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= 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 = =

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= = Conclusion = =

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= = References = =

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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 Chinese film subtitles to apply the theory of Eco-translatology, grasp the ecological environment of language, and 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，受众能够准确理解电影的内容，正确的字幕翻译自然功不可没。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 = =

"Flipped" is about the interesting 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 Julie's family became neighbors, the little girl Julie fell in love with Bryce at first sight, in order to get close to him, she tried everything possible. However, after Julie experiences her beloved sycamore tree being cut down and Bryce refuses to help, her eggs being secretly thrown into the trash by Bryce and her uncle being ridiculed by others, while Bryce is indifferent, Julie starts to feel disappointed with Bryce, while Bryce realizes that he has already fallen in love with Julie at this time. The appearance of Julie's uncle allows Julie to understand her father's love and commitment, and to think more about the inner workings of human beings, and Bryce, under the guidance of his grandfather, throws away his prejudices and sees a different Julie. In the end, through the mediation of Bryce's grandfather, both parties reconcile 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 "eco-translatology" was first proposed by Professor Hu Gengshen and is still evolving today. Eco-translatology is an ecological translation research paradigm that makes use of the characteristics of ecological rationality and provides an overview of translation from the perspective of ecology. With the concept of ecological holism and the oriental ecological wisdom as the basis, we take the ecology of translation, the ecology of texts, the ecology of "translation communities" and their interrelationships as the research objects, and use the narrative of ecological translation science to take an overview and describe the ecology of translation as a whole and the ontology of translation theory (the essence, process, standards, principles and methods of translation, as well as translation phenomena) from an ecological perspective (Hu Gengshen2013,11). In a nutshell, translators exert their own initiative in the process of translation, grasp the translation ecology, and adopt various strategies and techniques to transform the textual information, language, and cultural customs, so that readers can better understand the original text. (2) Explanation of the concept of "three-dimensional transformation” Ecotranslation believes that in the process of dealing with translation problems, it is necessary to achieve selective conversion in multiple dimensions, which is mainly reflected in the "three-dimensional" conversion, namely, linguistic dimension, cultural dimension and communicative dimension. The "language dimension" is mainly reflected in the adaptive conversion of the language form and rhetorical style of the text, which requires the translator to have good cultural literacy and strong writing skills, and the "cultural dimension" is mainly reflected in the adaptive conversion of the cultural nature and content of the language. 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 the selection of conversion on the communicative level 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 intent, 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 = =

Film is one of the important carriers of culture, and film translation plays an important role in promoting cultural exchange between different countries. The method of "three-dimensional translation" is also applicable. 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 bottom of the screen (Gottlieb, H 1994). The core of subtitle translation is to accurately translate the connotation and intention of the original language with the context of the translated text, to break the boundaries between different cultures, and to accurately convey the emotional and ideological core of the film. Due to the influence of time and space factors, subtitle translation needs to pay attention to the synchronization of audio and video, requiring concise and easy to understand, and ensuring the backward and forward connection and coherence of information. At the same time, as the picture changes in the movie are very fast and cannot be rewound, translators should pay attention to the timeliness of subtitle translation.

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

Ecological translation science requires translators to make adaptive choices to transform the original language dimension, cultural and communicative dimensions in the translation process. Film subtitle translation needs to combine the original language, the translated language, the translator and the cultural background, so that the target language audience can break the language and cultural barriers and correctly understand the cultural and ideological connotations conveyed by the film with the help of subtitles.

（1）Language 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", which is not in line with our daily expressions. This sentence appeared in the science fair because Julie's outstanding ability to successfully hatch the chicks gained everyone's attention, just like she manipulated the fair, which is not in line with our daily expressions. We often use the word "dominate" to mean to be extremely strong and win a competition, so it translates to "她简直称霸这场活动".

（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" as "天赋异禀" instead of "八年级的爱因斯坦" allows Chinese viewers to Chinese audiences can fully appreciate some of the film's dark humor. 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。" Both translations accurately convey the ideas of the movie, the first one is easy to understand and contains Chinese colloquialisms, while the second one adopts the technique of prose repetition and expresses more elegantly, both of which are loved by the public and successfully impress the audience to remember the ideological connotation of the movie.

= = Conclusion = =

“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

· 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