第一篇：英语电影片名汉译论文

Research on English Film Title Translation and Translation Equivalence Theory Application

Author: Huo Yishuai Supervisor: Li Liping, Associate Professor

(College of Foreign Languages, Shandong Agricultural University, Tai’an 271018)

Abstract: This paper begins with the prevalence and impact of English film in China.It discusses the importance of English film title translation and the methods and theories of current title translation.And then propose translation equivalence concept to guide the title translation.Also, this paper summarized some of the methods.At last , the paper pointed out some of the principles in accordance with the process of translation in the use of translation equivalents theory

Key words: English film;title translation theory;translation equivalence;principle 英语电影片名汉译及翻译等值理论在其中的应用的研究

摘要：本文以英语电影在中国的流行及影响出发，论述了英语电影片名汉译的重要性及当前英语电影片名汉译形成的较常用的方法和理论，并指出了翻译过程中出现的问题。进而提出以翻译等值理论指导英语电影片名的汉译，也总结了相应的一些方法。同时，还指出在运用等值理论进行翻译的过程中还应遵循的一些原则。

关键词：英语电影；片名翻译；翻译等值理论；原则

1.Description of English films in China's current situation and the necessity of translation

Film can create miracles---just like all those people who sit in the theater thinking from reality to dream world know it.Fascinating story with perfect pictures, shocking music, and great close-up scenes make you forget yourself completely.The aftertaste of a classic film bring to you is endless.When you think of the screen which make you get goose bumps, an exciting or eager showing in your eyes.People call movies is the seventh art after the literature, drama, music, dance, painting and sculpture.But, it’s not just an art.It is an art that have lots of audiences, suit both refined and popular tastes and with commercial.Today, cross-cultural communication is more active than ever, the spirit of national culture and ideology is mainly characterized by the content in the film.Therefore movies become the main channel of cultural transmission, and its influence is so large that can't be matched by other art forms.On the one hand, economic and cultural development stimulates the emerging film and television-dubbing career to flourish.Its operations around the world, including draw the materials, translation and distribution.On the other hand, the popularity of cable television and home video, the improvement of the technology(video, VCD and DVD)also plays a role in fueling the film’s spreading.Since the first movie introduced to China in 1896, the Chinese film industry has undergone enormous changes.Shoot technology innovation make the film a great audio-visual impact to the audience, and watching movies has become very common and very stylish entertainment in people’s lives now.In addition, the demand for foreign films, especially English films, is growing highly.Facing to these foreign language films, the primary task is translated them into Chinese, and the translation of the film title is one of the most important part.The film title is a link connecting the audience and film;it has the enormous influence to the film box office.First, except actor's exquisite performing skill, philosophy dialogue as well as gorgeous picture, a good film why can attract the audience has the direct relation with a film title which is pregnant with meaning and make people think a lot.The film title is a film's brand trademark.In the multitudinous film advertisement newspaper, the film title is always in the extremely striking position, and it is playing the role which leads attention directly.As a film, the title is seen firstly by the audience.Therefore, every movie screenwriter and director will highly summarize his movie content, and takes one as the title for it can both express one's ideas expressively and appeal eyeball.Second, the film express certain ideas to the audience to pass certain information , and the film title should also highlight the video content , convey the theme information and establish the entire film emotional tone.Film titles can not only summarize the content of the film succinctly , reveals the theme of the film, and make the audience seize the film's style and substance , but also inspire the imagination of the audience and watching desires with its distinctive form of language.Excellent film titles like the outstanding literary works, should be concise the summary of the content of films, succinctly revealing the theme, and stimulate the audience's imagination.The perfect unity of a good title and the good content will allow the audience to get the influence of the arts and the joy of beauty.2.Film title translation Since the first English language film was introduced to China, there are already three decades till now.This period, the translator made constantly efforts and improvements, and formed some common translation methods.Currently, there are more and more English films introduced into China.The translation industry also formed a relatively fixed translation theory, specifically;there are the following three theories: 2.1 The literal translation or free translation Literal translation and free translation are two representative methods of translation in the history of translation.Due to variations in people's understanding of literal translation and free translation, there are someone accept both of these methods, someone accept just one, someone accept neither.However, in terms of the perspective of describing translation or transfer translation, literal translation and free translation is always meaningful.Literal translation and free translation is designed to faithfully express the ideological content of the original and reproduce the original art.Simply put, the literal translation means the translation methods and sentence structure is more similar to the original sentence, but does not rule out some adjustments at the phrase level.Free translation means discarded the original expression, and find a synonymous expression equivalent to the original, or make major changes or adjustments to the original sentence structure.2.1.1 Literal translation Carefully understands the literature name and film title, we can find different types.Therefore, the translation methods vary.The following types suit for the Literal translation 2.1.1.1 Protagonists name or description for the title.Such as:

Hamlet

HA MU LEI TE,(哈姆雷特)Othello

AO SAI LUO,(奥赛罗), King Lear

LI ER WANG，(李尔王), Macbeth

MAI KE BAI,(麦克白), Romeo and Juliet

LUO MI OU YIU ZHU LI YE,(罗密欧与朱丽叶)David Copperfield

DAI WEI KE BO FEI ER,(大为.科波菲尔), Jane

JIAN ,(简), Sister Carrie

JIA LI MEI MEI ,(嘉莉妹妹), Lucky Jim

XING YUN DE JI MU，(幸运的吉姆), a lonely Johnny

GU DU DE YUE HAN NI,(孤独的约翰尼), Julius

ZHU LI SI KAI SAI,(朱丽斯凯撒), Father and Son

FU YU ZI,(父与子), Sons and Lovers

ER ZI YU QING REN,(儿子与情人).2.1.1.2 The place where the story happen for title,Such as:

Wuthering Heights

HU XIAO SHAN ZHUANG,(呼啸山庄), Chicago

ZHI JIA GE,(芝加哥), Washington Square

HUA SHENG DUN GUNAG CHANG,(华盛顿广场), Boston

BO SHI DUN,(波士顿), The Secret Garden

MI MIO HUA YUAN，(秘密花园), in the Chinese screen

ZAI ZHONG GUO PING MU SHNAG,(在中国屏幕上).2.1.1.3 Stories for titles, such as: the merchant of Venice

WEI NI SI SHANG REN,(威尼斯商人), The Adventures of Tom Sawye TANG MU SUO YE LI XIAN JI ,(汤姆索也历险记), Gulliver's travels

GE LIE FO YOU JI,(格列佛游记), Alice s Adventures in Wonderland

AI LI SI MAN YOU XIAN JING,(爱丽丝漫游仙境)，Mansfield Park

MAN SI FEI ER DE YUAN,(曼斯菲尔德园).2.1.1.4 the other types, such as: Great Expectations

YUAN DA QIAN CHENG,(远大前程), The Mayor of Casterbridge

KA SI TE QIAO SHI ZHANG,(卡斯特桥市长), The Grapes of Wrath

FEN NU DE PU TAO,(愤怒的葡萄), the Godfather

JIAO FU,(教父), Five Classics

WU JING,(五经), a Midsummer Night s Dream

ZHONG XIA YE ZHI MENG,(仲夏夜之梦), Twelfth Night

DI SH ER YE,(第十二夜), Pride and Prejudice

AO MAN YU PIAN JIAN,(傲慢与偏见), time machine

SHI JIAN JI QI,(时间机器), The Call of The Wild

YE XING DE HU HUAN,(野性的呼唤), The Sea-wolf

HAI LANG,(海狼).These titles are just a few words, but they reveal the author's intention and the true state of mind.It represents the author's effort and reflected the monumental piece of substance and essence of the film.Therefore, for those that can be translated literally must be translated by literal to keep the work formerly original and make the title and content unite in harmony.Especially when it comes to the film named after the main character.The hero is the typical character live in specific times and specific environments that are created by the author, such as Shakespeare’s Hamlet and a-Q in the works of Lu Xun.They have a distinct character, image, and destiny.The principles and methods of translation of film title or translation of literary works are the same.Both of them take the breadth of its audience and the persity of appreciation level into account, therefore, the translation should be simple and popular, easy catchy and implying the subtle meaning.Film title suitable for literal translation should be translate as literal as possible in order to convey the information formerly and maintain the perfect unity of the original title and content.That should be a basic principle and method of the film title translation.This type title just needs to be image, vivid, concise in the text, and it can fully reproduce the content of formerly.Such as: description of a walk in the clouds is the love story of a pair of young men and women filled with the vineyards of grapes flowers, so the film is literally translated as the Walk in the Clouds, while maintaining the formerly known as the meaning and full of poetic.Such cases are: the age of innocence(The Age of Innocence), natural born killers(Natural Born Killers), the perfect world(better world), death on the Nile(Death on the Nile)rain man(Rain Man)superman(superman), citizen(Citizen Kane), schindler’ s list(Schindler's List)2.1.2 free translation Certain English film title contains very few words and the language is simple.It is apparently lightly, but the connotation is actually rich and pregnant with meaning, does not reveal.If this kind of film title translates literally, it will be difficult to reach its contents, reveal its charm.Therefore, when translation must rest on the entire book content, the original book title intention, and unit the target language characteristic, sets up a new name.In order to concise its content to reflect its implication, and executes the literary talent slightly to make the translated name and the original work style coordinates.For example: Gone With the Wind

PIAO ,(飘)，Waterloo Bridge

HUN DUAN LAN QIAO,(魂断蓝桥), Blood and Sand

BI XIE HUNAG SHA,(碧血黄沙), The Bathing Beauty

CHU SHUI FU RONG,(出水芙蓉), Polsinney Harbour

YU XIANG JI DU QING,(渔乡几度情), Wines-burg Ohio

XIAO CHENG JI REN ,(小城畸人), Earthquake

JING HUN DUO MING,(惊魂夺命), The Red Shoes

HONG LING YAN ,(红菱艳)，Speed

SHENG SI SHI SU,(生死时速), Black Mask

HEI XIA ,(黑侠)，Black Beauty

HEI JUN MA ,(黑骏马)，Dr Jekyll and Mr.Hyde

HUA SHEN BO SHI ,(化身博士)and so on 2.2 Integration of literal translation and free translation

English and American films have a number of titles in simple and concise, but moral implication and difficult to grasp.In addition, some titles originated from allusions, meaning rich and obscure, hard to check.It is difficult to understand the implied meaning of the original title.People must think about the whole content or check allusions, carefully wondering and hashing, accurately understand the intent of author when translate them.Based on the foundation of literal translation of original titles ,translator plus word or change word to some key words to make translation semantic clearly , such as: a Farewell to Arms

YONG BIE LE ,ZHANG ZHNEG;(永别了，战争)，Ghost

REN GUI QING WEI LIAO；(人鬼情未了)One Flew Over The Cuckoos Nest

FEI YUE FENG REN YUAN;(飞越疯人院), On The Golden Pond

JIN SE CHI TANG;(金色池塘), Moonlighting

PI XING DAI YUE;(披星戴月), Who Shall Live and Who Shall Die

SHENG SI DA QUAN;(生死大权), Night Killer

LAI ZHE BU SHAN;(来者不善), Shooting First

XAIN FA ZHI REN;(先发制人).for Whom The Bell Tolls SANG ZHONG WEI SHUI ER MING;(丧钟为谁而鸣), 2.3 The literal translation adds the explanation

Due to the different style of film and different points between British and Chinese language, some titles translated by word will be too abstract, implicit and irrelevant with story content.People may feel dull, and it cannot make any guiding effects.Therefore, for these titles, translator should appropriately plus a text which can reflect hero image or film content when translate them.Based on the foundation of literal translation, according to the content of film, it will play a finishing touch to the characters and film content for example, Oscar(LIE QUAN AO SI KA CHUAN QI;猎犬奥丝卡传奇), it will bursting bald if literal translation for AO SI KA(奥丝卡), also will be easily confused with Oscar Ward.Adding the word of dog , it generally works very well.And Comeback(GU LI E MENG;故里噩梦), plus the word of nightmare ,it greatly enhance the attraction and literary character.Lime Light(WU TAI DENG GUNAG;舞台灯光), Patton(BA DUN JINAG JUN;巴顿将军), Legal Eagles(FA WANG SHNE YING;法网神鹰), The Piano(GANG QIN KE;钢琴课), The French Connection(FA GUO FAN DU WANG;法国贩毒网), Silas Marner(ZHI GONG MA NAN:织工马南), this is the case.Film title translation is not only the conversion of language but also a cultural exchange.Translation needs follow the correct principles and methods, needs more inspiration and rigorous attitude , in order to make the translation of well-known and widely accepted.In recent years, we widely introduce the foreign works and films, but the introduction of the original books and films are very scarce, these are mostly translated works.Taking the important role of a film title into account, the film producer make efforts to find a proper title that can lead full content, highlight the theme and must be simple and concise, have a profound message.Moreover, the producers try to make the title to be a pair of eyes that can reveal the inpiduality and give the deep impression to the audience.From the title, people can understand the content of the work, the hero's image, and have a desire for the whole film.People named the film like this, the same as the film title translation.Someone may think the translation of film names is an easy shot, but translating well was not an easy thing actually.It is necessary to conform to the language specification, and should be full of charm;it is necessary to be faithful to the original content of the title, and should be reflect to the original language features of the title.So the translation of film names is the artistic recreation.However, it is not until after more than 100 years of the introduction of first foreign films in China, translation of film names begin to get its due attention.Early research on the subject, such as Brief Discussion on Foreign Film Tittles Translations(Lin Qiuyun, 1996)and Discussion on the Translation of Film Names(Ning zhishou life, 1997), simply emphasizes the translation skills and ignore the cultural and commercial characteristics of the movie title.After entering the 21st century, based on the original translation theory, scholars began to study the features of the film titles from different perspectives.Fore example, He Ying(2001)analysis the characteristics of the movie title from the source of the movie title ,style , feature and category , and made a literal translation﹑free translation ﹑transliteration and another translation.Fang Yongbin, Wang Xiaotong(2005)study from the advertisement feature and cultural characteristics.Now, researchers increasingly attach importance to the film title value reflected in cultural exchanges, business profits and the artistic.3.Problems in the current film title translation Currently, the translation of film titles as a translation not in literary field has not yet attracted enough attention.There are more Chinese people watching films and TV series than reading the literature, but Chinese academia give the translation of literary more attention than the studies of film translation.“(Qian Shao-Chang, 2000: 61).In addition, there are many film titles mistranslations in the current film title translation.I find it mainly caused by the following two reasons after a brief analysis: 3.1 Lack of understanding of cultural connotation ”Title translation should be did after the completion of other translation tasks”.(Newark, 1988:12)Therefore, the translator should translate the movie's title based on watching the whole movie and fully understand the film.The culture is the specific lifestyles and modes of expression of the groups, which use a particular language as the expression “(Newmark, 1998:21).Clearly, the film titles also include certain cultural connotation.If the translator cannot be aware of or misunderstood the cultural connotation, it is likely to have the title caused by mistranslation.E.g1: American film: American Beauty, Mainland and Hong Kong have their own respective title translation version.Mainland translated as ”《美国美人》“, Hong Kong translated as ”《美国丽人》“.Unfortunately, these two simple versions of literal translation is mistranslation.According to the American Heritage Dictionary, American Beauty is a kind of roses, flower leaf length, purple.These beautiful and sacred flowers are symbol of pine love.In the film, the director used this flower as a symbol of a girl's love with the approach of association, Taiwan's translation is《美国心·玫瑰情》and it is more appropriate.3.2 Simply pursuit of business profits

As an entertainment industry, film should to not only entertain the public but also earn the box office revenue.Therefore, the translation of film titles will inevitably be subject to the influence of the marketing strategy of the entire film.To attract audiences, some film titles translation may not have any relationship with the film's storyline.Let us look at the following example:

E.g.: Original Sin(《原罪》)

《激情叛侣》

The Shaw shank Redemption

(《肖申克的救赎》)

《月黑高飞》

Pretty Woman(《漂亮女人》)

《风月俏佳人》

The Lives Of Others(《别人的生活》)

《窃听风暴》

If the readers have read the above-mentioned movies, they will find the second movie title translation far away from the original, and not consistent with the story.Now, there are still a lot of translators, simply pursuit of commercial profit, regardless of any translation principles, resulting in a lot of mistranslation.4.Translation equivalence concept Film is a form of art loved by peoples from all over the world.Excellent film has no national boundaries and it is a very good form of cultural exchange.When we introduce a foreign film, the first thing is to give it a proper name.Good title can make the target language audience eager to see the film faster and therefore, translation of film titles is very important.Zhou Jueliang had pointed out that translations vary based on the different types.Translation of the film title has its own characteristics(He Ming, 1998).From a linguistic point of view, film titles usually have a very simple constitute, usually only a few words.Compared with the other forms of language conversion, which are clearly not limited by deep level language such as sentences, paragraphs, text.However, due to special requirements on the functional, translation of film, titles show complex phenomenon to a certain degree, and it needs to be pointed out with translation theories and principles.Among all translation theory, translation equivalence can be used as important theoretical basis of movie title translations.Translation equivalence concept is a core issue in the modern translation theory in the West.1790, Alexander Fraser Tytler said ”good translations are fully moved advantage of original language to another, make the translate language people can clearly understand, strongly felt just like the original language people feel “in his Brief Discussion on Translation Theory.He first proposed the translation equivalence concept in the history.(Zhang Ling, 1994).America linguistics and translation theorist, Jacobson believes that all human languages have equal expressive power, but in the translation process, we must first overcome the structural differences between the original language and the target language to ensure that text equivalent.Eugene Nada the same as Jacobson, he stressed the commonality of language, but from the point of view of communication science and Informatics, he proposed, “the relationship between translation recipient and translation information should be basically the same as the relationship between the original recipient and the original information.” in 1964,(Jiang Zhiwen, and Wen Jun 2000).Newmark explore the ”reciprocal“ problem from the translation theory's point of view.He pided translation into ”semantic translation“ and ”communicative translation“.Semantic translation focuses on the semantic content of the original text, and communicative translation focused on the reader's understanding and response.Newmark thinks most of the translation of non-literary texts suitable for communicative translation(Newmark, 2001).Moreover, all about this, the center of attention is the function of the language, rather than the language feature, it emphasize the functional equivalence.When it comes to the translation of English film titles, the so-called ”equivalence“ refers that the effect of the film translate title to the target language country audience should be the same as the affect of the original title to the original language nation audience , thereby to created a watching desire and achieve the aim of cultural exchange.In accordance with the principles of equivalent translation, and combine with different actual situation, we can take the method of literal translation, transliteration, free translation in English film title translation.4.1 The literal translation or transliteration Literal translation or transliteration refers that when the title is easy to understand, we can directly translate it according to the literal meaning or pronunciation of the title.Such as:

Ｂｅａｕｔｙ ａｎｄ Ｔｈｅ Ｂｅａｓｔ

《美女与野兽》 Ｂｒａｖｅ Ｈｅａｒｔ

《勇敢的心》 Ｃｉｔｉｚｅｎ Ｋａｎｅ

《公民凯恩》 Ｔｈｅ Ｇｏｄｆａｔｈｅ

《教父》 Ａｍｅｒｉｃａｎ ｂｅａｕｔｙ

《美国丽人》 Ｃａｓａｂｌａｎｃａ

《卡萨布兰卡》 Ｊａｎｅ Ｅｙｒｅ

《简爱》 Ａｎｎｉｅｎ Ｈａｌ

《安妮・霍尔》 Ｊｕｒａｓｓｉｋ Ｐａｒｋ

《侏罗纪公园》 Ｓｏｕｎｄ ｏｆ Ｍｕｓｉｃ

《音乐之声》 Ｔｉｔａｎｉｃ

《泰坦尼克号》 Ｋｉｎｇ Ａｒｔｈｕｒ

《亚瑟王》 Ｓｃｈｉｎｄｌｅｒ’ｓ ｌｉｓｔ

《辛德勒名单》 Ｇｌａｄｉａｔｏｒ

《角斗士》 Ｌｏｖｅ ｏｆ Ｍａｙ

《五月之恋》

Here is to be noted that, when some names in English film titles are unimportant consonants, it can be omitted in the transliteration.Because if the name more than four words, it is not conducive to memory and Chinese audiences would be awkward to read.Therefore, it should comply with principle of brief.(Hua Xianfa, 1999:190).Annien translated as ”An(安)“, not ”An Nien(安尼恩“;Schindler translated as ”Xin Dele(辛德勒)“, not ”Si Xindele(斯辛德勒)“.Some of the masterpieces of the world, such as Jane Eyre, Juliet, Wuthering Heights, has a relatively fixed in Chinese translation, so the English film title translation should comply with established principles and translate respectively.Which is capable of maintaining the original charm and allows viewers to immediately think of the original works? In addition, the transliteration should used the certain words provided in the transliteration table, and not use the easy associative terms, so as not to cause misunderstanding or make a fool mistake(Hua Xianfa, 1999:190).Jurassic translate as ”ZHU LUO JI(侏罗纪)“, it cannot be translated into ”ZHU RU JI(侏儒纪)“.4.2 Free translation

As mentioned above, English film has massively use of the personal name or geographical names directly as the film title.If translates literally constantly, it is a string of meaningless character to the translated language audience possibility and does not play any attraction role.Therefore, this requests the translator fully understand the movie content and display their subjective initiative, to make the translated title to be faithful to the original content, and transmit the movie content ,and express one's ideas expressively(He Ning, 1998).4.2.1 Literal translation adds the explanation Ｓｌｅｅｐｌｅｓｓ ｉｎ Ｓｅａｔｔｌｅ 《西雅图不眠夜》 Ｔｈｅ Ｎｅｔ 《网络情缘》 Ｍｏｏｎｓｔｒｕｃｋ 《月色撩人》 Ｓａｎｄ ａｎｄ Ｂｌｏｏｄ 《碧血黄沙》 Ｉｎｔｅｒｐｒｅｔｅｒ 《翻译**》

Ｅ．Ｔ． 《Ｅ．Ｔ．外星人》 Ｔｈｅ Ｆｕｇｉｔｉｖｅ 《亡命天涯》 Ｍｙ Ｆａｉｒ Ｌａｄｙ 《窈窕淑女》 Ｐｌａｔｏｏｎ 《野战排》 Ｏｎｃｅ Ｕｐｏｎ ａ Ｔｉｍｅ ｉｎ Ａｍｅｒｉｃａ 《美国往事》 Ｏｎ ｔｈｅ Ｗａｔｅｒｆｒｏｎｔ 《码头风云》 Ａｌｌ Ｑｕｉｅｔ ｏｎ ｔｈｅ Ｗｅｓｔ Ｆｒｏｎｔ 《西线无故事》 Ｆｉｒｓｔ Ｋｎｉｇｈｔ 《剑侠风流》 Ｄａｙｓ Ｔｏｕｃｈｅｄ ｂｙ Ｌｏｖｅ 《心动岁月》 4.2.2 Integration of transliteration and free translation Ｒｏｂｉｎｓｏｎ Ｃｒｕｓｏｅ 《鲁宾逊漂流记》 Ｐａｔｔｏｎ 《巴顿将军》 Ｓｈａｋｅｓｐｅａｒｅ ｉｎ Ｌｏｖｅ 《莎翁情史》 Ｂａｎｂｂｉ 《小鹿班比》 Ｎｏｔｔｉｎｇ Ｈｉｌｌ 《诺丁山情缘》 Ｐｈｉｌｌａｄｅｌｐｈｉａ 《费城故事》 Ｓｈｒｅｋ 《怪物史莱克》 Ａｎｎｅ Ｆｒａｎｋ 《安妮日记》 Ｔｈｅ Ｉｓｌａｎｄ 《神秘岛》 Ｔｈｅ Ｒｉｎｇ 《午夜凶铃》 Ｔｈｅ Ｙｅａｒ ｏｆ ｔｈｅ Ｙｅａｒ 《姚明年》 4.3 Modified translation

4.3.1 Reconstructing the cultural intention

Because of the film and its title always infiltrate into the nation’s certain culture system of literature, history, philosophy, religious, traditional, custom and legend, and plus the diaphragm of culture ring, it often can’t be known by people belongs to another culture system.Therefore, it became ”super language factors“ in language inter-conversion and understanding or communication obstacles.Without carefully consider, it is easily to cause misunderstanding.(Lin Qiuyun, 1996)Such as the film Hobson ' s Choice ,it is translated into the HUO BU XUN DE XUAN ZE(霍布逊的选择).It is about a shoe shopper named Hobson who not willing the eldest daughter married to a guy in the shop, but he give up because he is against by his three daughters’ alliance.Film actor named it Hobson, and does not have any problems apparently.However, Hobson is an English idiom, from the Observer Magazine(1712:509).Hobson is a United Kingdom Cambridge post boss in 16th century, and rental horse to their customers.However, he had a strange temper;he loves his horse very much and always insists on a fixed rotation of rental.When customers went to the stables to rent horse, they can only take the certain one even they do not like, and leave no room for negotiation.Later, people refer to the idiom, means ”there is no choice or room for negotiation“(Ma Gongru, 1997:243).Obviously, the HUO BU XUN DE XUAN ZE(霍布逊的选择)has not translated the pragmatic meaning of it, and unable to achieve functional equivalence with the original film, too.If we change the angle, switched to the culture of intention which Chinese audiences familiar with, and translated into the BIE WU XUAN ZE(别无选择),it will be better.Also Pumpkin Eater, it may be translated into the SHI NAN GUA DE REN(食南瓜的人).But it is derived from a popular nursery rhyme: ”Ｐｅｔｅｒ，Ｐｅｔｅｒ，ｐｕｍｐｋｉｎ ｅａｔｅｒ，ｈａｄ ａ ｗｉｆｅ ａｎｄ ｃｏｕｌｄｎ’ｔ ｋｅｅｐ ｈｅｒ． “So, according to the story, translate into the TAI TAI DE KU MEN(太太的苦闷)seems more appropriate.There are also a lot of success translations, such as the Waterloo Bridge(HUN DUAN LAN QIAO;魂断蓝桥), the Ghost(REN GUI QING WE LIAO:人鬼情未了), the Bridges of Madison County(LANG QIAO YI MENG:廊桥遗梦), The Red Shoes(HONG LING YAN;红菱艳), The Bathing Beauty(CHU SHUI FU RONG;出水芙蓉), Forrest Gump(A GAN ZHENG ZHUN;阿甘正传).These translations discard the literal meaning of the original title, instead of the culture of intention which the Chinese audiences familiar with.4.3.2 Adjusted according to the differences between Chinese and English language

Chinese belong to Sino-Tibetan language family, English belong to Indo-European family.As a consequence, the Chinese emphasis on the accent and English emphasis on the syntactic difference.Because of the influence of doctrine philosophy,Chinese aesthetics audience emphasis on the special balance in the words.Therefore, four-word phrases are extensively using(Chen Hongwei, 1997:28).English stressed the correct syntax, and some films even take a sentence as name.So, the translator should note the differences in Chinese and English language, and make some appropriate adjustments.So those, the translation reader can catch information according to their mode of thinking.Such as:

Ｓｏｕｎｄ ｏｆ Ｍｕｓｉｃ 《音乐之声》 Ｔｏｐ Ｇｕｎ 《壮志凌云》 Ｍｙ Ｆａｉｒ Ｌａｄｙ 《窈窕淑女》 Ｗｉｌｄ Ｗｉｌｄ Ｗｅｓｔ 《飚风战警》 Ｔｈｅ Ｗｉｚａｒｄ ｏｆ Ｏｚ 《绿野仙踪》 Ｔｈｅ Ａｇｅ ｏｆ Ｉｎｎｏｃｅｎｃｅ 《纯真年代》 Ｃｉｔｉｚｅｎ Ｋａｎｅ 《公民凯恩》 Ｂｌａｄｅ Ｒｕｎｎｅｒ 《银翼杀手》 Ｉｔ Ｈａｐｐｅｎｅｄ Ｏｎｅ Ｎｉｇｈｔ 《一夜风流》 Ｉｔ’ｓ ａ Ｗｏｎｄｅｒｆｕｌ Ｌｉｆｅ 《风云人物 Ｍｒ Ｄｅｅｄｓ Ｇｏｅｓ ｔｏ Ｔｏｗｎ 《富贵浮云》 Ｙｏｕ Ｃａｎ’ｔ Ｔａｋｅ ｉｔ Ｗｉｔｈ Ｙｏｕ 《民主万岁》

5.The principle that film titles translation should follow

5.1 Cater for the content of the original film, reflecting the themes of the original film, outstanding original film style

A good film should have a clear theme.Battle about cops and robbers or description of love, to reflect social ethics or science fiction.Film styles vary with different themes.Cops-and-gangsters films give a twist, such as

Speed、《生死 时速 》 The Rock、《石 破天 惊》 The French Connection;

《法国 贩 毒网 》 Romance or romantic lingering, or patience, often give the taste, such as Waterloo Bridge、《魂 断蓝桥》 The Bridges of Madison County、《廊 桥遗梦》 The Piano、《钢琴别恋 》 Ghost、《人 鬼情 未 了》

Shakespeare re in Love;

《恋爱 中 的莎 士 比亚 》 Social and ethical topics serious, warning or enlightenment to people, such as the Kramer VS Kramer、《克雷默夫妇》 Rain M an;

《雨人 》

Fantastic, fantasy, and horror and science fiction films are often set in one about the fantasy world that does not exist in the real world, such as

The E.T.、《外星人 》 Batman、《蝙蝠侠》

Jurassic Park.《侏罗纪公园》

Translations should be able to properly reflect the content of the original movie, its themes, and highlight their style.United States 1939 film taken of Waterloo Bridge Love Story about a pathetic: in 1914, during the first world war, in London, in an air raid alert, luoyi·kelaoning and ballet dancer Myra met Captain young military officers on Waterloo Bridge, they just clicked immediately, and soon fall in love.However, as the war lovers cannot become family members.The heroine buried on the Waterloo Bridge under the wheels, and eliminating kill.Translator translate title is relevant to the Waterloo Bridge movie content, reflects the original tragic, is just right.Translator use ”broken souls“ to make it more acceptable to the audience.United States comedy Mrs.Doubtfire, talking about a story of a porced man Daniel Hillard dressed up as a fat old woman going to his ex-wife's domestic every day in order to be able to see the children.Comedy scenes continue to appear in the film did some marvelous impressions.The translation is FEI MA XIAN SHANG(肥妈先生).The use of ”MOM“ and ”Sir“ highlighted the comedy style very well.YUN ZHONG MAN BU(云中漫步),the translation of the United States film A Walk in the Clouds are rated as the best.Original title literally means ”in the cloud“.Description of a pair of young men and women filled with scent of grape vineyards in the moving story of love.Vineyards in the movie named ”cloud“ covers a wide, green a, enveloped, is like a dream, love the heroine walks in the park.How romantic and poetic!This translation is in line with the film theme of romantic love, to read ”full of poetic, one Kiss, saw a cloud-like grape flowers smell the aroma of melts your heart all into“ and ”translation of Jacob was decent, image better, meaning long“(He Yue sensitivity, 1997), really colorful, and dominated!

5.2 Concise, easy to remember

Film is an art suit for both refined and popular tastes, and it is a popular form of entertainment too.In a sense, it is a commodity should be widely circulated.In order to make it easier to spread, movie title should be concise and easy to remember.This probably is the “usefulness” said by He Yuemin.Actually many films translation is consistent with the requirements.Such as: Star Wars、《星球大战》

Forrest Gump、《阿甘正传 》

Superman、《超人》

Terminator、《未来战士》

Roman Holiday、《罗马假日》

My Fair Lady、《窈窕淑女》

The Sound of Music、《音乐之声》

For Whom the Bell Tolls、《战地钟声》

On the Golden Pond、《金色池塘》

Bathing Beauty

《出水芙蓉》

It is not difficult to see that these translations use only a few words to translate all the content and meaning of the original movie.Moreover, most of them only four words, just as Chinese idioms, reading full of rhythm, easy catchy and easy to remember and spread.Also some translation of the movie title failed to meet this requirement.Feng HuaZhan(1980), said he saw a movie called the Qipulian·Bolongbeisiku.This title makes him very disgusted, because it is hard to remember and struggled to speak.5.3 Film title conformed to the Chinese language standard, and suited to our viewers enjoys habit.It should be said that some films do not need translator design, just translate it with the corresponding Chinese according to the equivalence principle.Of course, the premise is not to cause the audiences understand difficulties and must conform to the Chinese language standard.For example, the American adventure spy film named North by Northwest.Someone will translate it to XI BEI PAIN BEI(西北偏北).Through the title, viewers do not know what the film about, and it is not in line with Chinese language specification.Therefore, this translation is not desirable.Another translation of the film DIE HAI FENG YUN(谍海风云)is a good translation.Which give the suspense, highlights the style of spy film, clear and concise, while correspond to the Chinese language specifications.English films always use the owner's name or location as the title of the story.There is also the case in our China film, but less.Chinese films’ habit is to use the title to summarize the content of substance.Therefore, the translation of English film Hamlet as HA MU LEI TE(哈姆雷特)is in line with our habits.Oliver Twist translated as WU DU GU ER(雾都孤儿)is better than translated as the AO LIE FU TUI SI TE(奥列佛 退斯特).Because the former give us the place where the story take place(fog city, London)and the identity of the main character(an orphan).The Chinese audience can accept it easily.The American film Gone with the Wind(LUAN SHI JIA REN;乱世佳人)based on the same name novel is a good example.The “LUAN SHI(乱世)” explain the background of the story(the civil war), “JIA REN” named the heroine of the movie and showed the heroine’s frustrated experience.Look at an example.There is a film about American campus life, called Mr.Holland's Opus, The film tells the story of a remarkable music teacher, Holland.Holland works hard for 30 years in his teaching positions.He was “not rich, not famous, but his achievements beyond fame and wealth ”.He influences every student of the school.He is the Orchestra's conductor, each student is his notes, and every student is his works(Opus).Name of the literal translation is the HE LAN XIAN SHENG DE ZUO PIN(贺兰先生的作品), but now it is translated into the CHUN FENG HUA YU(春风化雨).The new translation has a deeper meaning than the formerly and show the movie extraordinary story, allows viewers to experience a teacher’s permeated personality charm.(Cai Weidong, 2000:104-105).At the same time, wonderful translation is like a piece of art, for people to enjoy the beauty of art.6.The conclusion

When the importance of English film titles translation increasingly be reflected, when the shortcomings of the current English film titles translation theory and method is revealed, and when the relevant problems are getting cause the attention of people, I believe that people will intensify research on this area of expertise, moreover, the translation equivalent theory and attention principles I mentioned in paper will make some significances on the development and improvement of the title translation.After continuous efforts, the present translation problems will be gradually resolved, the translation of English film titles will be more standardization, and the usefulness, the literariness and the scientific nature of the translation will greatly enhance.Bibliography ．

[1] Jones, Gareth Stedman.Languages of Class [M].Cambridge: Cambridge University

Press.1983.101.[2] Saussure, Ferdinand de.Course in General Linguistics [M].London: Peter Owen Limited.1960.23, 67, 77, 20, 21, 22, 16.[3] Searle, John R.Speech Acts [M].Cambridge: Cambridge University Press.1969.75.[4] 贺莺．电影片名的翻译理论和方法［Ｊ］．外语教学，２００１（１）[5] 林秋云．外国电影片名翻译简论［Ｊ］．上海科技翻译，１９９６（３）[6] 陆谷孙.英汉大词典[M].上海：上海译文出版社.1991.[7] 顾冠华, 沈广斌.中国传统文化与高等教育[ M ] 北京: 海洋出 版社, 1999 10 [8] 陈炼，陈育．外国电影片名的翻译［Ｊ］．湖南商学院学报，２００３，（９）

Acknowledgments

After finishing my B.A thesis, I really felt that I had come a long way.Many teachers and classmates gave me supports and helps in the process of writing this paper.I’d like first to take this chance to express my sincere gratitude to my supervisor associate professor Li Liping, who generously gave me her kindly help and instructions during the whole process of my paper writing, for her patience and guidance for this thesis.I’d like to take this paper not only as the ending of my undergraduate life, but the beginning of my postgraduate study.Most important of all, I want to give my thanks to my mother university and all teachers in the College of Foreign Languages.

第二篇：(全英文论文)英文电影片名的汉译研究

本科生毕业设计（论文）封面

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英语原创毕业论文参考选题(200个)

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二、原创论文参考题目 1 2 3 4 5 6 7 8 9 论奥斯丁女性主义观点在《爱玛》中的体现 英汉死亡委婉语的文化差异及其分类对比

浅析《到灯塔去》中女性主义思想在两位女主人公身上的体现 旅游资料翻译中文化因素的处理 任务型教学法在高中英语教学中的应用 英语委婉语的特点及运用

从英汉习语的翻译看中西方文化差异 会话含义理论在法庭话语中的运用 雌雄同体：《奥兰多》中时代精神的体现 图式理论分析中国网络流行词翻译 《沉默的羔羊》三部曲中汉尼拔博士性格探析 12 跨文化交际中的社交语用失误及其对英语教学的启示 13 对“老人与海”中人物的分析 从原型批评理论角度分析威利洛曼的悲剧 15 《玻璃动物园》中的逃避主义解读 Analysis of Love Tragedy in The Apple Tree in Light of Realism 17 英语中的性别歧视 Saussure’s Five Contributions to Linguistic Study and Its Modern Applications 19 对公共演讲课堂中大学生课堂表现的心理分析 On Contradiction Between Comprehension and Expression in Translation 21 男权社会中女性的地位—《远大前程》中人物郝维仙之研究 22 斯嘉丽的新女性形象探析 浅析《德伯家的苔丝》中苔丝的悲惨命运 《玻璃动物园》中的逃避主义解读 25 《喜福会》中的女性身份重建 绝望而不言败的抗争——塞林格的《麦田守望者》 27 An Application of Schema Theory in Interpreting 28 对《远离尘嚣》中三个男主人公命运的分析 29 中法餐桌文化对比 《白象似的群山》中话语权利争夺探究

译前准备对交替传译成效的课堂研究——以礼仪祝辞类口译为例 32 从《弗洛斯河上的磨坊》看维多利亚时期的新女性主义观 33 Symbolic Meanings of Babel in The Dogs of Babel 34 从适应与选择角度看公示语翻译方法

女性的自我迷失与回归—从女性主义视角解读《蒂凡尼的早餐》(开题报告+论文)36 影视字幕翻译原则——从文化角度进行研究 37 浅谈商务英语广告的翻译 38 浅析《麦田守望者》主人公霍尔顿 39 广告翻译中的语用失误研究 40 论英语小说中俚语的汉译

《追风筝的人》作为成长小说的的体裁分析 42 英语习语陷阱及其学习策略 43 商务信函中模糊语的使用研究 44 小说《飘》中斯嘉丽的女性主义探究

通过象征主义、梭罗的自然思想和梭罗的个人主义析《瓦尔登湖》 46 问题类型对TEM阅读成绩影响的实证研究 47 从关联理论的角度看《围城》中言语幽默的翻译 48 中英色彩词的文化内涵异同分析

双重文化下的文化选择——解析电影《刮痧》中中国移民的文化身份危机 50 希望和宿命论之间的挣扎-分析《德伯家的苔丝》中的苔丝形象 51 艾米丽·勃朗特《呼啸山庄》中男主人公希斯克利夫的形象分析 52 高中英语新课标在xx中实施情况调查与分析 53 汉英称赞语的对比研究

试论金融英语词汇的特点与翻译

不做房间里的天使——解读《爱玛》中的女性主体意识 56 莎士比亚戏剧《哈姆雷特》中男主人公性格分析 57 浅谈企业形象广告设计

浅析隐藏在“面纱”之后的伯莎梅森 59 论小说《德库拉》中的哥特元素 60 解析《丽姬娅》中的哥特美学 61 从跨文化角度对中美语言禁忌的浅析 62 被忽视的主人公——析《简爱》中的疯女人

中西方文化中家庭观念差异研究——以电影《推手》为例 64 浅析隐藏在“面纱”之后的伯莎梅森 65 跨文化交际中的障碍浅析及其解决方法 66

从功能对等角度看信用证英语的翻译 68 浅析隐藏在“面纱”之后的伯莎梅森 69 浅谈英语在未来的国际地位

浅析合作原则在汉英广告语翻译中的运用 71 《呼啸山庄》爱情悲剧根源分析

浅析《恋爱中的女人》的圣经意象原型——从原型批评角度解读 73 史蒂芬克莱恩《红色英勇勋章》中的自然主义表现手法 74 EFL Learning Strategies on Web-based Autonomous Learning 75 A Comparative Study of Politeness Expressions in English and Chinese 76 浅析《贵妇画像》中的心理描写 77 英汉产品简介的对比分析 78 非语言行为在英语交流中的应用

从《霍华德庄园》到《印度之行》：论福斯特联结梦的破灭 80 从哈姆雷特心理变化轨迹浅析其性格发展阶段 81 中英文颜色词的文化内涵及翻译

论《西游记》中文化因素的翻译策略——以詹纳尔和余国藩的英译本为例 83 The Religious Thoughts in The Pilgrim’s Progress

美国牛仔和牛仔文化

从文化语境的角度比较《诗经》的两个英译版本 86 元认知策略指导下的英语专业高年级学生听力学习87 英汉动物习语内涵意义的文化差异 88 《野性的呼唤》和《老人与海》的对比研究 89 翻译中的语境因素分析

浅议英汉习语翻译中文化语境的制约作用

A Study of C-E Translation of Tourist Materials from the Perspective of Cross-culture 92 伍尔夫《一间自己的房间》的女性主义解读 93 古典诗歌中典故的翻译 94 法律英语的特点

《达洛维夫人》死亡意识解读 96 中西方在养老孝道方面的差异

The Function of Symbols in the Feminist Novel Possession 98 性格、学习策略和英语学习成绩的关系研究 99 论口译中的跨文化意识 100 英汉问候语语用分析 101 英汉习语文化差异浅析 102 世纪以来英汉委婉语的语义变迁

对比分析中西方魔幻影视中英雄主义——以《哈利波特》与《西游记》为例 104 《理智与情感》中的婚姻 105 英语习语翻译中的“功能对等” 106 语用模糊及语用功能

浅析隐藏在“面纱”之后的伯莎梅森

An Analysis of the Leading Character in ‘The Old Man and the Sea’ 109 Approaching English Vocabulary Teaching—a Lexicological Perspective 110 世纪以来英汉委婉语的语义变迁

寻找女性的自我 — 评托妮莫里森作品《秀拉》中秀拉形象 112 英汉问候语对比研究

《哈克贝利费恩历险记》的艺术特色分析

托尼莫里森《宠儿》中保罗D的形象解析 115 从标记理论看英语词汇性别歧视现象

An Analysis of the Initiation Theme in The Child in Time 117 英语财经报道中的词汇衔接研究

On Advertising Translation from the Perspective of Skopostheorie 119 论英语商务合同中状语从句的翻译 120 论《推销员之死》中威利•洛曼的死亡原因

A Tentative Study on Metaphor Translations in Fortress Besieged from the Perspective of Relevance Theory 122 中美时间观差异对跨文化交际的影响 123 论广告英语的修辞特征及其翻译 124 逆向思维在外语学习中的应用

元认知策略在高中英语写作教学中的运用 126 A Comparison of the English Color Terms 127 文化差异对商标翻译的影响

从《嘉莉妹妹》分析西奥多莱塞对人性欲望的理解

On Hybridization in Translation of Culture-loaded Lexemes in Moment in PekingThe Duality of Life and Death——An Analysis on Virginia Woolf’s Mrs.Dalloway

从文本类型角度看旅游宣传资料的汉英翻译 131 《海的女儿》中安徒生的悲剧情结分析 132 星巴克营销策略研究

论《麦田里的守望者》中的象征体系及霍尔顿的精神世界 134 从目的论角度看企业推介材料的中译英技巧－以家具产品介绍为例 135 精神之光——《到灯塔去》中拉姆齐夫人的人性解析 136 委婉语与英语交际

对《傲慢与偏见》中贝内特太太及其女儿们的人物评论 138 女性主义视角下《傲慢与偏见》的情态意义解读

背叛与救赎：从佛洛伊德的人格理论分析《追风筝的人》阿米尔的成长 140 从麦田里的守望者到中国的青少年

女性主义视角下《小妇人》中四姐妹的人物分析

《永别了武器》中战争对人类所造成的毁灭 143 纳撒尼尔·霍桑《红字》中的象征主义 144 清明节与万圣节的比较

浅谈中国电影产业发展的问题及对策 146 阿法——《多芬的海》中的加勒比人

外国商标的中文翻译策略及其产品营销效应研究 148 论《追风筝的人》中“风筝”的象征意义 149 《野性的呼唤》中的生态观

论汉英诗歌翻译中对“真”和“美”的追求 151 班德瑞曲名汉译策略之解析

152 《德伯家的苔丝》简写本与原著的语篇比较——基于倒装句的分析视角 153 从《马拉喀什》和《射象》看乔治奥威尔散文的艺术风格 154 从十字军东征看中世纪宗教冲突

155 A Comparative Study of Cultural Connotations of Yellow and Huang in English and Chinese 156 论《海狼》中拉尔森船长本性的双重性 157 中西方餐桌礼仪的文化对比分析 158 词义的选择和商务英语的汉译 159 浅析交替传译过程中停顿现象 160 《鲁宾逊漂流记》中鲁滨逊的形象分析 161 对外汉语教学中的成语研究

162 任务型教学在高中英语阅读课中应用的调查

163 约翰欧内斯特斯坦贝克《愤怒的葡萄》中的生态整体主义观 164 受超验主义影响的具有美国精神的作家 165 A Comparison of the English Color Terms 166 从关联理论角度分析《绝望主妇》中话语标记语I mean 167 论英文电影名翻译 168 论《简爱》中的疯女人 169 法律英语词汇的特点及其翻译

170 Analysis of the Personality Changes of the Characters in The Grapes of Wrath

171 浅析《小妇人》中乔的女性意识及其成长过程 172 DOTA游戏英雄名称汉译策略

173 Salinger, a True Man: A Study of Salinger Based on The Catcher in the Rye 174 方言电视节目收视群体特点及社会影响分析 175 跨文化交际中的个人主义和集体主义冲突及解决办法 176 从自我认同角度再析《简爱》 177 论《老无所依》中的英雄缺失 178 意象手法在《永别了，武器》中的使用 179 论中美广告中所反映的文化价值观差异 180 论莱辛作品《又来了，爱情》中妇女失爱的原因 181 从影片《刮痧》分析中美文化差异和冲突 182 浅析隐藏在“面纱”之后的伯莎梅森

183 An Analysis of the Tragic Fate of Mary Turner in The Grass Is Singing 184 二元对立模型在伍尔夫《达洛卫夫人》中的应用 185 从商业广告看文化因素对广告翻译的影响

186 论《一个小时的故事》中马拉德夫人女性意识的觉醒 187 中西方礼貌用语对比分析 188 英语阅读有效教学活动设计研究 189 《飘》中生态女性意识的研究 190 从功能对等理论看字幕翻译 191 《野性的呼唤》中的人性和野性 192 Advertising and Its Application 193 非传统式英雄——从女性主义批评角度看《名利场》 194 提高大学生英语口语的流利度 195 《红高粱家族》中乡土文化翻译研究 196 目的论视角下公益广告的翻译 197 英语谚语重复修辞格的翻译 198 解读《拉帕希尼的女儿》中的父爱

199 Situational Approach to Grammar Teaching in Senior High English Classes 200 正面解读《名利场》中的蓓基-夏泼

第三篇：目的论视角下的英语电影片名汉译研究

目的论视角下的英语电影片名汉译研究

摘要 4-5 Abstract 5-6

Introduction 8-12

Chapter One: Literature Review 12-19

1.1 Traditional Studies on Film Title Translation 12-14

1.2 Studies on Film Title Translation from the Cultural Perspective 14-16

1.3 Studies on Film Title Translation from the Communicative Perspective 16-17

1.4 Studies on Film Title Translation from the Perspective of Translators 17-19 Chapter Two: Theoretical Framework of the Research 19-25

2.1 Hans Vermeer: Skopos Theory and Beyond 19-20

2.2 Basic Concepts of Hans Vermeer's Skopostheorie 20-25 Chapter Three: Film Titles 25-41

3.1 Film genres 25-26

3.2 Features of Film Titles 26-31

3.3 The Functions of English Film Titles 31-35

3.4 Comparison between English and Chinese Film Titles 35-41

Chapter Four: Analysis of English Film Titles Translation from thePerspective of Skopos Theory 41-66

4.1 Application of Skopos Theory to English Film Title Translation 41-46

4.2 Analysis of English film Titles Translation from the Perspective of Skopos Theory 46-52

4.3 Key Elements Influencing the Translation of English Film Titles in Light of Skopos Theory 52-55

4.4 Translation Methods Adopted in the Practice of English Film Title Translation 55-66 Conclusion 66-69 Bibliography 69-71 Acknowledgements

目的论视角下英语旅游文本的英译汉研究 Abstract 6

摘要 7-10

Chapter One Introduction 10-14

1.1 Present Research Situation 10-11

1.2 Purpose and Significance 11-12

1.3 Structure of the Thesis 12-14

Chapter Two English-Chinese Translation of Tourist Text 14-29

2.1 English Tourist Text 15-21

2.1.1 Types of English Tourist Text 16

2.1.2 Function of English Tourist Text 16

2.1.3 Linguistic Characteristics of English Tourist Text 16-21

2.2 Problems in English-Chinese Translation of Tourist Text 21-25

2.2.1 Linguistic Level 21-24

2.2.2 Cultural Level 24-25

2.3 Causes of Existing Problems 25-29

2.3.1 Difference of Social Background 25-26

2.3.2 Difference of Thinking Mode 26-27

2.3.3 Difference of Value 27-29 Chapter Three The Skopos Theory 29-35

3.1 Definition and Development of Vermeer's Skopos Theory 29-32

3.1.1 Definition of the Skopos Theory 30

3.1.2 Behavior of Translation and Purpose of Translation 30-32

3.2 Three Translation Principles of the Skopos Theory 32-33

3.2.1 The Skopos Rule 32

3.2.2 The Coherence Rule 32-33

3.2.3 The Fidelity Rule 33

3.3 Second Generation of the Skopos Theory—Nord's Skopos Theory 33-35

Chapter Four Main Points and Strategy of E—C Translation of Tourist Text Based on Skopos Theory 35-51

4.1 Main Points and Strategy of E-C Translation of Tourist Text Based on Vermeer's the Skopos Rule 35-40

4.1.1 Reader-centered Translation 36-37

4.1.2 Translation with Purpose 37-40

4.2 Main Points and Strategy of E-C Translation of Tourist Text Based on Vermeer's Coherence Rule and Fidelity Rule 40-44

4.2.1 Intratextual Coherence 40-41

4.2.2 Intertextual Coherence 41-44

4.3 Skopos Rule as the Primary Principle in Conflict of the Three Rules 44-45

4.4 Main Points and Strategy of E-C Translation of Tourist Text Based on Nord's Theory 45-51

4.4.1 Understanding Literary Style of the Original Text 46-47

4.4.2 Understanding the Logic of the Original Text 47-48

4.4.3 Understanding Cultural Background of the Original Text 48-49

4.4.4 Understanding Meaning of the Words 49-50

4.4.5 Understanding Grammatical Structure 50-51 Chapter Five Conclusion

第四篇：论文：英语电影片名的翻译

中文文摘

电影是一种集艺术性和商业性于一体的艺术形式，是最具有影响力的媒体之一。越来越多的英语电影被引入中国，促进了中西方文化交流。电影片名作为电影的重要组成部份之一，具有传达信息，表现美感和吸引观众的功能。在过去的二三十年里，影视翻译取得了很大的发展，但作为翻译领域一个重要组成部份，电影片名的研究工作还做得远远不够。目前似乎还没有人提出一套比较完整可行的原则指导片名翻译。目前英语片名翻译的问题主要表现为译名不统一，呈现出“一名多译，良荞不齐”的状况。

本文以新兴的功能翻译理论作为研究基础，大力提倡以观众为取向的英语片名翻译方法。功能翻译理论不同于传统的翻译理论，它强调了翻译及目的文本在其文化中的功能。作为功能翻译理论的“目的论”认为，翻译是一种有目的行为，“目的”决定所有翻译行为。根据“目的论”，决定翻译目的的最重要因素之一就是译文的接受对象，他们作为译文预期的接受者有其各自特定的文化背景和不同的交际需求。此外，功能理论还赋予译者更高的地位和更多的自由，认为为了达到翻译的目的与功能，译者可以最大限度地利用原文的文本信息，并在实践中采用行之有效的不同翻译策略。这也符合了当今影视翻译鼓励 译者具有一定个性和创造性的趋势。

在以上理论研究的基础上，文章将功能理论应用于分析英语电影片名翻译的现象，对英语片名的翻译进行了深入系统而全面的描述与分析，探讨了功能翻译理论指导电影片名翻译的合理性与可行性，以及在该理论指导下英语电影片名翻译的一些策略。全文共分五早。

论文第一章首先介绍了英文电影片名的重要性，阐明了本文的写作目的、研究方法和组织结构。

第二章主要介绍了本研究的理论基础一功能翻译理论。本章首先介绍了功能翻译理论的发展;其次介绍了指导功能翻译理论的三大法则，即目的性法则，连贯性法则和忠诚性法则。指出功能翻译理论的评价标准是“合适”，而不是“对等”。该理论作为对传统翻译理论的一个重大突破和翻译理论研究的重要补充，为电影片名翻译的理论研究开辟了一个新视角。

第三章介绍了电影的分类，定义了电影片名，分析了电影片名的功能和特点。并指出片名翻译的最终目的和主要功能是激发观众的观看欲望。电影片名不仅是物质产品，同时又是精神产品。为了更好地实现片名翻译的最终目的，译者不仅要使得电影译名具有导看功能，即片名能给观众提供影片的基本信息，还要使观众获得美感并受到感召，最终采取行动。这也就是要求译者在译文中努力实现电影片名的三种基本功能，即信息功能，美感功能和祈使功能。

III

第四章是理论与实践相结合的一个章节，即将功能翻译理论结合到具体的片名翻译实践中。作者分析了英语电影片名翻译的主要方法和策略，即音译、直译、意译及改译，以及各种方法的优势和不足，指出了各种翻译方法密不可分，优势互补。本文引用了大量丰富的例子来探讨功能翻译策略在电影片名翻译中的运用，认为原英语片名只是信息提供者之一。除了原电影片名，电影本身也可能提供信息。因此，译名与原名是否对等并不十分重要，充分满足信息、美感、祈使三个功能的要求才是英语电影片名翻译的首要标准。

第五章总结全文，指出电影片名翻译的功能能否实现是英语电影片名汉译的基本原则。要实现电影片名翻译的功能，就要求译者要明确片名翻译的目的，了解电影的类型及主要内容，并基于此选择适当的翻译策略来实现电影片名翻译的功能。

IV

Synopsis

The film, a particular art with both artistic and commercial values, is one of the most influential mass media with large quantities of English films being introduced into China.The film title, as an important part of the film, is of referential, expressive and appellative functions and its translation is a challenging job.Although film translation has been developing quickly in the past two or three decades, film title translation is a far less explored field.Up till now, no systematic and feasible theory on English film title translation has been put forward.Actually, film title translation is very problematic in that it is in a state of disunity.From the aspects of the functions and skopos of film titles, the author makes an analysis of the translation of film titles.Skopos theory, a newly developed theory, is adopted as the theoretical background of this thesis and an audience-oriented film title translation approach is highly advocated.Functionalism sheds new lights on the translation field.It reflects a shift from traditional linguistic and formal translation theories to a more functionally and socio-culturally oriented concept of translation.As a kernel of functionalism, Skopos theory holds that translation is an intentional action, and the skopos is the prime principle to determine the overall translational action.According to Skopos theory, one of the most important factors determines the purpose of a translation is the target receivers with their culture-specific backgrounds, their expectations and communicative needs.Moreover, functionalism gives the translator much more freedom than ever.The translator is encouraged to make good use of the source information and enjoys the freedom of choosing what strategy to follow to achieve the expected functions of the translation.In this thesis, the author applies the functionalist approaches to explain the phenomena of film title translation.The thesis makes an intensive and comprehensive study of the translation of English film titles.It proves the rationality and applicability of the functionalist approach and probes into the translation strategies of translation of English film titles under the guideline of functionalism.The thesis is pided into five chapters.The first chapter serves as an introduction.It presents the significance of the study, and also describes the skopos, research methodology and the structure of thesis.V

Chapter Two elaborates the theoretical basis—the functionalist approach, on

which the present study is founded.This chapter first introduces the historical views of the functional translation theory.After this, the chapter illuminates the three rules for any translation under the framework of functionalism: the skopos rule, the coherence rule and the fidelity rule;and indicates that criterion for translation evaluation is “adequacy”.Therefore, the functionalist theory has given a new perspective to the study of the translation of film title.Chapter Three introduces the genre of films, defines the film title to be examined in this thesis and discusses the features and functions of film titles.It points out that the ultimate purpose of film title translation is to induce the audience to see the film.But unlike commercial advertisement, the film title is not only a commercial product, but a spiritual product as well.In order to achieve the purpose, the title not only has to provide necessary information about the film to the audience but to entertain the audience and attract them.Only when the audience have been entertained and attracted by the title will they be persuaded to go to the cinema.That is to say, a translator should try to achieve three basic functions in target translation, namely thereferential, expressive and appellative functions.Chapter Four discusses the combination of theory with practice.This chapter applies the functionalist approach explain to the English film title translation.It first uses the functionalist approaches to the phenomena of film title translation.And it elaborates the strategies mainly applied in English film title translation, namely transliteration, literal translation, liberal translation and adaption, and discusses the merits and limitations of each method.This thesis argues that all the translation strategies are indispensable and supplementary to each other.It holds that equivalence to the original is not very important but the translation's adequacy to the requirement of the three functions is just the first and foremost criterion for the fulfillment of the skopos of reproducing the referential, expressive and appellative functions of original film titles Chapter Five is the conclusion that summarizes the whole thesis.It reaffirms that the translator should translate the English film titles under the basic principle of fulfilling the specific functions of it by applying translation methods in a flexible way.VI

Table of Contents 中文摘要........................................................................................................................I

Abstract........................................................................................................................II

中文文摘.....................................................................................................................III

Synopsis........................................................................................................................V

Chapter One Introduction........................................................................................1 1.1 Research Background..............................................................................................1 1.2 Data and Methodology.............................................................................................2 1.3 The Structure of the Thesis.....................................................................................2

Chapter Two Literature Review..............................................................................4 2.1 The Emergence of Functional Approaches..............................................................4 2.2 Functionalist Translation Theory.............................................................................5 2.2.1 Development of Functionalist Translation Theory...............................................5 2.2.2 Basic Concepts of Skopos Theory........................................................................6 2.2.3 Adequacy, Standard of Evaluation.......................................................................6 2.2.4 Translation Brief..................................................................................................6 2.2.5 Merits of Skopos Theory......................................................................................7

Chapter Three A Profile of Film Title Translation................................................8 3.1 Genre of Film...........................................................................................................8 3.2 Definition of Film Titles..........................................................................................8 3.3 Sources of Film Titles..............................................................................................8 3.3.1 The Indication of the Subject...............................................................…….........9 3.3.2 The Indication of the Object/Clue........................................................…….........9 3.3.3 The Indication of the Background........................................................................9 3.3.4 The Indication of the Plot....................................................................................10 3.3.5 The Indication of the Theme........................................................................…...10 3.4 Features of Film Titles...........................................................................................10 3.5 Functions of Film Titles........................................................................................11

VII

3.6 Skopos of Film Title Translation...........................................................................11

Chapter Four Application of the Functionalist Approach to the English Film Title Translation.....................................................................................................13 4.1 Strategies Employed in the Translation of English Film Titles.............................13 4.2 Strategies Employed in the Translation of Film TItles..........................................13 4.3 Summary................................................................................................................13

Chapter Five Conclusion.......................................................................................15 5.1 Summary and Conclusion of the Research...........................................................15 5.2 Limitations and Suggestions of the Research........................................................15

References...................................................……........................................................17

VIII

Chapter One Introduction

1.1 Research background

The year 1895 witnessed the first film in world history in France.Having developed for over a century, the film has become one of the most popular ways of entertainment for people.Additionally, it is also a means of expression as well as a vehicle for cultural communication.The film has included so much of various historical periods that people believe that by watching films of various types from various times and various countries, they can learn many aspects of history.The film is, so to speak, an acting and talking encyclopedia of culture and society.With the increasing pace of China's opening to the outside world as well as the development of cultural communication between China and English-speaking countries, more and more English films have entered Chinese market.In order to enable the audience to understand and appreciate the film, the whole film should be translated.Thus, there is an urgent demand for the translation of films.And because the film, as a specific form of literature and audio-visual art, is bound to have promising prospects in our age, it is of great significance to study and develop film-translating too.Film translation is the translating of languages and cultures, and the promotion of cross-cultural exchanges.And the film title, like the title to a literary text, delivers the most important information about the film to the audience.Therefore, as an indispensable part of the film translation, the film title translation naturally becomes an important branch of the general translation study.Whether the film is appealing or not, the title is one and the first deciding factor, for it is often the first that comes into the potential viewer's attention.It is expected to be eye-catching, ear-pleasing and curiosity-stimulating.The film titles generally bear three principal functions: the referential function, the expressive function, and the appellative function.The referential function means that the translation informs the audience the background and the plots of the film.It tells the audience as much of the information of the film as it can within several words and help them have a basic understanding of the film.The expressive function means that the translation sets the feeling-tone reflected in each film genre, which is very important to its communicative effectiveness;The appellative function means

that the translation must be written in a language that is immediately comprehensible to the audience so as to attract their attention, and triggerthem to enter the cinema to appreciate the film.And the film title, being short in form but rich in meaning, has its own linguistic, aesthetic, cultural and commercial features, all of which contribute a lot to the charm and the success of the film.Nowadays, the film title translation has attracted the attentions of many scholars.Many thesises of this topic could be seen in various kinds of academic periodicals.However, the studies in this field are not adequate and comprehensive enough.In this thesis, the author will try to make some theoretical explanations by examples which are taken from original texts and published translations.1.2 Data and Methodology

The present research is a descriptive analysis of English film title translation.It mainly focuses on the feature films which carry a greater variety than documentary films and science and educational films.They are usually intended to attract wide and varied audience.Thus, various feature film titles are collected from various sources such as books, journals, DVDs and the Internet for this research.The research is carried out in the light of the functionalist approaches to discover the principles of film title translation, and to see how the translation strategies are adequate to the requirements of the three functions in serving the skopos of film title translation.1.3 The Structure of the thesis

The thesis consists of five chapters: l)introduction, 2)literature review, 3)a profile of filmtitle translation, 4)an analysis of the film title translation from the functional perspective, 5)conclusion.The first chapter introduces the background and methodology of this research.The second chapter is the literature review which introduces the Skopos theory, including its development, basic concepts, basic rules and its influence on translation.The third chapter makes a profile of film titles.It introduces the genre of films, defines the film titles, analyzes its features and functions, and points out that the

skopos of English film title translation is to win the heart of the audience and be rewarded by a great box-office hit.The fourth chapter is the practical part of my thesis, where English film title translations are collected, reviewed and analyzed, for the purpose of discussing how the Chinese translation in various strategies are feasible in serving the skopos of entertaining the audiences and promoting the box-office.The fifth chapter is the last part.It summarizes the research conducted in the thesis to draw a conclusion.Chapter two

Literature Review 2.1 The Emergence of functionalist approaches The functional approaches originated in Germany in 1970s.Before its emergence, those linguistic-oriented theories had a great influence on translation.Many definitions of translation emphasized the linguistic aspect.For example, Catford thought translation is “the replacement of textual material in a language(SL)by equivalent material in another language(TL)”(cf.Nord, 2001:7);and according to Nida and Taber, the process of translation is “reproducing in the receptor language the closest natural equivalent of the source-language message”(Eugene A.Nida & Charles R.Taber, 2004:12).Because the linguistic approaches basically saw translation as a procedure of trans-coding, “equivalence” seems to be basic and somewhat indispensable.Werner Koller even indicated that the translation must preserve the source-language content, form, style, function, or “at least must seek to preserve them as far as possible”(cf.Nord, 2001:7).It declared the target text which is not equivalent to the source text to be a failed translation.Though many theorists still emphasize the equivalence in translation, they have to recognize that there may be non-equivalence in translation caused by the culture differences.Just as Koller stated in his recent work, “adaptation may be appropriate, or even inevitable, in order to make the translation reach its audience.(cf.Nord, 2001:7)And as for some pragmatic texts, such as advertisements and products instructions, ”equivalence“ can't be well applied for them.Thus, some translation scholars shift their focus from equivalence-based approaches to functionalist approaches, and ”a new theory was called for“.(Nord, 2001:8)

”The emergence of a functionalist translation theory marks an important moment in the evolution of translation theory by breaking the two-thousand-year old chain of theory revolving around the faithful vs.freeaxis.”

(Gentzler, 2004: 71)

Functionalism is a broad term for various theories that approach translation in this way.The major contribution to functionalism is the functionalist translation theory with the Skopos theory to its core.2.2 Functionalist Translation Theory 2.2.1 Development of functionalist translation theory The development of the functionalist translation theory experienced four stages, with Katharina Reiss, Hans J.Vermeer, Holz-Manttari and Christiane Nord as the main representatives.2.2.2 Basic Concepts of Skopos theory

“Skopos is the Greek word for „aim‟ or „purpose' and was introduced into translation theory in the 1970 by Hans J.Vermeer as a technical term for the purpose of a translation and of the action of translating.”

(Munday, 2001:78-79)

Nord indicates that the main idea of Skopos theory is that translation should be purpose-oriented.Vermeer has pided the purpose of translation into three possible kinds, including “the general purpose aimed at by the translator in the translation process”(cf.Nord, 2001;27), “the communicative purpose aimed at by the target text situation”(ibid: 27), and “purpose aimed at by a particular translation strategy or procedure”(ibid:28).And the term Skopos usually refers to the purpose of the target text.Except the term Skopos, Vermeer also uses some related words aim, purpose, intention and function in his theory:

1.„Aim’is defined as the final results an agent intends to achieve勿means of an action.2.„Purpose' is defined as a provisional stage in the process of attaining an aim.3.„Function' refers to what a text means or is intended to mean from the receiver's point of view, whereas the aim is the purpose for which it is needed or supposed to be need.4.„Intention' is conceived as aim-oriented plan of action.(cf.Nord,2001: 28)

He considers teleological concepts of these words to be equivalent, subsuming them under the generic concept of Skopos.However, Christiane proposed a basic distinction between intention and function, which is particularly useful in translation.Because the sender and the receiver usually belong to different cultural and situational settings, “intention and function may have to be analyzed from two different angles”.(Nord, 2001:29)2.2.3 Adequacy, Standard of Evaluation

Instead of equivalence, “adequacy” is highly emphasized within the framework of skopos theory.According to Skopos theory, the intended purposes of the target text determine the translation strategies, and criterion for translation evaluation is “adequacy”, which refers to “the qualities of a target text with regard to the translation brief'(Nord, 2001:35), which will be discussed later in this chapter.The translation should be ”adequate to“the requirements of the brief'.(Nord, 2001:35).“'Adequate' is a dynamic concept related to the process of translational action and referring to the “goal-oriented” selection of signs that are considered appropriate for the communicative purpose defined in the translation assignment.”

(cf.Nord, 2001:35)

The skopos of the translation determines the form of equivalence required for an adequate translation.Therefore, equivalence means adequacy to a skopos that requires that the target text serves the same communicative function or functions as the source text,山us preserving invariance of function between source and target text.That is, the concept of equivalence is reduced to “functional equivalence” on the text level of what Reiss refers to as “communicative translation”.(cf.Nord, 2001:36)2.2.4 Translation Brief

The translation brief indicates the text type, format or terminology of a translation.In the professional practice of translation, translators seldom start a translating activity out of their own reasons.Translation is usually done by assignment;that is, a client needs a text for a particular purpose and calls upon the translator for a translation.In the process of translational action, the initiator decides the communicative purpose.However, on real occasions, clients do not give the translators an explicit translation brief,they often do not know that a good brief spells a better translation.Based on the source text in the source settings, an experienced translator is able to infer the brief himself and make some variations upon the target text, in order to make

it meaningful to target culture receivers.In addition, the translation brief does not tell the translator how to go about their translation job, what translation strategy to use, or what translation type to choose.These decisions depend entirely on the translator's responsibility and competence.(Nord, 2001:30)

In terms of Skopos theory, the variability of the brief depends on the circumstances of the target culture, not on the source culture.Since translation has been defined as a translational action involving a source text, the source is usually a part of the brief.In terms of action theory, agents(sender, receiver, initiator, translator)play the most important parts.2.2.5 Merits of Skopos theory

Compared with traditional translation theory prevailing before 1970s, Skopos theory has so many distinctive characteristics that it becomes a trigger of revolution in translation studies.“The two most important shifts in theoretical developments in translation theory overthe past two decades have been(1)the shift from source-text oriented theories to target-text oriented theories and(2)the shift to include cultural factors as well as linguistic elements in the translation training models.Those advocating functionalist approaches have been pioneers in both areas.”

(Gentzler, 2004:70)

And the theory is also considered by Nord exactly as the translation model that is needed.Nord summarizes the advantages of it as ”pragmatic, culture-oriented and consistent“.(cf.Quan Xunlian, 2006)

Chapter Three

A Profile of English Film Title

The film title, like the title to a literary text, delivers the most important information about the film to the audience.A good film title can grip the attention of the audience and contribute a lot in box-office.Film title translation is an important job which is full of creation.It seems to be a simple and easy task, but actually it is complicated.It has its own features and unique functions all of which deserve the attention of translation scholars.A brief survey of English film titles will be conducted in this chapter before coming to the application stage.3.1 Genre of film In film theory, ”genre“ refers to the primary method of film categorization based on similarities in the narrative elements from which films are constructed.Just like literary genres, there are many types of films, but the most significant categories are feature films, documentary films, educational films, experimental and animated films as suggested in The Complete Film Dictionary.(cf.Xu Lin, 2005)

3.2 Definition of film titles

The title, according to The Complete Film Dictionary, means any words that appear on the screen not as part of the scene but as a means of conveying information to the audience.”Credit titles“ appear at the start and conclusion of a film to cite the various personnel responsible for the motion picture;”the main title“ gives the name of the film;”subtitle“ are placed at the bottom of the scene to translate foreign languages;”the end title“ tells the audience that the film is concluded and ”end titles“ give us the credits.(cf.Xu Lin, 2005)The thesis will discuss the ”main title“ which gives the name of the film.3.3 Sources of film titles The film title usually summarizes the main idea of the film and exposes the theme.If a translator wants to grasp the full meaning of the original title, and translate the film titles properly, he should first identify the sources of film titles.That means, he should know on what bases the films are named.The sources can be roughly

categorized into five types: 1)subject;2)objecbclue;3)background;4)plot;5)theme.(He Ying, 2001)3.3.1 The Indication of the Subject

The subject here refers to the protagonist-hero or heroine of the film.More often than not, the screenwriters either adopt the names of the main characters as the film titles, or entitle the film with the characteristics of the protagonist.Following are some examples of this type of source:

Romeo and Juliet Batman Alexander The Fantastic Four

3.3.2 The Indication of the

The clue or the most important object appearing in the film serving to be the thread that connects the whole plot is often adopted as the title.Following are some examples of this type of source:

Schindler's List 7axi Golden Eye A Clockwork Orange

3.3.3 The Indication of the Background

The background, which plays a very important part in the developing the plot, conveying the theme and portraying the characters, also serves as one of the chief sources for naming a film.This type of source originates from the place or time that is crucial for the development of the plot and the portrait of the protagonists, providing the audience with some basic background information of the film.Following are some examples of this type of source:Troy The Longest Day Mr.Bean's Holiday Air Force One

《特洛伊》 《最长的一天》 《憨豆先生的假期》 《空军一号》

《辛德勒名单》 《的士速递》 《黄金眼》 《发条橙》

《罗密欧与茱丽叶》

《蝙蝠侠》

《亚历山大帝》

《神奇四侠》

3.3.4 The Indication of the Plot

It's the most common type of source of film titles.The title always provides a glimpse of the film plot, or summarizes the content of the film.Following are some examples of this type of source:

Around the World in 80 days Kill Bill Star War Saving Private Ryan

3.3.5 The Indication of the Theme

Some of the films are entitled with the theme that the film intended to convey.Such titles are comparatively abstract, but contain much more symbolized meanings than the other types.They are very thought-provoking, profound and far-reaching in mood.Following are some examples of this type of source:

Pride and Prejudice Brave Heart Top Gun The Sound of the Music

《傲慢与偏见》 《勇敢的心》 《壮志凌云》 《音乐之声》

《环游世界80天》 《杀死比尔》 《星球大战》 《拯救大兵莱恩》

3.4 Features of film titles

Film titles are commonly short and brief to be eye-catching for people.And because the intended addressee of film titles is the general public, the language should be popular and comprehensive.Many rhetoric devices, such as simile, metaphor and oxymoron are employed in the film title to make them vivid and attractive, therefore, they can grab the audience's attention, arouse their curiosity and trigger their action.The overall features of the English film titles will be approached from linguistic, aesthetic, cultural and commercial aspects as follows.In general, English film titles are simple, concise and compact.A lot of film titles employ only one word, which are usually to be nouns.They may be the main character, the place or the time when the story takes place.For example, Speed, Mummy, Titanic and so on.Although there are some long film titles, such as When a Man Loves a Woman and It happened One Night, they are just a small number.Additionally, phrases enjoy the great popularity in the film titles.Most of them are noun phrases, verb phrases and prepositional phrases.3.5 Functions of film titles

”Function“ is a topic largely discussed by the translation scholars.Vermeer defines ction as ”what a text means or is intended to mean from the receiver's point of view".(Nord, 1:28).Each text is produced for a certain function and work this function.The station of a text should also be intended to function for the target receivers.Functionalism draws on Karl Biihler's organon(1934)about the text function.Biihler proposed that there were three basic text functions: referential, expressive and appellative functions.And because the film is a material product as well as a spiritual product, this dual decides that film titles have both functions of artistic appreciation and commercial advertisement, therefore the titles should bear the aesthetic function as well.3.6 Skopos of film title translation

The film is more than just an entertaining system.It is also a means of expression as well as a vehicle for cultural communication.According to Vermeer's Skopos theory, the possible purposes in the translational action can be pided into three kinds: the general purpose aimed at by the translator, the communicative purpose aimed at by the target text, and the purpose aimed at by a particular translation strategy or procedure.(cf.Nord,2001:27-28)Applying this classification in film title translation, we can see that the general purpose of a translator of film title translation is to earn living;the communicative purpose of film title translation is to induce the audience to go the cinema;and the purpose of using particular strategies in film title translation is to preserve or recreate the referential function, expressive function and appellative function to please the audience, regardless of whether the immediately feeling is amusement(comedy), fear(horror)or anything else.Among the three purposes, the communicative purpose is the most important one.A successful film title should be the one that can attract people to the cinema and contribute a lot to the box office.That is to say, the skopos of film title translation is to add the viewer with a translated film title, which can contribute to a good

understanding of the contents of the film, provide information of the background and the plots of the film, set the feeling-tone of the film, increase the title's artistic appeal, win the heart of the audience and promote the box-office.Generally speaking, to make a hit on box-office is the ultimate goal of film title translation..In order to fulfill this purpose, the translator's task is to apply suitable strategies of translation, to provide the clear and concise film titles and induce the audience to watch the film.Chapter Four

Application of the Functionalist Approach to the English

Film Title Translation

4.1 Strategies Employed in the Translation of Film Titles

There is no single translation strategy that can solve all the problems in film title translation.According to the three functions of film title, which we have discussed in chapter three, four main types of strategies can be applied in film title translation.They are transliteration, literal translation, liberal translation and adaption.The following part discusses the four strategies applied in film title translation with rich examples to see how they are adequate to the translation brief, that is the requirements of the referential function, the expressive function, and the appellative as an integrated whole in fulfilling the purpose of entertaining the Chinese audience and promoting the box-office.4.2 Strategies Employed in the translation of Film Titles

There is no single translation strategy that can solve all the problems in film title translation.According to the three functions of film title, which we have discussed in chapter three, four main types of strategies can be applied in film title translation.They are transliteration, literal translation, liberal translation and adaption.The following part discusses the four strategies applied in film title translation with rich examples to see how they are adequate to the translation brief, that is the requirements of the referential function, the expressive function, and the appellative as an integrated whole in fulfilling the purpose of entertaining the Chinese audience and promoting the box-office.4.3 Summary

From the analysis above, we can draw a conclusion that the translation of English film titles doesn't simply mean copying the content and the form of the original title.It a re-creative process based on the functional theories.There isn't a sole method for the film title translation.All methods has its limitations.When one

method does not work owing to linguistic, customary, cultural or other factors, naturally the translator must at once turn to the other means for help.He should have a better understanding of the type and the content of the original film, then he can choose a method which is adequate to the translation brief and well reproduces the referential, expressive and appellative functions of the film title.Chapter Five

Conclusion

5.1 Summary and Conclusion of the Research

In this thesis, we have conducted a study into the application of the functionalist approaches to the translation of English film titles.The film is one of the most influential mass media products.As China' film market's potential becomes larger and larger, more and more English films have entered Chinese market and held a very important position in Chinese people's recreational life.So the translation of film products has become an important part of international economic and cultural exchanges.The study of the translation of film titles is not only necessary but also urgent.That is the reason why the author attempts to make an analysis of the basic strategies applicable to the translation of English film titles from a functionalist perspective.The author elaborates on the functionalist approach that emerged in the 1970s in Germany.The functionalist approach made a breakthrough in the field of translation, which had been dominated by the equivalence theory for a long time.The functionalist approach is a shift from the source-text orientation to target-text orientation.It attaches greatest importance to the skopos, and points out that the prime principle determining the translation action is the skopos(purpose)of the target text.In this sense, the functionalist approach is the most suitable and practicable theory to guide the film title translation.For the Chinese audience, they watch the film for the purpose of entertainment.And as an essential part of the films, the film titles naturally should not only serve the skopos of entertainment, but also the skopos of inducing the audience to see the film.The referential function, the expressive function and the appellative function are defined as the translation brief in achieving this skopos.Various kinds of strategies are employed such as transliteration, literal translation, liberal translation and adaption to fulfill this skopos.All the translation strategies adopted by the translator serve to realize the ultimate purpose of film title translation by highlighting one or two or three of these three functions.Simultaneously meeting the requirements of the three functions achieves the skopos well while meeting the requirements of one or two functions may affect the degree of entertainment.For example, the audience may not feel the specific atmosphere of the film easily due to the translation's failure to meet the requirement of the expressive

function.Therefore, to produce a successful film title under the guidance of the Skopos theory, the translator should first make clear of the skopos of the film title translation, then, he is supposed to fully understand the differences between Chinese film titles and English film titles in culture-specificity, in referential and expressive functions.Finally it is important for the translator to choose appropriate strategy that can best serve the particular function and finally realize the skopos of the translation.The thesis cites rich examples to examine the specific strategies the translator has chosen when translating different kinds of English film titles.The purpose of this study is to analyze whether and how the translators translate in a way that enables the translation to reproduce the referential, expressive and appellative function of the original title.5.2 Limitations and Suggestions of the Research

The present research is a tentative study of English film title translation.However, it is only target receiver-oriented and cannot cover all the aspects of the translation of English film titles due to the limited time and sources.Therefore, there is still much to be investigated in great depth in the translation of English film titles from other aspects.References Christiane Nord.2001.Translating as a Purposeful Activity-Functionalist Approaches Explained, Shanghai: Shanghai Foreign Language Education Press Edwin Gentlzer.2004.Contemporary Translation Theories(Revised Second Edition)Shanghai: Shanghai Foreign Language Education Press Eugene A.Nida & Charles R.Taber.2004.The Theory and Practice of Translation, Shanghai: Shanghai Foreign Language Education Press Eugene A.Nida.2001.Language, Culture and Translation, Shanghai: Shanghai Foreign Language EducationPress Gideon Toury.2001.Descriptive Translation Studies and Beyond, Shanghai: Shanghai Foreign Language Education Press Gutt, Ernest-August.2001.Translation and Relevance, Shanghai: Shanghai Foreign Language Education Press Katharina Reiss.2004.Translation Criticism-The Potentials & Limitations, Shanghai: Shanghai Foreign Language Education Press Mark Shuttleworth & Moira, Cowie.2004.Dictionary of Translation Studies, Shanghai: Shanghai Foreign Language Education Press Mary Snell-Hornby.2001.Translation Studies-An Integrated Approach, Shanghai: Shanghai Foreign Language Education Press Mona Baker.2004.Routledge Encyclopedia of Translation Studies, Shanghai: Shanghai Foreign LanguageEducation Press Munday Jeremy.2001.Introducing Translation Studies-Theory and Applications, London: Routledge Peter Newmark.2001.A Textbook of Translation, Shanghai: Shanghai Foreign Language Education Press Peter Newmark.1988.Approaches to Translation.Cambridge: Cambridge University Press.Peter Newmark.2006.About Translation Beijing: Foreign Language Teaching and Research Press.Quan Xunlian, 2006, A Functionalist Approach to the Translation of Film Titles, Unpublished MA.dissertation, Anhui University

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第五篇：电影片名

科幻片

1.Hollow Man 隐形人/透明人 2.The one 宇宙追缉令

3.Water world 未来水世界

4.Independence Day 独立日/ ID4星际终结者/ 天煞-地球反击战

5.Outland 天外天 / 异乡 / 外面的世界

喜剧片

6.Freaky Friday 辣妈辣妹 7.Sydney White 大学新生 8.she is man 足球尤物

9.The Princess of Tribeca 公主日记

10.Untitled 'Queen Bees and Wannabes' Project 辣妹过招

坏女孩 刁蛮

掌门人

11.Cheaper by the Dozen儿女一箩筐/十二生笑 12.Sydney White大学新生 13.Nutty Professor 肥佬教授 14.Big Momma’s House卧底肥妈 15.Dumb and dumber 阿呆和阿瓜 16.Home Alone小鬼当家 17.Master the spy 王牌间谍

18.Meet the Spartans/ Hunting and Fishing 这不是斯巴达（斯巴达三百勇士之恶搞版）19.Baby’s Day Out

小鬼当街，20.Clubhouse Detectives 小子真行，21.Home Alone was translated into 小鬼当家 22.Spy Kids

小鬼神偷, 23.No place like home 小鬼上路.24.Major League

大联盟/无敌波霸/少壮屠龙阵

25.The People Vs Larry Flynt 性书大亨/ 人民迎战拉里・弗兰特 / 情色风暴1997 26.Bibi Confession of Sweet 16 饥渴小淫娃

27.Driving Miss Daisy为戴茜小姐开车/温馨接送情/山水喜相逢

28.Roman Holiday罗马假日

文艺片

29.Penelope 真爱之吻

佩内洛普 30.Step up/ Sexy dance 舞出我人生 31.The big blue 碧海蓝天/夜海倾情/碧海情深 32.Enchanted 魔法灰姑娘 /麻辣公主

33.What a Girl Wants 水瓶座女孩/家有“美”女/父女大不同/女孩要什么玉女何求

34.A Cinderella Story 无线知两心/灰姑娘的玻璃手机/无线两心知/灰姑娘的故事

35.Goal 一球成名/进球/进球：梦的开始 36.All about Eve 新夏娃故事/彗星美人 37.Music of the heart 弦动我心/心曲/心灵音乐 38.Far and away 大地雄心/远离家园/远方

39.Jingle all the way 圣诞老豆 / 铃儿响叮当/一路响叮铛 40.Moonstruck 月满抱佳人/月色撩人/月满抱佳人 41.The great Waltz / The Life of Johann Strauss翠堤春晓 42.The crying game 哭泣的游戏/乱世浮生 43.Emma 爱玛/芳心爱漫游

44.Birth 重生/出生/越世惊情/重生/转世情缘

45.Enemy at the Gates 决战中的较量/兵临城下/敌对边缘 46.Casablanca 卡萨布兰卡/北非碟影

47.The Piano

钢琴别恋/钢琴师和她的情人/奇情孽恋 48.Singing in the Rain

雨中曲/万花嬉春

49.You Can't Take It with You浮生若梦(中)/浮生若梦(台)/浮生若梦(港)50.The Man from Snowy River雪河男子汉/来自雪河的人 51.Sense and Sensibility 理性与感性/理智和情感 52.True Lies魔鬼大帝：真实的谎/ 真实谎言 53.The Great Lie伟大的谎言/弥天大谎

54.Meet Joe Black第六感生死缘/情约今生/第六感生死恋

悬疑片：

55.Final Destination死神来了/绝命终结站

56.Taken飓风营救/劫持/劫持惊魂 57.1408幻影凶间

58.Constantine地狱神探/康斯坦丁：地狱神探/地狱星/魔间行者

59.Entrapment将计就计/偷天陷阱 60.Taking Lives 机动杀人/尸人交易 61.Collateral借刀杀人

62.Out of Time即时追捕/限时追捕

63.Red Dragon红龙(台)/沉默的赤龙(港)/红龙

64.The Oxford Murders（Oxford Crimes）牛津杀手/牛津谋杀案

65.The Skeleton Key万能钥匙

66.Gone, Baby, Gone 失踪的宝贝/失踪人口 67.the alphabet killer字母杀手

68.Cleaner凶案清理员

69.Death Sentence死亡裁决（非法制裁）死刑/非法制裁/死亡裁决 70.Scoop独家新闻/独家头条/遇上塔罗牌杀手（香港译名）、遇上塔罗牌情人（台湾译名）

71.The Fast and the Furious 速度与激情/速度与激情/玩命关头/狂野时速（1.玩命关头 2 飙风再起 3.东京漂移 4.赛车风云）

72.The International 跨国银行/国际阴谋/国际组织/黑暗金控/国际银行

73.Inside Man局内人/内部人士/套中人/卧底(台湾译名)74.Firehouse Dog消防犬/消防犬/我家也有消防狗

75.The Devil Wears Prada穿Prada的女魔头/穿PRADA的恶魔(香港译名)/时尚女魔头

76.Echelon Conspiracy夺命手机/梯阵阴谋

77.12 Rounds 12回合

78.Romeo and Juliet罗密欧与朱丽叶（后现代激情篇）/殉情记

79.Blade, the Vampire Slayer(USA)刀锋战士：1幽灵刺客 2。变种复活 3 终极杀阵

80.The Transporter非常人贩 ：1 飙车动作 2 绝命速递 3 玩命速递

81.Phone Booth 狙击电话亭/绝命铃声/电话亭

82.Con air 惊天动地/罪犯的空中之旅/空中囚犯空中监狱

83.Kiss of the Dragon 龙之吻/猛龙战警/龙吻 84.Charlie's Angels霹雳娇娃/霹雳天使/霹雳娇娃/全速进攻 85.Ocean's Eleven 十一罗汉/瞒天过海/盗海豪情/赌场劫案/11罗汉

86.Verhandlungssache王牌对王牌/谈判专家没数讲

87.Righteous Kill正义杀戮/正当杀人/正义杀戮/世纪交锋 88.Rise: Blood Hunter 血之猎手

89.Cellular一线声机/玩命手机 90.Contract Killers职业杀手

91.Kiss Me Deadly致命亲吻

92.Shoot 'em Up火线保镖/赶尽杀绝/史密斯先生(台湾译名)/

无名火(香港译名)93.Romeo Must Die 致命罗密欧

94.Road Of No Return爆裂陌路/不归路/爆裂末路/怒火救援

95.The legend of 1900海上钢琴师/声光伴我飞/一九零零的传奇

96.Sniper 3双狙人3 97.The Third Man 黑狱亡魂/第三者/黑狱之魂 98.The Fan夺命影迷(台)/血影狂迷(港)/媚眼杀机(其他)99.Catch me if you can 我知道你是谁/猫鼠游戏/抓智双雄 100.The Shawshank Redemption

肖申克的救赎/月黑高飞/刺激1995 101.The Bone Collector

神秘拼图 /骨中罪 102.Mind hunters

八面埋伏 / 死亡特训 103.Half Light

神秘群岛/黄昏

动作片

104.Die Hard 终极警探/虎胆龙威

105.The Bourne Identity 谍影重重/神鬼认证(台湾译名)/叛谍追击(香港译名)/神鬼疑云

106.Mission: Impossible 谍中谍/ 职业特工队/不可能的任务

107.Wanted 通缉令(香港)/杀神特工(台)/刺客联盟 108.Triple X 极限特工/限制级战警 109.Death Race 死亡飞车/死亡竞赛 110.The Transporter 非常人贩

111.Mr.and Mrs.Smith 史密斯夫妇/史密夫与史密妻 112.Taxi 的士速递/终极杀阵/出租车司机 113.First Blood 第一滴血

114.leon 这个杀手不太冷/杀手里昂

115.Black hawk down 黑鹰计划/黑鹰15小时 116.Tomb Raider 古墓丽影/ 古墓奇兵/盗墓者罗拉 117.Banlieue 13 暴力街区13

118.Heat 盗火线/ 烈火悍将/热力/穷追不舍/狂热 119.Out of Time 限时追捕/即时追捕 120.The Italian Job 偷天换日/意大利任务/天罗盗网 121.Entrapment 偷天陷阱/将计就计

122.Rush Hour 尖峰时刻

123.Shanghai Noon 西域威龙/上海正午/龙旋风/赎金之王 124.Windtalkers 追风战士/风语战士/烈血追风 125.The net 网络惊魂

126.The Departed 无间行者/无间道风云（香港译名）/神鬼无间（台湾译名）/美版无间道 127.Ransom 赎金风暴

128.The one 宇宙追缉令/救世主（台）/最后一强（港）129.Danny----The dog 犬人丹尼 /狼犬丹尼 /猛兽出笼 130.The Peac emaker缔造者/末日戒备

131.G.I.Joe: Rise of Cobra百战英雄：毒蛇之害/义勇群英之毒蛇风暴(香港译名)/百战英雄/魔鬼大兵 132.The Three Musketeers豪情三剑客 133.Courage Under Fire 生死豪情

134.The Devil's Own致命突击队/与魔鬼同行

动画片

135.Shrek 怪物史莱克/史瑞克/史力加

136.Dr.Seuss' Horton Hears a Who 霍顿与无名氏 /荷顿奇遇记(台湾译名)/ 大象亚钝救细界(香港译名)/ 霍顿听到呼呼声

137.Pocahontas 风中奇缘/ 138.ROBOT

机械公敌/智能叛变/我，机械人 139.Finding Nemo

海底总动员

140.WALL·E垃圾总动员/地球垃圾回收员/瓦力机器人总动员

141.Ratatouille 美食总动员

142.The Incredibles

超人总动员

143.Toy Story

玩具总动员

144.Bee Movie 蜜蜂总动员

145.Shark Tale 鲨鱼总动员

惊悚片

146.Anaconda 3 The Offspring 狂蟒之灾3/大蟒蛇3 /大蟒蛇：神出鬼没

147.Scary Movie惊声尖笑/恐怖电影

148.The others 小岛惊魂 /神鬼第六感/不速之吓 149.1408 1408幻影凶间

150.The Shining 闪灵/鬼店/幽光/幻觉

151.Generals daughter将军的女儿/西点揭秘/铁案风暴 152.Eraser 蒸发密令 153.High Noon正午迷情

历史片：

154.Alexander 亚历山大大帝

155.The passion of the Christ 耶稣受难记 156.Ali 拳王阿里

157.Lawrence of Arabia 阿拉伯的劳伦斯/沙漠枭雄

剧情片

158.My left foot

我的左脚/无悔今生 159.Blood and Sand

碧血黄沙 160.Ordinary People普通人/凡夫俗子

161.Dead Man Walking死囚漫步/越过死亡线/死囚168小时 162.FEAR致命的危机/ 163.The Final Cut引爆生死线/魔鬼反击

164.Saving Private Ryan拯救大兵瑞恩/抢救雷恩大兵/雷霆救兵