《泰坦尼克号》的配音翻译.docx
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《泰坦尼克号》的配音翻译.docx
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《泰坦尼克号》的配音翻译
苏州大学外国语学院
本科毕业论文
(2013届)
题目:
AnAnalysisoftheDubbingTranslationofTitanic:
FromthePerspectiveofRewritingTheory
从改写理论角度分析电影《泰坦尼克号》的配音翻译
专业:
英语
姓名:
王秋实
指导教师:
王金华
提交日期:
2013年4月
Acknowledgements
Oncompletionofthisthesis,Iwouldliketoexpressmydeepestgratitudetoallthosewhosekindnessandadvicehavemadethisworkpossible.
Myheartfeltthanksgofirsttomysupervisor,ProfessorWangJinhua,whoseprofoundknowledgeofandgreatpassionfortheaudiovisualtranslationstudieshaveinspiredmetowritethethesis.Hehasprovidedwithmenotonlysubstantialandvaluablereferencesbutalsoilluminatinginstructionsandconstructivesuggestions.
IamalsogratefultoProfessorYangZhihong,inwhosewritingclassIhavegainedsomegeneralknowledgeofthestepsandelementsofconductingresearchandsomefundamentaltranslationtheories,whicharebasictothewritingofthisthesis.Onthesubjectofwriting,IshalldefinitelynotskipProfessorWangLabaowhoofferedbeneficialguidanceinhisComprehensiveEnglishCourseastohowtothinkandwritecriticallyandlogically.IamalsodeeplyindebtedtoalltheotherteachersintheSchoolofForeignLanguagesofSoochowUniversitywhoseclassesandlecturesIattendedalltheseyearshavehelpedmeacademicallyprepareforthethesis.
Lastbutnotleast,Iwouldliketothankmyfriendsandschoolmatesfortheirunfailingsupportandunderstandingthroughouttheprocessofwritingthisthesis.
Abstract
Thecontributionfilmshavemadetointernationalculturalcommunicationhasbecomemoreandmoreimportantwiththeaccelerationofglobalizationprocessandtheincreaseofexchangesbetweenpeopleindifferentcountries.Inthespreadoffilmsfromoneculturetoanother,translationplaysanindispensablepart.Ofthetwodominantformsoffilmtranslation,subtitlinganddubbing,thelatterhasahigheraestheticvalue,anddubbedfilmsremainthemajortypeofforeignfilmsofficiallyintroducedintoChina.However,studiesofaudiovisualtranslationarelackingbothinnumberandsystematicness,whichisnotconsistentwiththefastdevelopmentoftheaudiovisualindustryandtheurgentdemandforqualityfilmtranslation.Inviewofthissituation,theauthoranalyzesthedubbingtranslationofthefilmTitanicbyapplyingAndreLefevere’stheoryofrewritingandlooksintothecontrolfactorsbehindrewritingintranslation.
AndreLefevere(1946-96)wasaprominentscholarandtranslatorofhistimeandcontributedsignificantlytoculturaltranslationstudies.HistheoryofrewritingisfullydevelopedinhisbookTranslation,Rewriting,andtheManipulationofLiteraryFame(1992),inwhichhestatesthattranslationis“arewritingofanoriginaltext”(ibid.:
xv).Theoriginaltext,translatedinagivencultureandsociety,isrewrittentoconformtothedominantideologyandpoeticsofthetargetculture.
ThethesisexaminestherewritingsinthedubbingtranslationofthefilmTitanicwithintheframeworkofrewritingtheoryanddrawsconclusionsasfollows:
thedubbingtranslationofthefilmcomesundertheinfluenceofthreefactors,i.e.,ideology,poeticsandpatronage;dubbingtranslationisdonewithinbothtechnicalconstraintsandculturalconstraints,thelatternotonlyprovingtheapplicabilityofrewritingtheorytodubbingtranslation,butalsoattachingduesignificancetotheactualtranslationandadaptationofthedialogue;Lefevere’smodelgoesbeyondlanguageandfocusesontheinteractionbetweentranslationandcultureandthusisinstrumentalinsituatingtranslationwithinabroadersocio-culturalcontextandencouragingobjective,systematic,andin-depthanalysesoftranslations.
Keywords:
dubbingtranslation,Titanic,rewritingtheory
摘要
随着中外文化交流不断扩大和深入,中外影视作品的交流也日益频繁,越来越多的影视作品被引入国内,影视翻译研究也蓬勃兴起。
影视翻译主要分为配音翻译和字幕翻译。
与字幕译制片相比,配音译制片更具专业性和审美价值,加之其更能体现译入语特点,至今仍然是我国官方引进外国影片的主流。
影视传媒业发展迅速,译制片受众广泛,许多作品为深受大众喜爱。
但与之相对的是,翻译界对影视翻译重视不足,学术关注有限,缺乏系统的理论研究,与影视翻译的社会作用不相称。
基于此背景,本文以翻译学文化操控学派的代表人物安德烈·勒菲弗尔的改写理论为框架,以电影《泰坦尼克号》的配音翻译为案例,探讨意识形态、诗学和赞助人等社会文化因素对配音翻译的影响。
勒菲弗尔是著名的比利时裔美国译者,一生著述丰富,学术视野宽广,既有丰富的翻译实践,又有开拓性的理论成就。
他对于文化翻译研究的贡献及其提出的“改写”概念主要体现在他的专著《翻译、改写以及对文学名声的制控》中。
与其他翻译研究流派相比,勒菲弗尔翻译观的一大特点是把翻译研究置于宏大的现实背景中,认为翻译是一种改写,在改写过程中,身在一定社会、文化环境中的改写者往往会对原作进行一定程度的加工或调整,使其与改写者所处社会的主流意识形态和诗学形态相符。
本论文运用勒菲弗尔的改写理论,对《泰坦尼克号》的英文原声和中文配音进行对比分析,得出以下结论:
汉语文化的意识形态、主流诗学和赞助人等因素共同发挥作用,促成了翻译过程中对于该电影配音脚本的改写;以往配音翻译的研究多关注配音所受到的诸多技术条件限制如口型、声画同步等,本研究表明配音翻译作为一种特殊的文学翻译,同样受到各种社会文化因素的操控;勒菲弗尔的改写理论对译作不仅从语言层面上进行评判,而是将其置于文化和社会大背景下,有助于对翻译问题作出深入、客观的分析,让翻译更加有效地顺应整个文化研究和社会发展的大势。
关键词:
配音翻译、《泰坦尼克号》、改写理论
Contents
AcknowledgementsI
AbstractII
摘要III
ContentsIV
ChapterOneIntroduction1
1.1ResearchBackground1
1.2ResearchMethodology2
1.3ThesisStructure2
ChapterTwoLiteratureReview3
2.1AnOverviewofDubbing3
2.1.1AudiovisualTranslation3
2.1.2DefinitionofDubbing3
2.1.3TheLip-SyncDubbingProcess3
2.1.4AdvantagesandLimitationsofLip-SyncDubbing4
2.2PreviousStudiesonDubbingTranslation4
ChapterThreeTheoreticalFramework7
3.1AnOverviewofAndreLefevere’sRewritingTheory7
3.2TheThreeMainControlFactors7
3.2.1Ideology7
3.2.2Poetics8
3.2.3Patronage8
3.3TheApplicabilityofRewritingTheorytoDubbingTranslation8
ChapterFourTheDubbingTranslationofTitanic:
AnAnalysis10
4.1AnIntroductiontoTitanic10
4.2RewritingintheDubbingTranslationofTitanic10
4.2.1RewritingInfluencedbyConsiderationsofIdeology11
4.2.2RewritingInfluencedbyConsiderationsofPoetics12
4.2.3RewritingInfluencedbyConsiderationsofPatronage14
ChapterFiveConclusion18
5.1MajorFindingsoftheStudy18
5.2LimitationsoftheStudy19
5.3SuggestionsforFurtherResearch19
References20
文献综述报告22
ChapterOneIntroduction
1.1ResearchBackground
Eversincetheycameintobeing,filmshavebeenmakingapositivecontributiontointernationalculturalcommunication.Thiscontributionhasbecomemoreandmoreimportantwiththeaccelerationofglobalizationprocessandtheincreaseofexchangesbetweenpeopleindifferentcountries.Inthespreadoffilmsfromoneculturetoanother,filmtranslationplaysanindispensablepart.
Therearetwodominantformsoffilmtranslation:
oneislip-synchronizeddubbing,andtheotherisinterlingualsubtitling.“Dubbingdenotesthere-recordingoftheoriginalvoicetrackinthetargetlanguageusingdubbingactors’voices”(qtd.inBaker&Saldanha2009:
17),while“interlingualsubtitlesprovideviewerswithawrittenrenditionofthesourcetextspeechintheirownlanguage”(qtd.inBaker&Saldanha2009:
14).Comparedwithsubtitling,dubbinghasahigheraestheticvalue,andagreatmajorityofforeignfilmsareofficiallyintroducedintoChinaindubbedversion.Thisthesisconcentratesonthestudyofdubbing.
Inthelate20thcentury,translationstudiesexperiencedamovefromtranslationastexttotranslationasculture,andthiswastermedbyMarySnell-Hornby(1990)as“theculturalturn”.AmongtheleadingtheoristsofculturaltranslationisAndreLefevere,whoseworkintranslationstudiesaremostfullydevelopedinhisbookTranslation,RewritingandtheManipulationofLiteraryFame(Lefevere1992a),inwhichhestatesthattranslationis“arewritingofanoriginaltext”(1992a:
xv).Asaparticularformoftranslation,dubbingtranslationnaturallybelongstoatypeofrewritingandthus,likealltheotherformsofrewriting,itreflects“acertainideologyandapoetics”(1992a:
xv)inthetranslator’swork.
UponitsreleaseonDecember19,1997,Titanicachievedcriticalandcommercialsuccess.ItwonelevenOscars,themostwonbyasinglefilm.Anditbecamethefirstfilmtoreachthebillion-dollarbox-officemark.Amonthafterthehilariousawardingceremony,thefilmwasshowninChinesecinemasinitsMandarin-dubbedversion,andimmediatelydevelopedintoafashionsweepingthecountry.Apartfromallthefabulouspictures,soundeffects,stars,etc.ofthefilmitself,theoutstandingdubbingtranslationdoubtlesscontributedconsiderablytothiswesternblockbuster’ssuccessinenjoyinggreatpopularityamongitsChineseaudience.Becauseofthis,Ihavechosenthedubbingtranslationofthismovieformycasestudyinthisthesis.Iintendtoanalyzeitbyapplyingthetheoryofrewritingandexaminethecontrolfactorsbehindtherewritingofthefilm’stranslation.
1.2ResearchMethodology
ThecurrentstudyisbasedontheDVDversionofthefilmreleasedbytheParamountPictures,withtheChinesedubbingmadebytheShanghaiFilmDubbingStudio.MytextdatacomefromacomparisonbetweentheoriginalEnglishlinesandtheChinesedubbing,whichisconductedthroughwatchingthefilmwithEnglishsubtitleswhileatthesametimelisteningtotheChinesedubbing.Thestudytriestofindoutasmanyplacesaspossiblewherethetwokindsofexpressionsarenotliterallythesame.
Amongtheseplaces,orrewritings,thestudyselectsthemostrepresentativeforacriticalanalysisoftherewritingnatureofthefilm’sdubbingtranslation.AccordingtoLefevere,ideology,poeticsandpatronagearethethreemainfactorsthatoftendominatethetranslationoftexts.Thecurrentthesis,accordingly,exploreshowrewritingisinfluencedbythesethreefactors.
1.3ThesisStructure
Thisthesisisdividedintofiveparts.Thefirstpartistheintroductionhere.ChapterTwogivesanoverviewofdubbingandreviewsthehistoricalstudiesondubbingtranslation.ChapterThreeintroducesthetheoreticalframeworkwhichisAndreLefevere’srewritingtheoryandexplainsitsapplicabilitytothestudyofdubbingtranslation.ChapterFouristhecentralfocusofthewholethesis,whichdiscussestherewritinginfluencedbyconsiderationsofideology,poeticsandp
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