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Chapter 1 Italic textAnalysis on the Subtitling Strategies in the American Version of Legend of Zhen Huan.
浅析美版《甄嬛传》的字幕翻译策略
阳佳颖 Yang Jiaying, Hunan Normal University, China
Abstract
The Legend of Zhen Huan, as an excellent Chinese TV series, has successfully made its way to the American market recently. However, there are still flaws and shortcomings in the translation of the American version. By comparing and analyzing the Chinese and American English subtitles of the Legend of Zhen Huan, this paper aims toexplore the translation strategies and methods adopted in the overseas edition, and then find out the problems in the translation, so as to provide some insights for future Chinese costume dramas to go global.
摘要
《甄嬛传》作为中国的一部优秀国产电视剧，成功地走向了美国市场。但是美版《甄嬛传》在翻译上还存在瑕疵与不足。本文旨在通过对中美两版《甄嬛传》的字幕文本进行对比分析，探讨美版《甄嬛传》字幕所采用的翻译策略和方法，进而找出翻译中存在的问题，以求为今后国产古装剧走向世界提供一些启示。
Key Words
Translation strategy; translation methods; Legend of Zhen Huan; Subtitle translation
关键词
翻译策略；翻译技巧；《甄嬛传》；字幕翻译
Introduction
The TV series Legend of Zhen Huan is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. Adapted from Liu Lianzi's novel of the same name, this play mainly focus on the story of the young girl Zhen Huan, who grows up from an unsophisticated young girl to an politically adept empress dowager. Since its debut in China in 2012, the Legend of Zhen Huan has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that its revised script is well-produced; on the other hand, the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original Legend of Zhen Huanby cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the U.S. However, the American version of the Legend of Zhen Huan failed to be well received by American viewers, most of whom abandoned the play after only one or two episodes. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason for the unpopularity is the insufficiency of subtitle translation, which had even been criticized by some Chinese audience.This paper attempts to explore the translation strategies and the translation methods used in the American version to find out the translation shortcomings, hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.
Literature Review
Previous studies in Subtitle Translation abroad
Subtitles refer to terms that are converted in two ways when translating popular audio-visual communication types such as movies and TV. Subtitles can be interlingual or intralingual. which provides explanations for the dialogues between the characters in films and TV works.
Oversea investigations into subtitle translation roughly began in 1960s.In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect "synchronization" in all aspects of the translation of film(Fodor 1976:82).
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).
Previous studies on Subtitle translation at home
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000:64), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005:50) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.For this reason, this paper attempts to explore the subtitling translation of Legend of Zhen Huan and its translation strategies, It is hoped that this paper is able to provide some reflections and enlightenment for the subtitle translation of similar domestic films and TV series.
Subtitle translation features
Subtitle translation, like literary translation, can help cultural spread and expressing emotions, but their difference is that subtitling should take into account such factors as the screen and the audience, so the length of the translation should be short and simple, and the language used should not be too profound, trying to be concise and easy to understand.(Zhao 2010:57-58.)
Be brief and comprehensive
Subtitle translation should not be lengthy for two reasons: Firstly, due to the constant screen switching, each screen stays for a short time, and the scene with the character’s dialogue switches over more in a few seconds, which is fleeting. Secondly, In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.No matter whether it is the big screen of the cinema or the small screen of the home TV, due to the limitation of the screen space, the more number of words of the subtitles, the larger space will be occupied, and they cannot be accommodated in the limited space in a few seconds, accordingly,the audience will feel dazzled.Therefore, in order to give a better view experience, subtitles should be as concise and brief as possible, so should be the translation.(An 2016:90)
Be natural and idiomatic
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important for the translator to pay attention to whether the target subtitles are in line with the target audience's daily spoken language.If the source subtitles is translated formally and rigidly, the audience of the target language will find it less natural and fluent, and their viewing experience can not be comparable with that of the source language audience. On the other hand, As is known to us,the characteristics of the characters can be clearly shaped by their way of speaking in plays. If the translator fails to grasp the spoken features of the characters, the target audience will be unable to understand the character’s connotation as the audience of the target language does.(An 2016:91)
Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.
Be easy to understand
The film and Television Play are the popular entertainment program, and there are thousands of people watching TV dramas, whose knowledge and cultural level vary widely and appreciation level is naturally mixed.It is because of the great number of the audience of film and TV series that it requires subtitle translation to take care of the needs of the majority of the audience. Therefore, whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication. Whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication, the subtitles and the translation should both be clear at a glance and easy to understand.(An 2016:91)
Theory of Domestication and Foreignization
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:(Venuti, 1995:20)
Domestication
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.(Yang 2011:214)
Foreignization
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that "the translator should not disturb the author as much as possible to make the reader close to the author".Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader could not only understand the words simply, but also understand the foreign culture behind them--actually they have the capacity to understand their culture.(Sun 2002：40)
However, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.When doing the translation, the translator should flexibly apply these two strategies according to the features of the texts.
Case Study
In this part, the author analyzes the specific application of foreignization and domestication in the Chinese-English translation of the subtitles of the Legend of Zhen Huan, and introduces the specific translation methods used according to the strategies.
Translation Methods under Foreignizing Strategy
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation. In the Friedrich Schleiermacher’words, the translator“Tries not to disturb the original author, but to take the reader to the original author”. Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014:83) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience. (Xiong Bing, 2014:82)
Literal Translation
Literal translation can be defined in linguistic terms as a translation “made on a lever lower than is sufficient to convey the content unchanged while observing target language norms”.The majority of subtitle translation of the Us version of Legend of Zhen Huan adopts literal translation. Look at the following example:
Example 1
Chinese version：嬛嬛一袅楚宫腰。
American version：the slim waist of the concubines of the Chu palace.
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization, which is translated literally as "the slim waist of the concubines of the Chu palace".Western audiences may be confused by the subtitles: Zhen Huan is clearly a woman from the Qing Dynasty, so what does she have to do with the Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, It is better to throw out of its real meaning, and then translate into "As my name, Huan, means graceful women with slim waist", "Chu palace" here means can be omitted.
Example 2
Chinese version：一片冰心在玉壶
American version：A jade vessel is the symbol of a pure heart.
“Jade Vessel”in Chinese conveys a unique associative meaning, while there is no such equivalent in English. Western audiences may only notice that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to apply domestication to make it easier for the audience to understand.
The American versions of examples 1 and 2 are very literal and concise translation, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the "booster" of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:
Example 3
Chinese version：“赏你一丈红”
American version：Then I will award Attendant Xia the Scarlet Red.
In the original subtitle of example 3, “一丈红” (yi zhang hong, literally “two-meter-long red”) is used to punish a palace maid or a concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out. Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”.
In the American version, “一丈红” is translated into “the Scarlet Red”. the word "Scarlet" itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate "red" into "scarlet". However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.
Zero Translation
The so-called "zero translation" means that some elements of the source language are directly introduced into the target language without using the existing expressions in the target language (Xiong Bing, 2014:84). This translation method is usually served as a panacea for translating the names of people and officials in translation process.
In ancient China, there was a very strict patriarchal system under the ideas of three cardinal guides and the five constant virtues with the emperor having many concubines of different titles, which is difficult for foreigners to distinguish.In their cultural world, medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as "贵妃", "妃", "嫔", "贵人", "常在" and "答应" are presented in a dynamic equivalent way (words with similar functions in the source language), for example:
Example 4
熹贵妃——Noble Consort Xi 华妃——Consort Hua
莞嫔 ——Concubine Huan 沈贵人——Lady Shen
夏常在——Attendant Xia 小主——Young Mistress
敦亲王：Prince Dun 舒太妃：Consort Dowager Shu
Example 4 only shows a few official titles of the characters in the Legend of Zhen Huan, and It can be clearly seen that the translators'efforts to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the cultural ideologies of the American people and the Chinese people are very different.the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary,so it is hard for them to understand the deeper meaning behind it.
In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the viewing experience. Therefore, notes are usually used only for the first appearance of a character to provide a necessary introduction in limited subtitling space, while omitting at the second time.For American audience, one display is certainly not enough.
Translation without Chinese cultural connotations will influence the conveying of the characteristics of the characters and the intensification of their contradictions. Then it will be difficult for the target audience who are unfamiliar with Chinese History to experience the conflicts in the play, making it hard to arouse their interest.
Translation Methods under Domesticating Strategy
As a translation strategy opposite to the foreignizing strategy,its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients, since it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first is the loss of the language, literariness, culture and other important elements of the source text, leading to the target audience's fail in appreciating the exotic authentic language and customs. This cannot help to the cultural exchange and dissemination between different cultural groups. The second weakness lies in that the domesticating strategy may lead to semantic loss and semantic ambiguity in translated texts.
Omission
Omission is a extremely important method in domestication strategy.As we all know, the Syntactic structure of English emphasizes "hypotaxis", with appropriate conjunctions between each component of a sentence to reflect their mutual relations, which focus on the consistency and coordination of grammatical relations.While the structure of Chinese sentences is "parataxis", and the relationship between each component of the sentence depends more on the intention, and less on the linking component. So its structure form is relatively relaxed, and the words and sentences are relatively neat and unaffected.(Cao 2007: 95)
Therefore, Omission can solve the problem caused by this difference between Chinese and English. As one of the most common translation methods in Chinese-English translation, it means that when translating, by grasping the differences between Chinese and English, the translators are supposed to omit the unnecessary linking elements in Chinese, so as to make the translation smooth and avoid stiff and cumbersome.There are many examples of Omission in the translation of Legend of Zhen Huan.
Example 5
Chinese version:“先敬罗衣后敬人。”
American version: “The clothing completes the person.”
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory meaning. However, in the translation of this sentence, the translator adopted Omission method instead of translating every word.The word "complete" expresses the idea that "clothes make the man", but fails to express the meaning intended in the original text.Therefore, We hold the view that the Omission method can be can be used here once again, and we can change its translation into “According to clothing to estimate people’s status.”
Example 6
Chinese version: “花开堪折直须折，莫待无花空折枝。”
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.
There are three Chinese characters for "折" in this sentence, but none of them are embodied by the translator in the process of translation. Would we say that he did not translate the Chinese meaning ? Of course not, the translator must have paid attention to the translation of the three “折”word, if they are translated one by one, it will appear that the sentence is too long-winded and does not accord with the subtitle translation. Therefore, in order to persuade people to treasure, the translator skillfully omits the word “折”from the original translation, not only to avoid repetition, but also to convey the meaning of the original.
Addition
Addition is also an important translation method in domestication.This kind of method is used to make up for the cultural connotation in the translation by making the implicit meaning in the source text, including additions in the syntactic structure and the sentence meaning.The structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator’s addition of nouns, verbs, summative terms, explanatory terms and conjunctions to compensate for the linguistic and cultural deficiencies in the translation so that the target audience can understand the original text.(Xiong Bing, 2014:86)
Example 7
Chinese version:“他不忍叫你明珠暗投。”
American version:"You will not be granted an ordinary life when you can live an extraordinary one.
In this example, the translator adopts Addition method to make a explanation for "明珠暗投" , which is translated as "be granted an ordinary life when you can live an extraordinary one."As we know, Chinese idioms are one of the wonders of Chinese culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for Chinese audience to understand its real meaning, but it's all gobbledegook to the American audience.Therefore, it needs the translator to make an explanation, so that the American audience can understand the implicit meaning of this term, and then reduce the cultural burden.
Example 8
Chinese version：“臣妾一与社稷无功，二与龙脉无助。”
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.
In example 8, the translator interprets "社稷" as "nation" for readers to understand."社稷" has always been a synonym for "nation" in Chinese, the same as "White House" is a synonym for "America". Moreover, Since there is no English equivalent for "社稷", it is appropriate for the translator to use "nation". In addition, the word “龙脉” is translated as “Heirs”, actually a concept in Feng Shui, referring to the rolling mountains, which the royal family later regarded as the lifeblood of the country, so they would call the royal blood “龙脉”.Therefore, the word “龙脉”here refers to the Emperor’s children, the translation of “Heirs”is a good expression of the meaning of “龙脉”. Compared with the word “children”, which is often spoken by people, heir is used less frequently and more advanced.
Free translation
Free translation means that when limited by the socio-cultural differences of the target language, the translator has to give up the literal meaning of the source text in order to make the meaning consistent with the content of the source text and achieve the similarity of the main language functions.Usually it is used more frequently in the translation of phrases or sentences or large sense groups, and it is mainly applied when the huge cultural differences exist between the original language and target language (Jiang Dandan, 2014). Culture is the essence of the development and evolution of different nationalities. Under the imperceptible influence of different cultures, there are great differences in people’s way of thinking in different countries, and different symbols may be used to express the same image. Therefore, free translation plays a particularly important role in the foreign translation of cultural texts, and this kind of translation has also appeared many times in the subtitle translation of the Legend of Zhen Huan.
Example 9:
Chinese version:“天下有多少女子希望自己入选，好一家子鸡犬升天。”
American version: Every girl wished to be selected, so that her whole family could rise up through her success.
Example 10:
Chinese version:“皇上春秋虽盛，然国本不可不早立。”
American version:Even you are still young and healthy, a Crown Prince must be selected without delay.
In Example 9, it is necessary to pay attention to the translation of the word "鸡犬升天". In traditional Chinese, "一人得道鸡犬升天" is an famous idiom. Later, it is extended as an analogy that when a person becomes an official, those who have a relationship with him also gain power. It satirizes those depending on power to get promoted and make a fortune. So instead of translating “鸡狗” into English, the translator replaced it with “Throughout her success” to express the idea that the whole family would bring out as upswaing and live a superior life after their daughter’s selection.
In example 10, the words “春秋虽盛” and “国本” are words with cultural significance. Among them, “春秋” is not in the real sense of “spring” and “autumn”, it represents a cycle of Spring planting and Autumn harvesting, referring to age or years.Therefore, the translator should not translate the term "春秋" literally into spring and autumn, High consideration should be given to the reality that the true meaning of this sentence is "although your Majesty is still strong".
In this sense, the translator omitted the term "春秋" and only translated the actual meaning of the sentence, which will be easier for foreign audiences to understand. It can be seen that the use of free translation method in the legend of Zhen Huan can fully convey the meaning of the original text and is more in line with the domestication strategy in terms commonly used in British and American countries.
Conclusion
Generally speaking, the subtitle translation strategy of the Legend of Zhen Huan is mainly based on domestication, and tends to transform implicit meaning into explicit meaning. When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted with the common expressions used in the target language. If there is an equivalent or similar expression between the target language and the source language, the cultural essence of the source language can be preserved by foreignization and concise explanation when the conditions permit, let the audience experience the charm and national characteristics of Chinese traditional culture.
As a translation strategy, absolute domestication and absolute foreignization do not exist in the translation practice. The task of the translator is to make the best use of the two strategies according to the purpose, the specific language characteristics of the source language and the target language, and the culture, so as to bridge the cultural differences between the two countries.
The Legend of Zhen Huan contains so many Chinese elements that it is understandable that it could not be translated into being as good as it gets. By analyzing the characteristics of the translation of Chinese films and TV plays, and combining with the translation strategies of itself, the author aims to provide reference for improving the quality of the translation of Chinese films and TV plays, so as to better display the traditional Chinese culture to the world.
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