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跨語言和跨文化轉(zhuǎn)換:論英文電影的中文字幕翻譯

跨語言和跨文化轉(zhuǎn)換:論英文電影的中文字幕翻譯

定 價(jià):¥50.00

作 者: 梁麗絲
出版社: 中山大學(xué)出版社
叢編項(xiàng): 翻譯前沿研究系列叢書
標(biāo) 簽: 暫缺

ISBN: 9787306074669 出版時(shí)間: 2022-04-01 包裝:
開本: 頁數(shù): 字?jǐn)?shù):  

內(nèi)容簡介

  英語電影的中文字幕翻譯過程涉及復(fù)雜而獨(dú)特的語言和文化轉(zhuǎn)換。本研究結(jié)合不同電影種類和多個(gè)交叉學(xué)科,對兒童電影、政治電影、女性電影、歷史電影和喜劇電影的英譯中字幕翻譯展開個(gè)案研究,深刻揭示出翻譯學(xué)和其他學(xué)科的共生特性。本研究分析了官方的中文字幕翻譯實(shí)踐,審視了不同類型的電影所關(guān)聯(lián)的英國文化的復(fù)雜性和獨(dú)特性,審視了字幕翻譯過程中中國文化,尤其是中國價(jià)值觀的介入與融合。研究表明,在整個(gè)字幕翻譯的動(dòng)態(tài)變化發(fā)展過程中交織著多種形式和類別的轉(zhuǎn)化,既有語言、文化、政治、歷史、意識(shí)形態(tài)的轉(zhuǎn)化,也有性別、性向和幽默的轉(zhuǎn)換等。在英文電影的中文字幕翻譯中,電影里的英國特性和作為翻譯語境的中華文化都滲透其中。

作者簡介

  梁麗絲 博士,中山大學(xué)國際翻譯學(xué)院博士后,碩士生導(dǎo)師,畢業(yè)于英國卡迪夫大學(xué)現(xiàn)代語言學(xué)院,主攻影視傳媒翻譯專業(yè)。研究方向?yàn)橐暵牱g、影視文化外譯和文化創(chuàng)意經(jīng)濟(jì)等。主持廣東省人文社會(huì)科學(xué)重點(diǎn)研究基地廣東外語外貿(mào)大學(xué)翻譯學(xué)研究中心項(xiàng)目一項(xiàng),參與***社科項(xiàng)目、教育部國際司委托項(xiàng)目和校級項(xiàng)目共四項(xiàng)。在New Voices of Translation Studies,Journal of Audiovisual Translation等重點(diǎn)核心期刊發(fā)表文章多篇,擔(dān)任國際翻譯期刊inTRAlinea評審專家。

圖書目錄

List of Figures and Tables
List of Screen Shots
1. Introduction
1.1 Literature Review on Audiovisual Translation
1.1.1 A Brief History of Screen Translation in China
1.1.2 The Critical Landscape of Subtitling in China
1.2 Research Questions
1.3 Methodology
1.4 Overview of Theoretical Framework
1.4.1 Translation and Cultural Theories
1.4.2 Theoretical Model in Relation to the Categorisation of Examples
1.5 Main Contributions
1.6 Thesis Synopsis
2. Subtitling Harry Potters Fantastic World: Linguistic and
Cultural Transfer in a Subtitled Childrens Film
2.1 Aim of the Chapter
2.2 Why Harry Potter and Sorcerers Stone?
2.3 Translation Strategies
2.4 Subtitling British Fantasy for Young Chinese Audiences
2.4.1 Scariness
2.4.2 Smallness
2.4.3 Flying
2.4.4 Aliveness
2.4.5 Magic
2.4.6 Corporeal Humour
2.4.7 Childlike Appellation
2.4.8 Other Made-up Names
2.5 Conclusion
3. Subtitling a Political Film: Linguistic and Ideological
Transfer in The Iron Lady (2011)
3.1 Aim of the Chapter
3.2 The Politics of Margaret Thatcher
3.3 Thatchers Relationship with China
3.4 Why Release and Subtitle The Iron Lady in China
3.5 Reception of the Film in China
3.6 Theoretical Framework
3.7 Case Analysis
3.7.1 Metaphors of Household Management
3.7.2 Metaphors of Female Leadership
3.7.3 Metaphors of Terrorism and War
3.7.4 Metaphors Relating to Trade Unions
3.7.5 Bodily Metaphors
3.7.6 Metaphors Relating to Political Opponents
3.7.7 Translating Political Rhetoric
3.8 Conclusion
4. Subtitling a Historical Film: Cultural and Temporal
Transfer in Oliver Twist (2005)
4.1 Introduction
4.2 Oliver Twist in the British and Chinese Contexts
4.3 Why Oliver Twist?
4.4 Theoretical Framework
4.5 Case Analysis
4.5.1 Religious Terminology
4.5.2 Biblical Allusions
4.5.3 Social Conventions
4.5.4 Elements of the Victorian Era
4.6 Conclusion
5. Subtitling Bridget Joness Fantasy World: The Transfer
of Sexuality and Gender in a Chick Flick
5.1 Introduction
5.2 Bridget Joness Diary in the Chinese Context
5.3 Theoretical Framework
5.4 A Case Analysis: Transfer of Gender, Swearing and Sexuality
5.4.1 Swearing and Offensive Languages
5.4.2 Sex-Related Languages
5.4.3 Euphemism and Humour
5.4.4 Women, Food Products, Boyfriends and Clothes
5.5 Conclusion
6. Subtitling Comedy: The Transfer of Humour in the
Chinese Subtitles of Notting Hill (1999)
6.1 Introduction
6.2 Theoretical Framework
6.3 Notting Hill in the British and Chinese Contexts
6.4 Justification of the Case Study
6.5 Humour Translation in Notting Hill
6.5.1 Contextual Httmour
6.5.2 Contextually Cultural Humour
6.5.3 Contextually Linguistic Humour
6.5.4 Contextually Cultural and Linguistic Humour
6.6 Conclusion
7. Conclusion
7.1 Main Findings
7.2 Research Contribution
7.3 Possibilities for Future Research
7.4 Suggestions for Practice and Policy
References

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