzen.

(3)Die Abweichung vom ursprünglichen Stil Beispiel: Ursprünglicher Text: P-P-Please Mr. Kennedy (Uh oh!) I don't wanna go (please don't shoot me into outer space) (Justin Timberlake, 2013, “Please Mr. Kennedy”) Chinesische Übersetzung: 求。。求。。求求你了肯尼迪 偶真的不想去 （请不要把偶送到太空( ▼-▼ )）(shilouluo, NetEase Cloud Musik) Der Originalsong ist eine eher entspannte Country-Ballade, aber der Übersetzer verwendet in der Übersetzung viele Internetphrasen und Text-Emoji. Das macht den Stil der Übersetzung zu poppig und unterhaltsam und schafft eine große Abweichung vom Stil des Originals.

Beispiel: Ursprünglicher Text: Come up to meet you Tell you I'm sorry (OneRepublic, 2008, “Apologize”) Chinesische Übersetzung: 特来与你相见 好细说悔憾亏欠 Obwohl der Originalsong lyrisch ist, ist die Sprache nicht retro, die Bedeutung des Textes ist oberflächlich und einfach, und die Übersetzung ist im Retro-Stil, was für einen modernen amerikanischen Popsong unpassend wäre.

(4)Die Änderung der Bedeutung des Textes

Beispiel: Ursprünglicher Text: Fifteen years, fifteen million tears Begging 'til my knees bled (Taylor Swift, 2020, “it’s time to go”) Chinesische Übersetzung: 数载磨砺的成果被践踏 我不禁潸然泪下 委屈求全 直至血漫膝下 (Das Tagebuch von Vail, NetEase Cloud Musik) Im ersten Satz heißt es im Originaltext nicht "成果被践踏", aber der Übersetzer hat sich die Freiheit genommen, diesen Absatz aufgrund seiner eigenen Spekulationen über die Metapher des Textes hinzuzufügen. Die Formulierung "潸然泪下" spiegelt keine quantitative Betonung wider und ist mit dem Sinn des Textes unvereinbar. Das Wort "Begging" im zweiten Satz ist ebenfalls unangebracht, denn "委屈求全" bedeutet "entgegenkommen", während "Begging" "betteln" bedeutet. Die Übersetzung entspricht auch nicht der Bedeutung des Originaltextes.

Beispiel: Ursprünglicher Text: 現を背に 痛みに狂う 我ら似て非なる群れた愚者 (illion, 2013, “Gasshow”) Chinesische Übersetzung: 背负现实 因痛楚而疯狂 似吾等 背道离经的愚众 (QQ Music) Die chinesische Übersetzung des Satzes "似て非なる" lautet "似是而非", und "背道离经" mag das spezielle Verständnis des Übersetzers von "似是而非" sein, aber es stimmt nicht mit dem Originaltext überein.

= = Conclusion = =

111

= = References = =

111

Topic

On How to Use the Humanistic Attributes of Translation Studies to Solve the Problem of "rigid"

Abstract

The modern humanistic science frameworks are divided into many kinds. Human understanding of the world is divided into humanities and natural sciences on the basis of two major human-centered as well as nature-centered bases. By the period of structuralist linguistic translation paradigm, the leaps and bounds of science and technology have made it possible to stop worshipping the individual and to construct precise and rigorous frameworks by scientific methods, so that translation studies can be as precise as natural science studies. However, this disregard for the human being by scientism has caused dissatisfaction among many researchers. Translation, as a cross-cultural interlanguage conversion activity, is not only a linguistic phenomenon, but also a socio-cultural phenomenon. Its core lies in emotive interlingual application. The exploration of humanism not only does not conflict with the rigorous concept of translation discipline, but also constantly enriches the teaching of translation studies and demolishes the difficult problems in the core tasks.

Keywords

Humanistic characteristics Essence and task problem of "rigid"

题目

论如何利用翻译研究的人文属性解决“僵化”问题

摘要

现代人文科学构架分为很多种。在以人为中心以及自然为中心的两大基础上人对世界的认识分为人文科学与自然科学。到了结构主义语言学译学范式时期，科学与技术的飞跃性发展使人们不再崇拜个体，而是科学的方法构建精确严密的框架，让翻译研究能够像自然科学研究那样精准。然而，科学主义这种对人的无视引起了许多研究者的不满。翻译作为一种跨文化的语际转换活动，不仅是一种语言现象，更是一种社会文化现象。其核心在于富有感情的跨语际应用，对人文性的探索不仅不会与翻译学科的严谨理念产生冲突，而是不断丰富着翻译学的教学，拆解着核心任务中的疑难问题。

关键词

人文特点 本质与任务 “死板”问题

= Translation Strategies of Film Subtitles from the Perspective of Eco-translatology - An Example of "Flipped" =

                                                                    傅晨（Fu Chen）202030097003

= = Abstract = =

Film is a carrier of culture, and with the development of global economicization and the increase of social and cultural interaction, more and more foreign films are entering the Chinese market, and audiences can accurately understand the content of foreign films and feel the foreign culture, the correct subtitle translation plays an extremely important role. inadequacies in subtitle translation. It is necessary for film subtitles to apply the theory of Eco-translatology, grasp the ecological environment of language, adapt and choose in the process of translation. Based on the theory of ecological translation, this paper takes the movie "Flipped" as the research object, focuses on the translation in "Flipped" from the perspective of "linguistic dimension", "cultural dimension" and "communicative dimension", and discusses the translation strategy of movie subtitles, hoping to provide reference and consideration for the translators of movie subtitles and help further improve the translation level of movie subtitles.

= = Key Words = =

Eco-translatology, strategies of translation, three-dimensional transformation, Flipped

= = 摘要 = =

电影是文化的载体，随着全球经济化的发展和社会文化的互动增多，外国电影越来越多的进入中国市场，受众能够准确理解外国电影的内容，感受异域文化，正确的字幕翻译发挥了极其重要的作用，在各种影视翻译中，译者往往只注重内容的直接传达而忽视原文真实内涵与文化的传递，在字幕翻译方面还存有不足。电影字幕运用生态翻译学理论，把握语言的生态环境，在翻译过程中做到适应与选择是非常有必要的。《怦然心动》是一部十分受欢迎的青春电影，对于该电影字幕的翻译有很多版本，很多学者也对电影台词进行了研究。本文以生态翻译学理论为基础，以电影《怦然心动》为研究对象，着重从“语言维”、“文化维”、“交际维”三维转换的角度对《怦然心动》中的翻译进行剖析，探讨电影字幕的翻译策略，希望为电影字幕的翻译人员提供借鉴与思考，帮助进一步提高电影字幕的翻译水平。

= = 关键词 = =

生态翻译学，翻译的策略，三维转换，怦然心动

= = Introduction = =

In the context of economic globalization, China is interacting more and more closely with other countries in the political, economic and cultural fields. Chinese culture, with its profound and far-reaching origins, is constantly receiving attention and love from foreign people, and more and more Chinese film and TV works are going overseas. At the same time, a large number of foreign films and TV works are also introduced into the domestic market and accepted by Chinese audiences. This has led to an increasing demand for translation of foreign films and TV works, which has not only promoted the work of subtitle translation, but also led many experts and scholars to devote themselves to the study of film subtitle translation. Subtitles play an important role in the communication and dissemination of culture as a medium of film transmission. Due to the huge differences between Chinese and foreign language systems and cultural customs, translators can only produce high quality translations by choosing appropriate methods and strategies and using scientific tools and theories to translate the text. Therefore, it is necessary to study the translation strategies of movie subtitles.

"Flipped" is about the interesting war between adolescent boys and girls, which makes people unconsciously recall the heartbeat and beauty of their youth. The story of the movie is very simple, the hero Bryce's family moved to the town, and the heroine Juli's family became neighbors, the little girl Juli fell in love with Bryce at first sight, in order to get close to him, she tried everything possible. However, after Juli experiences her beloved sycamore tree being cut down and Bryce refusing to help, her eggs being secretly thrown into the garbage by Bryce and her uncle being ridiculed by others, while Bryce is indifferent, Juli starts to feel disappointed with Bryce and begins to realize that Bryce may be a hollow person inside, and his person is far from being as beautiful as his blue eyes. After Juli's feelings for Bryce slowly fade, Bryce realizes at this point that he has already fallen in love with Juli. The appearance of Juli's uncle makes Juli understand her father's love and commitment, and has more thoughts about the inner workings of people. Bryce, under the teaching of his grandfather, throw away his prejudices, sees a different Julie and admitts his inner. In the end, under the mediation of Bryce's grandfather, Bryce takes the initiative to go to Julie, and both sides achieved reconciliation and become more mature.

The film is inspiring and thought-provoking, encouraging people to boldly pursue their heart's desire and to be as gorgeous as a rainbow. The film is loved by the public because of its beautiful images, bold filming techniques and beautiful soundtrack, but also because of the wonderful subtitle translation, which leaves a deep impression on the audience. In this paper, we will interpret the subtitle translation of "Flipped" from the perspective of Eco-translatology.

= = Eco-translatology = =

（1）Overview of eco-translatology The concept of "ecological translation science" was first proposed by Prof. G.S. Hu and is still evolving today; Darwin first proposed ecological translation science in his theory of evolution in the middle and late 19th century, and gradually developed into the theory of adaptive selection of translation with continuous development. In the early 21st century, with the help of Darwin's theory of natural selection, Haggas (a PhD student at Hong Kong Baptist University) explored the philosophical basis and feasibility of translation activities and creatively proposed the need to establish a "translation adaptation selection theory". 2012, with adaptation and selection as the starting point, by reinterpreting the concept of translation, Hu Gengshen discussed the relationship between translator's choice and adaptation, and at the same time, from the perspective of adaptation and choice, he reformulated the process, method and essence of translation, establishing a basic theoretical framework for the theory of translation adaptation and choice. . Eco-translatology is an ecological translation research paradigm that makes use of the characteristics of ecological rationality and provides an overview of translation from an ecological perspective. It takes translation ecology, text ecology, "translation community" ecology and their interrelationships as the research objects, and provides an overview and description of translation ecology as a whole and translation theory ontology (translation essence, process, standards, principles and methods, as well as translation phenomena) from an ecological perspective by means of the narrative of ecological translation science (Hu Gengshen 2013, 11).In a nutshell, it means that translators exert their own subjective initiative in the process of translation, grasp the translation ecology, and adopt various strategic techniques to transform the textual information, language, and cultural customs, so that readers can better understand the original text.

Some of the terms and concepts of ecotranslation are derived from the understanding of natural ecosystems; they are also developed on the basis of the theory of adaptive selection in translation. Ecotranslationism transposes and analogizes the basic principle of "survival of the fittest" in natural ecology, and embeds this principle in translation ecosystems, so that this principle is associated with the innate sense of survival and life of "translation communities ". In other words, by using the "survival of the fittest" principle, we can make use of the "survival of the fittest" principle. In other words, using the leverage of the basic principle of "survival of the fittest" - the leverage of the survival system's and the survival system of thinking" in translation practice - this is the intrinsic and eternal motivation for translation success, and the original goal of returning to the survival, life, and ecological development of the "translation community" (Hu Gengshen 2013, 12).

In short, in the context of globalization, on the basis of an overview and reflection of the gains and losses, bias and completeness, and the unity of theory and learning of translation theories, and based on the basic characteristics and laws of ecology, it is important to consider the unity of translation theories. Based on the basic characteristics and laws of ecology and guided by ecological rationality and values, a systematic investigation and description are conducted at three levels of translation studies, translation theories and translation texts, and a theoretical discourse system of ecological translation is constructed. The theoretical discourse system of ecological translation is constructed. The further research and development of this ecological translation paradigm will help to study and develop translation science in a more rational and scientific way (Hu Gengshen 2013, 26).

(2) Explanation of the concept of "three-dimensional transformation” Eco-translatology believes that in the process of dealing with translation problems, it is necessary to achieve selective conversion of multiple dimensions, which is mainly reflected in the "three-dimensional" conversion, namely, language dimension, cultural dimension and communicative dimension. The "linguistic dimension" is mainly reflected in the adaptive conversion of the linguistic form and rhetorical style of the text, which requires the translator to have good cultural literacy and strong textual skills, and the "cultural dimension" is mainly reflected in the adaptive conversion of the cultural nature and content of the language. The "cultural dimension" is mainly reflected in the adaptation of the cultural nature and content of the language, the transmission and interpretation of the bilingual culture, and the avoidance of ambiguity caused by cultural barriers. According to Hu Gengshen (2011), based on the viewpoint of adaptive choice theory, the cultural dimension of adaptive choice transformation here mainly refers to the translator's need to establish a corresponding cultural concept during translation, pay high attention to the cultural information and meaning covered by the source language, and emphasize the transmission and interpretation of the connotation of bilingual culture, not simply translating culture. For this dimension of adaptive conversion, it can effectively avoid some inconvenience or misunderstanding because the focus is on the difference between the source language culture and the target language culture. This requires the translator to be familiar with Chinese and Western cultures, to understand the source language of the target culture, and to understand the original idea precisely. The "communicative dimension" means that in addition to the conversion of linguistic information and cultural connotation, the translator focuses on the communicative level in choosing the conversion, and pays attention to whether the communicative intention in the original text is reflected in the translation (Hu Gengshen 2004, 138). In translation studies, according to Nida, any information is useless if it does not play a communicative role (Nida, 1993). In other words, if a translation cannot play a communicative role and realize the communicative intention, such a translation is unqualified, and the translator must consider all relevant elements of linguistic communication activities when dealing with the translation problem.

= = Translation characteristics of movie subtitles = =

With the development of economy and culture, film has gradually become one of the important carriers of culture, and in the process of cultural transmission, film translation plays an important role in promoting cultural exchanges between different countries, As a kind of translation, film translation is also applicable to the method of "three-dimensional translation".

Subtitling is a mode of translation that converts verbal or non-verbal visual and auditory content into verbal visual content and adds it to the screen (Gottlieb, H 1994). The core of subtitling is to accurately translate the connotations and intentions of the original language with the context of the translated text, to break down the boundaries between different cultures, and to accurately convey the emotional and ideological core of the film.

The language of film subtitles comes from the words of the characters. Therefore, both dialogue, monologue and internal mapping should reflect the unique character color of the speaker. Most of the subtitles are conversational in nature. The dialogue shows the character's emotional state, attitude towards people and things, experience, etc. Moreover, the dialogue in the captions fits perfectly with the development of the story, and can be said to reflect the storyline. So it is possible to read the plot of the story without looking at the picture but only at the subtitles, which requires the subtitles to be rich in personality and expressive.

The language of film subtitles must be readable. Most of the movie subtitles are dubbed by voice actors. In turn, the translated subtitles must be read. Therefore, subtitles must be readable. Readable, rhythmic, and in line with the language characteristics of the film's main character. The pauses must be natural and smooth. And the phrase must have the characteristics of high and low, intonation and staccato. The most ideal readable state is that the translation and the original language are uniform in length, diction and rhyme. Due to the time and space factor, subtitles also need to be simple and easy to understand, so that the message is coherent and consistent, and so that the sound matches the picture perfectly. Since the images in a movie change very quickly and cannot be rewound, the translator must pay attention to the timeliness of the subtitle translation.

= = Subtitle translation strategies from Eco-translatology perspective= =

Eco-translatology requires translators to make adaptive selective transformations of the original language dimension, cultural and communicative dimensions in the translation process. When translating movie subtitles, translators should first understand and adapt to the ecological environment of the original language, combine the original language, the translated language, the translator and the cultural background, and take the translator as the central leader, and then carry out multi-dimensional adaptive selection conversion so that the target language audience can break the linguistic and cultural barriers and correctly understand the cultural and ideological connotations conveyed by the film with the help of subtitles. In the following, the author will analyze the subtitle translation of "Flipped" from three dimensions and discuss the related translation strategies.

（1）Linguistic Dimension

The adaptive choice and adaptive transformation of language dimension are mainly reflected in the language form. English and Chinese belong to two very different language systems with huge differences in daily expressions, so the translation of movie subtitles should start from the linguistic expression habits of the target language audience and select appropriate words and sentence forms on the basis of the linguistic norms in order to obtain the optimal translation.

Example: "She totally dominated the fair." The direct translation of this sentence is "她统治了这个慈善会", "dominate" originally means to dominate, control, the phrase appeared in the science fair, because Julie's outstanding ability to successfully hatch chicks gained the attention of everyone, as if she manipulated the charity. As she manipulated the charity event, the hero Bryce thus expressed his displeasure. The word "dominate" is often used to refer to a person's exceptional strength and ability to win a competition, but it also means that someone has great control over things.It translates to "她简直称霸这场活动", which is not in line with our daily expressions,and also conveys to the audience the mood of Bryce when she says this line, which helps the audience to perceive and understand the emotion of the movie and attracts the audience's interest to watch the movie afterwards.

There are many differences in language expressions, so when translating, we should fully consider the overall ecological environment of the translation and make a moderate shift in the language dimension. For example, "What I hoped would be a one-time event was just the beginning of a life consumed with lies, intrigue and deception. "A one-time event" is a direct translation of "一次性事件", referring to Bryce thought that as long as he secretly dropped the eggs sent by Julie, everything would be fine, but did not expect to get involved in more trouble. The three words "lies, intrigue, deception" all mean "说谎,欺骗" and are used to emphasize Bryce's repeated deception of Julie. In Chinese, "谎话连篇" usually means that a person's words are almost all lies and have no truthfulness. Therefore, the choice of the two idioms "永绝后患" and "谎话连篇" in the translation can express the original meaning concisely, which makes the Chinese audience feel that the subtitles are concise and full of rhythm and vividness, and also conforms to the Chinese language habits. It is also in line with the Chinese language habits. It is simple and clear, free from the time and space limitation of subtitle translation, and correctly uses the film subtitle translation strategy. It can be seen that a direct translation of "I hope this is just a one-time event, and this is just the beginning of a life full of lies, conspiracies and deceptions." It can be said that it is very faithful to the original text, but it is not connected with the plot and cannot be understood by the audience, and it meets the requirement of the principle of fidelity but not the principle of coherence.

（2）Cultural Dimension

The cultural dimension of adaptive selection and adaptive translation focuses on the differences in content and nature between the source language and the translated language, avoiding excessive attention to the culture of the translated language that may result in misinterpretation of the original text, and the translator should try to adapt to the entire cultural system to which the translated language belongs while translating.

For example, "All hair and no substance", "substance" originally means material, and the direct translation here is "全部的头发，没有物质", while the translation is The Chinese proverb "头发长见识短" is easy to understand. For example, "Juli Baker did not wind up in The Mayfield Times for being an eighth-grade Einstein." This sentence translates to "朱莉·贝克登上梅菲尔德时报可不是因为她天赋异禀。” The translation of "eighth-grade Einstein" is "天赋异禀" instead of "八年级的爱因斯坦" ，Bryce's grandfather said this to Bryce to illustrate Juli's intelligence, "Einstein" in foreign countries is synonymous with "talent" and "smart", the translator translated into "gifted" can convey the meaning of the original, but also let the audience experience a small dark humor in the film, vivid and lively. All these examples use some Chinese colloquialisms or buzzwords to translate, so that the audience will not be unable to understand or comprehend the situation, but also to make the audience better watch the movie. It can be said to be two birds with one stone.

（3）Communicative dimension

The communicative dimension of conversion requires the translator to consider the communicative intent of both languages when translating to achieve an effective exchange of information. The communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Due to the great difference between Chinese language and English language, translators need to make certain conversions to the original language so that the translated audience can better understand the content of the film.

For example,”Some of us get dipped in flat, some in satin, some in gloss. But every once in a while you find someone who's iridescent, and when you do, nothing will ever compare.”Some people translate this quote as "有些人浅薄，有些人金玉其外而败絮其中。有一天你会遇到一个彩虹般绚丽的人，当你遇到这个人后，会觉得其他人只是浮云而已。”. Some translate it as "有人住高楼，有人在深沟，有人光万丈，有人一身锈，世人万千种，浮云莫去求，斯人若彩虹，遇上方知有。" The communicative intent of this sentence is that Bryce's grandfather teaches Bryce to boldly pursue the person who makes his heart sing. Both translations accurately convey the characters' thoughts and achieve the communicative intent. In Chinese expressions, the aesthetics of the text are generally emphasized. The first of the two translations mentioned above is expressed in an easy-to-understand way, containing Chinese colloquialisms, so that readers can directly grasp the meaning of the original text. The second one follows the format of the original text and adopts the technique of prose repetition, which is more elegant, catchy and thought-provoking to read. Both translations are loved by the public, leaving the audience with a deep impression, remembering the ideological connotation of the movie, and achieving the goal of adapting to the ecological environment of the original text and reflecting the communicative intent of the original text.

= = Conclusion = =

Eco-translatology brings new vitality to Chinese translation theory, and it has designed two disciplines, "translation" and "ecology", and its emergence and development also reflect that translators have turned more to people and ecological nature, and embody the philosophy of "harmony and coexistence" and "people-oriented". It also reflects the philosophical thoughts of "harmonious coexistence" and "people-oriented". At present, there are still many fields worthy of research and yet to be developed in ecological translation science. As people become more proficient in understanding and using ecological translation science, the research on ecological translation science can naturally make great progress.

The "three-dimensional transformation" in "Flipped" is analyzed and exemplified from the perspective of ecological translation, that is, how the translator achieves the ecological balance between the source language and the translated language in the translation from the linguistic dimension, cultural dimension and communicative dimension. In the linguistic dimension, the translator not only pays attention to preserving the cultural characteristics of the original language, but also takes into account the comprehension ability and language habits of the Chinese audience. In the cultural dimension, on the basis of considering the characteristics of the source language, it is replaced by common Chinese colloquialisms, while accurately conveying the cultural connotation of the Western countries, which facilitates the understanding of the audience and further enhances their interest in watching the movie. In the communicative dimension, the translator successfully conveys the communicative intent of the original lines, stands in the viewer's perspective, conveys the character's thoughts, and helps the audience understand the ideological core of the movie.

"Flipped" is an excellent youth film, and there are many translations of the film in China with impressive vocabulary. By exploring the translation of the film from "three-dimensional" transformation, we can find that ecological translation theory is an important guiding role for the translation of film subtitles, which is an effective tool discipline, and the correct use of multi-dimensional adaptive selection and transformation can help to further improve the film translation.

= = References = =

· Hu Gengshen 胡庚申. (2013). 生态翻译学：建构与诠释【Eco-translatology: Constructing and Interpreting】11-12，26

· Hu Gengshen 胡庚申. (2011). 生态翻译的研究焦点与理论视角，【J】《上海翻译》，2011

· Hu Gengshen 胡庚申. (2004). 翻译适应选择论【Translation Adaptation Selection Theory】135-138

· Nida， E A.Language, C~mre and Translation[M], Shanghai: Shanghai Foreign Language Education Press,1993

· Baker,M.Encyclopedia of Translation Studies [M].London and New York:Routledge,1998.

· Gottlieb,H(1994)Subtitling:Diagonal Translation.Perspectives: Studies in Translatology,2,101-121. https://doi.org/10.1080/0907676X.1994.9961227