论文总字数：29992字

摘 要

随着中国经济的快速发展，文化产业也在不断发展。其中，电影的交流就占了很大一部分。电影作为最富有影响力的媒介之一，在文化交流与传播方面起到了重要的作用。为了让广大中国观众能够正确的欣赏和理解英文电影，字幕翻译就显得极为重要。本文从翻译目的论角度出发，翻译目的论是最有影响力的理论，该理论指出翻译是有目的的，要根据目的进行翻译，为翻译活动提供了一种新视角，本文把《寻梦环游记》作为个案研究对象，通过探讨电影《寻梦环游记》字幕翻译，分析中文字幕是怎样结合目的论进行翻译的，从而为电影字幕翻译做出一点贡献。

关键词：目的论；电影字幕翻译；《寻梦环游记》

Contents

1. Introduction 1

2. Literature Review 1

3. A Brief Introduction of Skopos Theory 3

3.1 Three rules of Skopos Theory 5

3.1.1 Skopos rule 5

3.1.2 Coherence rule 5

3.1.3 Fidelity rule 6

4. Skopos Theory in Film Subtitle Translation of Coco 6

4.1 A brief introduction of Coco 6

4.2 Three main rules applied to the analysis of film Coco 7

4.2.1 The application of skopos rule in film Coco 7

4.2.2 The application of coherence rule in film Coco 8

4.2.3 The application of fidelity rule in Coco 10

5. Conclusion 11

Works Cited 13

1. Introduction

With the development of global economy, the cultural industry has also made great progress, especially the film industry. Films came into being at the end of 19th century. In recent years, with the continuous improvement of people’s living standard, the ways of leisure are constantly diversified, thus film has become one of the most popular forms of entertainment. Many good foreign films have been introduced into China. Film subtitle translation is extremely important in enabling Chinese audiences to enjoy the original film correctly without any cultural barriers. While film subtitle translation has many problems, such as lack of systematic theoretical guidance, wrong translation, less translation, and not faithful to the content of the film. Therefore, from the perspective of skopos theory, this thesis takes a film coco as a sample research, hoping to provide a new perspective of film subtitle translation. The skopos theory believes that the translation has a purpose and its purpose determines the target text. Skopos, coherence and fidelity are the three rules of skopos theory. The other two rules should follow the skopos rule. Through the study on the subtitle translation of the film coco, this thesis summarizes the effective translation strategies of film, so as to make some contributions to the study of film subtitle translation.

This paper includes five chapters: chapter one introduction, chapter two literature review, chapter three skopos theory, chapter four skopos theory in film subtitle and chapter five conclusion. Chapter one includes the abstract of this thesis, the research aims and the structure of the thesis. Chapter two introduces the relevant studies of film subtitle translation and the relevant studies of this subject. Chapter three includes what is skopos theory. The basic concepts and rules are also included. Chapter four is the application of the skopos theory in film coco and some strategies of film according to the skopos theory. Chapter five includes the conclusion of the whole thesis.

2. Literature Review

With the development of film industry and frequent exchanges between countries, film subtitle translation is also developing rapidly, many scholars have made great contributions to subtitle translation. However as far as film subtitle translation is concerned, the translation history of film and television works is too short compared with the mainstream literature translation studies.

Subtitle translation is much earlier in the west than in China, dating back to the late 1950s and early 1960s. In 1974, Dollerup, in On Subtitles in Television Programs, analyzed some of the problems that existed in the translation of British Television into Danish, and put forward the importance of subtitle translation for the first time. In 1989, Delabastita proposed that subtitle Translation should not only focus on the original culture of the film and television itself, but also focus on the process and strategies of subtitle Translation. The 1990s was a golden age for the study of film and television translation in the west. The theory of film and television translation has made great progress, and many theories and achievements were put forward by western scholars at this time. In 1991, with the support of the European media research institute, Luyke collaborated with four European experts in film and television translation and published the book Overcoming Language Barriers in Television: Dubbing and Subtitling for the European Audience. Since 1995, the study of film and television translation in the west has entered an era of rapid development. The number of theoretical studies on subtitle translation has increased, especially the European scholars. For example, the scholar Gottlied of Denmark. In 2003, Gambier published Media Translation, proposed whether in subtitle Translation can skip some Translation problems - "language and strategies for translating humor, irony, allusions, metaphors, conventions of subtitling and the relationship between intonation and non-verbal behaviour"(Gambier, 2003: 183) had a great impact on subtitle translation.

Compared with the west, China started late in the study of film and television translation. Not only fewer researchers attach importance to film subtitle translation , but also the research is scattered and one-sided. There is also no systematic theory yet. From 1995 to 2004, the study of film translation was seriously neglected. Around 1936, Chinese market has imported a huge number of foreign films. Around 1946, dubbing films were gradually presented. Due to the existence of illiterate and semi-illiterate audiences in China at that time, dubbing films were more popular with the masses than subtitles. However, dubbing films also had many problems, such as mismatching lip movements and distorted translation. Before the reform and opening up, due to political problems, China imported a limited number of foreign films. After the reform and opening up, especially in recent decades, a large number of foreign film and television works poured into China, and subtitle translation gradually showed a booming development trend(Wang Luwen, Gong Xiaoping 1). In 1997, Ma zhengqi, professor of the school of international communication, Communication University of China, published the thesis on the basic principles of film and television translation, which summarized the five characteristics of film and television translation, including colloquialism, character personality, emotion, mouth, and popularity. In June 2005, he published an introduction to film and television translation, which has exerted profound influence on the theoretical research of film and television translation in China and the cultivation of talents in film and television translation. In 2000, professor Qian shaochang from Shanghai International Studies University published a thesis titled film and television translation -- an increasingly important field in the field of translation, which emphasized that "expressiveness (smoothness)" was the most important principle among the three principles of "faithfulness, expressiveness and elegance" in subtitle translation. Since then, film and television subtitle translation has gradually drawn much attention.

When writing this thesis, I have checked related data on the website CNKI. And it can be clearly found that the number of subtitle translation maintained steady growth in six years from 2009, however, it had been plunging since 2014. Therefore subtitle translation should gradually attached importance to. Besides, according to the retrieved data, fewer than 50 studies have been conducted on the subject. Therefore, plenty of attention are in urgent need for scholars to pay. At present, there still exists many problems in subtitle translation, which urgently needs theoretical guidance. Therefore, this thesis hope to make some efforts to Chinese subtitle translation.

3. A Brief Introduction of Skopos Theory

Since the mid-20th century, western translation theories have made great breakthroughs, and various translation theories have emerged, such as Catford"s system-functional linguistics and Nida"s social semiotics translation theory. Among the numerous translation theories, skopos theory can be viewed as the most suitable theory for subtitle translation. Skopos is a Greek word meaning ‘purpose’. Skopos theory applies Skopos concept to translation. The concept of purpose should be incorporated into translation activities, all of which are closely related to the purpose. Therefore, The purpose of translation is the first principle in formulating translation strategies. The development of skopos theory has experienced the following steps. According to the sequence of time, the development of teleological research can be roughly divided into three stages: germination stage (1971-1977), development stage (1978-1987) and maturity stage (1988-present).

First of all, germination stage: In the 1970s, Katharina reiss’s research officially opened the prelude to the early study of skopos theory. Reiss’s theory is still based on the concept of equivalence theory, however, she realized that it is impossible or equivalence is not the best way in some cases she drew from translation practice. Especially when the communicative function of the original text is not in line with the target text. In this case, the purpose of the translation should be taken into consideration at first rather than equivalence. Therefore, it forms the origin of skopos theory.

The representative of the development stage is Hans vermeer, the student of Reiss. Vermeer regards translation (including interpretation) as a conversion behavior based on the original language text, and any behavior has a purpose, so translation also has a purpose and can affect the culture of the target language. Vermeer also put forward the concept of translation commission. It is that the translator should decide whether, when and how to accomplish the translation task. We can see from that vermeer totally broke through the equivalent theory and advocated breaking the shackles of the source text and focusing on the purpose of the text. Therefore, translation must be flexible and it is necessary to convert translation strategies to achieve the goal of the text.

The representatives of the maturity stage are Justa holtz-mantari and Kristina nord. Mantari particularly emphasizes the behavioral aspect of the translation process, focusing on the analysis of the respective roles of the participants in the translation activity (the initiator of translation, the translator, the user of the text, and the receiver of the information) and the context conditions involved in the occurrence. As a new generation of the German school, Nord proposed the ‘loyalty principle’ and applied skopos theory to the training of translators, interpretation, literary translation and other fields.

3.1 Three rules of Skopos Theory

3.1.1 Skopos rule

Skopos rule is the first among the three rules. Purpose is the most important in translation practice. However, translation activities can have multiple purposes. These purposes can be further divided into three categories :(1) the translators’ basic purpose (such as earning a living); (2) the communicative purpose of the translation (such as inspiring the readers); (3) the purpose to be achieved by using a particular means of translation (such as adopting literal translation according to the structure in order to explain the special features of the grammatical structure of a language). However, in general, "purpose" refers to the communicative purpose of the target text, that is, "the communicative function of the target text in the social cultural context of the target language for the target language reader"(Venuti: 2001). Therefore, the translator should define his specific purpose in a given translation context, and according to this purpose, decide what translation method to adopt -- literal translation, free translation or something in between.

3.1.2 Coherence rule

Coherence rule refers to the fact that the translation must reach the criterion of intra -- textual coherence, which is known as the readability and acceptability of the translation, enabling the receiver to understand and make sense of the target language culture and the communicative context of using the translation. In addition, the intention of the translator and the intention of the author of the source text should be balanced to achieve a harmonious relationship between the author of the source text, the translator and the target language reader. Accordingly, another important rule of skopos theory, the coherence rule, specifies that a translation should be acceptable in a sense that it is coherent with receivers’ situation. (Reiss and Vermeer, 1984: 113)

3.1.3 Fidelity rule

This rule involves the relationship between the source-text and target-text. Vermeer calls this relationship “intertextual coherence” or “fidelity” which is “fidelity rule” (Reiss and Vermeer, 1984: 114). The fidelity rule means that the translator should be fidelity to the target text, be consistent in meaning, be responsible for the source text, and translate in a faithful way, which is the triad of translation: faithfulness, expressiveness and elegance. In this rule, the degree and form of fidelity are determined by the translator"s understanding of the original text, and also depend on the purpose of translation, which can vary with different purposes. The fidelity rule is actually a necessary supplement to the skopos rule.

4. Skopos Theory in Film Subtitle Translation of Coco

Coco is the 19th animated feature film produced by Pixar Animation studio and Walt Disney studio. It was directed by Lee unkrich and Adrian molina. The film was released in the us on Nov 22, 2017 and released in China on Nov 24, 2017. The film won the best animated feature at the 90th Academy Awards on March 5, 2018.

4.1 A brief introduction of Coco

Miguel is a 12-year-old boy. He lives in Mexico with his family. Music is Miguel"s favorite in the world. But his family hates it. Every time they hear the boy say," I want to be a musician,"they get really angry. This is because Miguel"s great-great grandfather was once a famous musician, but he left his family. Miguel finds out that his favorite musician, Ernesto de la Cruz, is probably his great-great grandfather. How exciting that is! On the Day of the Dead, the most amazing thing happens:Miguel enters the Land of the Dead! No one in the real world can see him. There, Miguel finds his family members. They have died. He also makes friends with Hector, a skeleton who loves music, too. Miguel meets Ernesto de la Cruz and plays music in front of him. But soon he finds that Ernesto de la Cruz is, in fact, not a good person. The sun is rising. Miguel needs to go back to the real world, or he will be stuck in the Land of the Dead and lose his family. But time is running out. Finally, he experienced some fantastical travel notes in the Land of the Dead, and finally insisted on his music dream.

4.2 Three main rules applied to the analysis of film Coco

In this film, there many subtitle translations that fit the three main rules of skopos theory. In the following, several examples will be selected for analysis, and the some specific translation strategies will be proposed.

4.2.1 The application of skopos rule in film Coco

There are many applications of the skopos rule in this film. There are some typical examples in this film.

The English name of the film is Coco and the Chinese translation is 寻梦环游记. In terms of skopos theory, all translation activities have a purpose. The ultimate goal and main function of film title translation is to help people understand the main content of the film and stimulate the audience’s desire to watch it. When we see the English name of the film, we feel confused, we may think what does it mean, it is a film about coco palms or a girl named coco? However, when we finish watching the film, we will find it is a film about pursuing dreams, it has nothing to do with coco palms, coco is just name of the boy’s great grandmother. If the Chinese translation is translated into 椰子树 or 可可, it would be totally wrong. Therefore, 寻梦环游记 is the correct and fitting translation of the film. It not only satisfies the primary skopos rule of the skopos theory, but also makes the audience understand the content of the film.

eg. Aw, you’re a twig,mijo. Have some more.

译：你看你，都瘦成猴了。多吃点。

In English, twig means 细枝，小枝, if you use literal translation it may translated into 你已经是一枝小枝了, while according to the character image and the following sentence ‘have some more’, we can know you’re a twig means you are thin. Therefore, the word twig here represents the boy is thin. In Chinese,monkeys have always have a meaning of thin, thus the translation 都瘦成猴了 not only enables the meaning of the original text be well translated, but also be more consistent with the Chinese expression habits, the translation is more authentic. This translation is highly consistent with the skopos rule, it It allows the characters of the original text to be well expressed.

eg. It’s all that time he spends in the plaza.

译：这是他在广场上干的好事!

This sentence was said by the boy"s grandmother after he was caught playing music. From the perspective of skopos rule, this family is extremely hate music, so when translating this sentence, we should also express this emotion. If translated into 这就是他在广场上度过的时间 it is not only incoherent with the above text, but also leads to ambiguity, making it difficult for the audience to understand. In the process of translation, what should be considered first is the purpose of the translation and what emotion should be expressed in this sentence should also be considered.

In the above introduction, we can see that functionalists put purpose in the first place. Generally speaking, every translation activity has an established purpose and every effort should be made to achieve this purpose(Fan Xiangtao, Liu Quanfu 26). Therefore, in order to effectively achieve the translation purpose, the translator should according to different expected functions of discourse translation, flexible selects the corresponding translation strategies, decide which target article in particular in the context of information can be retained, which must be adjusted according to the target language context. And then according to the needs of the readers, use corresponding translation strategies such as literal translation or free translation, omission, adaptation, otherwise it may to get the disadvantage (Zhang Jinlan 12). Like the above examples, three examples all use the free translation. They make the target language more consistent with the expression habits of the audience and make the audience better enjoy the film watching.

4.2.2 The application of coherence rule in film Coco

eg. I asked for a shoe shine not your life story, ...I was just getting a shine, ...I was just shining shoes.

译：我想要擦得发亮的鞋子不是听你的故事，......我只是来擦鞋子的, ......我只是去那里给别人擦鞋。

The translation difficulty of these sentences is the word ‘shine’, If we translate according to the meaning of shine, this sentence will translate into “我想要发光的鞋子，我只是在发光的，我只是去那里擦鞋子”This is very confusing from the Chinese, what is meant I was getting a shine, which will lead to misunderstanding. However, according to the coherence rule, it refers to the fact that the translation must meet the standard of intra -- textual coherence. The preceding was all about shoeshine, so the second shine mustn’t mean luminous, the correct meaning is also shine shoes. Therefore, this is consistent with the coherence rule.

eg. And a Rivera is a shoemaker. Through and through.

译：里韦拉家的人都会是鞋匠。薪火相传。

In this sentence through and through is the difficulty of translation, it not means 彻底,完全. According to the above sentence, it means that the skills of the shoemaker will be passed down from generation to generation. 薪火相传 means knowledge and skills will be passed down from generation to generation, it is consistent with the original meaning. Thus the translation of 薪火相传 not only enables readers to accurately understand the meaning, make sense in the culture of the target language and the communicative environment in which the target language is used, but also the target language is full of Chinese characteristic and adds literary flavor.

eg. I know, I"m not supposed to love music. But it"s not my fault. It"s his.

译：我知道我不应该爱音乐。但这不是我的错,这全都怪他。

In the last sentence, according to the coherence rule, it obviously omits the word ‘fault’, so the whole sentence should be ‘It’s his fault’. Therefore, the omitted word ‘fault’ is very important when translation. If we translated into 这是他, the audiences may feel confused, it has nothing to do with the above sentence. However, the translation 这全都怪他 is consistent with coherence rule, the audiences may easily understand the meaning and connect the above sentences and the following sentences.

eg. But he also had a dream. To play for the world.

译：他有一个远大的梦想，想让自己的音乐被全世界听见。

In original text, there is no word represents 远大, however, according to the following world, the boy’s dream to play for the world is great. Although translated as 他有一个梦想，想让自己的音乐被全世界听见 is also correct, audiences can also understand the meaning, however, adding the word 远大的 can better fit the original text and let the translation achieve the coherence rule.

From the analysis of the examples above, it can be found some detailed translation strategies such as literal translation, free translation, omission, amplification are used to achieve coherence rule. Because sometimes the original text will omit some of the words mentioned above, but in translation some words need to be added or deleted appropriately in order to be coherent with the above and following sentence. Like the example one and three. Therefore, the omission and amplification are two important strategies. Of course, the translator can also choose appropriate translation strategies according to the needs of the translation. In a word, the purpose and function of the translation are different, and the methods and strategies of translation are different. No matter what method is adopted, the most fundamental principle of translation is whether the purpose of translation can be effectively realized(Jia Wenbo 33).

4.2.3 The application of fidelity rule in Coco

The most typical fidelity rule in this movie is the translation of Dante, a dog, a song remember me and one specific sentence.

eg. Dante

译：丹丹

In English, Dante is usually translated as 但丁, however, in this film, Dante is a dog’s name, If translated as 但丁, the Chinese audience must be confused as to why a dog would be called 但丁, is this dog a powerful dog? However, if translated as 丹特, it will not be faithful to the image of the dog in the movie. In the movie, this is a lovely and lively dog, and the translation of 丹丹 will fit the image of the dog, making people directly feel its cute and faithful to the original text.

eg. Remember me though I have to say goodbye 请记住我 虽然我要去远方

Remember me don"t let it make you cry 请记住我 眼泪不要坠落

For even if I"m far away I hold you in my heart 我虽然要离你远去 你就在我心里

I sing a secret song to you each night we are apart 在每个分别的夜里为你唱一首歌

Remember me though I have to travel far 请记住我虽然我要去远方

Remember me each time you hear a sad guitar 请记住我　当听见吉他的悲伤

Know that I"m with you the only way that I can be这是我跟你在一起唯一的凭据

Until you"re in my arms again 直到我再次拥抱你

Remember me 请记住我

First of all, this is a song, itself has its own characteristics, such as rhyme, catchy. Therefore, in the translation, the rhythm of the original lyrics cannot be destroyed, and the Chinese translation should also become a catchy lyrics and able to keep up with the rhythm and tone of the original song. The Chinese version of this song not only retains the sad tone of the original song, but also faithfully follows the rhythm of the original song.

eg. He wants no part of your music, maruachi.

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