英语影视片名汉译中有意识“误译”现象探析

发布时间：2019-05-29 09:12

【摘要】： 影视艺术以其丰富的表现形式、无限的艺术魅力成为人类永恒的探索领域。电影片名作为其重要一环，则被认为是整部影片的“向导”，俗话说“片以名扬”。影视片名的翻译是一项重要的创造性工作，佳译能为影片锦上添花，对新片的推介具有举足轻重的作用，反之，拙译能令佳作黯然失色。影视片名的翻译在影视艺术再创作中展示出更为艰深、更为复杂的科学艺术性，这不仅是不同语言间的符号转换活动，也是一种艺术再创造活动和一项跨文化交流活动。本文旨在探讨英语电影片名汉译的理论方法以及其中的有意识误译现象。过去的二三十年中，影视翻译取得了很大的发展，但作为翻译领域一个重要的组成部分，其研究工作还做得远远不够。国内外相关研究的专著甚少，有的只是在一些专著的个别章节中有所涉及。近十年的外语核心刊物中探索影视翻译，尤其片名翻译的理论撰写甚少。目前似乎还没有一套比较完整可行的原则指导片名翻译。英语片名翻译的问题目前主要表现为译名不统一的状况，这被传统的翻译理论视为“一名多译，良莠不齐”、甚至是“乱译”。由于不同题材的作品有不同的功能和目的，不同时代的译作亦有不同需求，翻译电影片名的功能是宣传产品“电影”，目的是提高上座率、增加利润。从这点看来片名翻译与广告翻译异曲同工、不谋而合。传统的翻译理论认为最理想的目标是忠于原文，翻译时不遭受任何损失并达到等值，但这只是一种理想状态。在实际翻译中，由于语言和文化的差异、读者的期待视野和接受反应，，以及影视片名翻译自身的特点等诸多因素的存在，译者在翻译时，很难达到绝对忠实和完全对等，为了呈现给读者成功的译作，有时不得不进行有意识的“误译”。与传统的作者中心论和原作中心论不同，接受美学提出读者中心论。可以认为，读者是译文的审美主体，他们在阅读时不是被动地接受译文的信息，而是以其固有的审美意识积极地参与并创造。不可想象一部作品的历史生命如果没有读者的参与会是如何延续。如果说，人类社会中传播无处不在，那么，受众也就无处不在。在传播学的演进历史中，人们的研究中心发生着由传者中心至受者中心的转移。因此，受众研究的地位也逐渐从效果研究中凸现出来，成为传播学体系中重要的组成部分。接受理论和传播学使我们在电影与观众的关系上有新的思维视角。在片名翻译中，译者应把握潜在观众的期待视野、审美趣味及其能力、先在知识、心理需求等，同时也应考虑其传播模式、传播媒介、接受效果等因素。本文结合接受美学和传播学的主要观点，分析并探讨了英语影视片名翻译中的有意识“误译”现象，其中包括它形成的必然性、具体表现、技巧方法等。结论是：英语影视片名翻译中的有意识“误译”是一种不可避免的现象，但这一点是以与原文文本保持联系为基础的，它是实现翻译目的的一种手段而决非是为了商业目的而进行的天马行空的“乱译”，其作用和意义也不是一成不变的，应在历史语境中考察。英语片名翻译就像一场“拉锯战”，在直译和意译、形似与神似、艺术与商业间寻求一个平衡点。影片译名既要有一定的文化品位，又要有良好的商业效应；既要忠于原文，又要符合本国观众的语言文化习惯和审美情趣。
[Abstract]:The film and television art, with its rich expression, has become the eternal exploration area of mankind. The film name, as an important part of it, is regarded as a guide to the whole film, as the saying goes as" famous". The translation of the film name is an important creative work, which can be added to the film, which plays a very important role in the promotion of the new film. On the contrary, the translation of the film is overshadowed by the translation. The translation of the name of the film and television shows a more difficult and more complex scientific artistry in the re-creation of the film and television art, which is not only the symbol conversion activity between different languages, but also an art re-creation activity and a cross-cultural exchange program. The purpose of this paper is to study the theoretical method of the Chinese translation of English film title and some of them In the past two decades, the translation of film and television has made great development, but as an important part in the field of translation, its research work also It's not enough to do it. There are few monographs of relevant research at home and abroad, some of which are only in the individual chapters of some monographs. To explore the translation of film and television in the core journal of foreign languages in the last decade, especially in the form of a translation. The theory is very little. There seems to be no more complete set of principles. The problem of the translation of the English title is mainly manifested as the non-uniform condition of the translation, which is regarded as a "There's a lot of translation. I'm not good." by the traditional translation theory, and even the "to be transferred into one" ". Due to the different functions and purposes of the works of different subjects, the translation of different times also has different requirements. The function of the title of the translation film is to promote the product "a film", with the aim of improving the upper seat." Rate, increase the profit. From this point of view, the title translation is the same as the advertisement translation. The traditional translation theory holds that the most desirable goal is to be faithful to the original text and to do not suffer any loss during translation The equivalent, but this is only an ideal state. In the actual translation, due to the differences of language and culture, the reader's expectation of view and the acceptance, and the characteristics of the translation of the film and television, the translator is difficult to achieve the absolute fidelity and complete equivalence in the translation. In order to present the successful translation of the reader, it is sometimes necessary to make a conscious "misinterpre" The ".................................... The reader is the aesthetic subject of the translation, and they are not passive in reading the information. Instead, it is actively involved and created with its inherent aesthetic consciousness. A work cannot be imagined The history of life, if there is no reader's participation, will continue. If it is, the human society In the course of the evolution of the communication, people The center of the study has been transferred from the center of the recipient to the recipient's center. Therefore, the role of the audience is gradually emerging from the effect study. It is an important part in the communication system, which is the important part of the communication system. We have a new perspective of thinking on the relationship between the film and the audience. In the title translation, the translator should grasp the expected visual field, the aesthetic taste and the ability of the potential audience, first in the knowledge, the psychological demand, etc., at the same time, should also Taking into account the factors such as the mode of communication, the media, the receiving effect and so on, this paper analyzes and discusses the "miscommunication" " to be used for commercial purposes. be translated into one '", its function and meaning is not the same, it should be studied in the historical context. The translation of the English title is like a "to draw a saw" The translation of the film has a certain cultural taste and a good commercial effect.
【学位授予单位】：中南大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：H315.9

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