论文总字数：20846字

摘 要

近些年来，各国文化交流逐渐增加，影视剧作为文化交流的重要媒介受到众多欢迎。 字幕翻译因为其能帮助观众了解人物对话内容，剧情发展以及相应文化而地位显著。德国功能派理论目的论认为，决定翻译过程最主要的因素就是整体翻译行为的目的，而译文的预期目的与译文的接受者决定了翻译策略的选择。在影视字幕翻译中，译文的预期目的是文化交流，而译文的接受者,即观众，他们拥有自己的文化背景知识、对译文的期待以及交际需求。由此可见，目的论对于字幕翻译更具指导意义。

本文将以目的论为基础，对《傲慢与偏见》的电影进行分析，研究目的论的三原则如何指导影视剧字幕翻译。

关键词：目的论；字幕翻译；《傲慢与偏见》

Contents

1.Introduction １

2. Literature Review １

2.1 Previous study on Skopos theory ２

2.2 Previous study on subtitle translation ３

3. Analysis of Translation of Subtitle in the Pride and Prejudice (1940) with the Skopos Theory ３

3.1 Application of the Skopos rule in translation ４

3.2 Application of the coherence rule in translation ５

3.3 Application of the fidelity rule in translation ６

4. Conclusion ６

Works Cited ８

Introduction

In recent years, cultural exchanges between countries around the world have become increasingly frequent. As the carriers of cultural communication, movies and TV plays an important role that cannot be ignored. For many people who watch foreign movies and TV dramas, Chinese subtitles are especially important, and good subtitle translation can even be a way for English lovers to learn English. However, the translation of subtitle in films and television programs is different from the text. The audience is widely. The duration of subtitle is short, and subtitle only accounts for one or two line. Also, subtitle translation requires high cross-cultural standards. Therefore, subtitle translation of movies and TV plays should be concise and easy to understand, and accurately convey the thoughts and contents of movies and TV plays. In this way, the audience not only can understand the plot of movies and TV plays, but also can learn the source language culture better. However, subtitle translation in China is still in its initial stage, and the quality of translation directly affects the audience"s movie-watching experience and the effect of cultural communication. Therefore, how to choose appropriate translation principles to guide film and television subtitle translation is still a topic worth exploring. This paper discusses the feasibility and advantages of Skopos theory in subtitle translation. Analyzing specific examples from the 1940 film "Pride and Prejudice", this study focuses on how Skopos theory"s principles of purpose, coherence and loyalty better guide subtitle translation. According to Skopos theory, each kind of translation has its own specific purpose, and the standards of translation are different in different cases. In the process of translation, the relationship between the original author, the translator and the target audience must be considered. Obviously, Skopos theory is an important theoretical guide of subtitle translation, and the translation method under Skopos theory is very helpful to translators.

2. Literature Review

This part is divided into two sections. The first section is an introduction to the theoretical framework of this paper, including the introduction to German functionalism and teleology, as well as the introduction to the three principles of Skopos theory. The second section introduces the definition and characteristics of subtitle translation, and briefly introduces some translation theories applied to subtitle translation, such as Newmark"s communicative and semantic translation theory, Nida"s functional equivalence theory and Yan Fu"s faithfulness and elegance.

2.1 Previous study on Skopos theory

Functional translation theory subverts the traditional definition of translation and the nature of translation. It holds that translation should be based on the communicative theory and behavioral theory. It points out that translation is a kind of translation interaction, which is a kind of cross-cultural interpersonal interaction based on the purposiveness of the original text. Functional translation theory has gone through three stages. Katharina Reiss puts forward the embryonic form of functional translation theory in her book Possibilities and Limitations in Translation Criticism published in 1971. She believes that text type theory can help the translator to determine the appropriate level of equivalence required for the purpose of translation. On this basis, she links the language function, text type and translation methods, proposing the translation principles and evaluation criteria of different texts. In the late 1970s, based on his teacher, Reiss"s study on functionalism, Hans Vermeer puts forward Skopos theory which is a further development of functionalism. He believes that translation is a human behavior, and any translation has a purpose. Therefore, translation is a purposeful behavior. The theory elaborates the purpose of translation, the relationship between the source text and the target text, the role of the translator and the translation methods. Nord inherits and develops Skopos theory and integrates the viewpoints of various schools of German functional translation theory. Finally, Nord proposes the principle of function and fidelity as a supplement to Skopos theory. Functional translation theory holds that translation is not only a human behavior, but also a purposeful behavior. Therefore, the translator should first understand the intended purpose of the translation and flexibly adopt his own translation strategies and methods from the perspective of the target language readers, so as to achieve a satisfactory translation for all parties.

Skopos theory is first proposed by Vermeer in his book Framework for a General Translation Theory published in 1978. He believes that translation behavior is determined by the purpose of translation, that is, purposes determines means. Skopos theory emphasizes that the translator should give priority to the expected purpose of the translation and adopt practical translation methods and strategies according to this purpose. However, no matter what methods and strategies are, they are determined by the purpose served by the translation, and the following three principles should be followed in this process.

2.2 Previous study on subtitle translation

There are two kinds of subtitling: intralingual subtitling and interlingual subtitling. Interlingual subtitle refers to the text superimposed on the bottom of the screen from the source language to the target language while the original sound of the film and television is retained, which is usually referred to as subtitle translation. Subtitle translation is a special type of language conversion: a condensed written translation of the original spoken language. Subtitle translation includes three levels of meanings that can be separated in theory but are actually inseparable: interlingual information transmission, text simplification or reduction, and spoken language conversion to written language. The latter two meanings of subtitle translation distinguish it from other translation types. Subtitle translation is a conversion from spoken to written language, which is called diagonal translation. Because subtitle translation needs to be consistent with the sound and pictures in movies and TV plays, subtitle translation is not only a simple text conversion, but also a cultural conversion. In addition to the enrichment and textual conversion, subtitle translation has two other characteristics worth mentioning. First, the appearance of subtitles basically does not change the image, sound information of the original film. What cannot be expressed in the subtitles or is not adequately expressed, the audience can get compensation from the original sound. In the second, the voice of the source language is clear and unmistakable. Anyone who has some knowledge of the source language will unconsciously take a critical attitude towards the subtitles, which will immediately cause the audience"s distrust and affect the information transmission.

In a word, subtitle translation is a process of simultaneous provision of explanatory text for films and TV dramas. It is limited by picture, sound, space, time, colloquialism and other factors. Different from text translation, subtitle translation has its unique translation features, such as popularity, instantaneity, spatial restriction and intercultural nature.

3. Analysis of Translation of Subtitle in Pride and Prejudice with the Skopos Theory

According to Skopos theory, the most important factor that determines the translation process is the purpose of the whole translation behavior, and the expected purpose of the translation and the recipient of the translation determine the choice of translation strategies. In film and television subtitle translation, the intended purpose of the translation is cultural communication, and the recipient of the translation is the audience, who have their own cultural background knowledge, expectations for the translation and communication needs. Skopos theory has three principles, namely the principle of Skopos, the principle of coherence and the principle of fidelity, which have become our guiding principles in the process of subtitle translation. The principle of Skopos holds that any translation has a purpose, and translation activities should be conducted around this purpose. The coherence principle means that a translation must conform to the standards of intralingual coherence and be readable and acceptable. The principle of fidelity is that the translation must be faithful to the original. These three principles constitute the basic principles of teleology, but the most important is that the principle of coherence and the principle of fidelity must be subordinate to the principle of purpose. The following part will mainly explore how the principles of Skopos, coherence and fidelity can better guide subtitle translation.

3.1 Application of the Skopos rule in translation

Vermeer says that behavior depends on the purpose of the behavior; Similarly, translation behavior depends on the purpose of translation. For subtitle translation, the principle of purpose emphasizes that the key of translation is to convert the real intention and cultural knowledge conveyed to the audience by the source language into the information of the target language, which is consistent with the function of information, expression and call of subtitle translation.

Example 1: When Mrs. Bennet ask Mr. Bennet to visit Mr. Bingley, he says, “but you are handsome as any of them, and Mr. Bingley may like you best of all.” （不过你可和她们同样的俊美，宾利先生可能最喜欢你呢！）

Mr. Bennet describes Mrs. Bennet with the word, handsome. When this word is used to describe a man means he is attractive. However, when it comes to a woman, it means she is attractive in a strong healthy way. Apparently, Mrs. Bennet is not. The translator translates ‘ handsome ’ into ‘俊美’ instead of ‘帅气’, which not only retains the meaning of the word, but also shows the meaning of beauty not reflected in the sentence.

Example 2: At the ball, George Wickham sees Elizabeth and ask, “who is the lovely creature in a blue dress?” (那身着蓝色衣裳的可爱美人儿是谁呀？)

The translator translates ‘ creature ’ into ‘美人’, exactly expressing the what Mr. Wickham tries to say while not reflect in the word. A more vivid image is showed to the audience.

In general, translation should not be limited to the literal meaning of the source language, and translation should not pursue literal translation, but a translation that aims at acquiring the target language.

3.2 Application of the coherence rule in translation

The principle of coherence is also an important criterion of Skopos theory. Translators should present target language subtitles that conform to the standard of intra-language coherence to the audience. The information or text in the target language should be meaningful, understandable and consistent with the response of the audience in the target language. Only in this way can the subtitle bring the best appreciation effect and the communication be truly successful. In other words, target language subtitles should be readable, acceptable, understandable, and meaningful in the context of target language culture and communication.

Example 1: When Miss Bingley, Mr. Bingley and Mr. Darcy shows up in the ball, Mrs. Phillips says, “what a handsome young man Mr. Darcy is.” (达赛先生是个多么英俊的男子啊！)

Under the guide of the coherence rule, the translator does not mechanically translate the sentences according to the order of the source language, but adjusting the order of translation to make it more in line with the expression habits of the target language.

Example 2: Jane is ill from visiting Miss Bennet. After then, Elizabeth goes to take care of her. That night, the following conversation happens. ‘Miss Eliza, let me to persuade you to join me and take a turn in this room.’ (伊莱莎小姐，容我说服你跟我在此房间小踱一番。)

Adverbials of place are often placed in the back in English and put before in Chinese. The translator put the translation of ‘ in this room ’ before ‘ take a turn ’,which is conforming to the expression habit of the target language, making the sentence more smooth.

Many points on the screen of the inconsistent expression is bound to affect the audience"s experience and evaluation, because “the voice of the source language is clear and correct, and any person to understand the source language will consciously to the subtitles to adopt a critical attitude, don"t immediately cause the audience distrust, slightly influence message”, therefore, for the subtitle translation, should try to avoid information fault caused by the translation inconsistent.

3.3 Application of the fidelity rule in translation

In discourse analysis in translation, Nord first proposed the concept of fidelity principle of "function fidelity", believing that the translator should be loyal to both the source language and the target language, but should not confuse the two concepts of "fidelity" and "loyalty". "Loyalty" refers to the relationship between the source language and the target language, while "fidelity" rises to the interpersonal category and tends to refer to the social relationship between people. In addition, according to Jia Yanli and Wang Hongjun, "faithfulness" refers to the relationship between the source language and the target language. Fidelity means that the intention of the target language is consistent with that of the source language. Therefore, the translator should grasp the environment of the source language and the target language at the same time, and be responsible to the audience from the perspective of "fidelity".

Example 1: Lady Catherine de Bourgh comes to the Bennet’s house, asking to talk with Elizabeth along. ‘Certainly, madam, if you wish it.’ ‘I do wish it.’ (当然啦，夫人！若你希望如此。我是希望如此。)

Subtitle translation is ultimately aimed at the audience. It is a kind of discourse produced for a certain purpose and audience in the context of the target language. In this situation, Mrs. Bennet uses the word "do" to emphasize her request to speak to Elizabeth alone. Combining with the plot, it certainly sets the stage for the rest. At the same time, it shows that the translator obey the fidelity rule.

4. Conclusion

Guided by Skopos theory, this paper analyzes the subtitles of pride and prejudice. The purpose of translation is mainly embodied in the function and purpose of subtitle translation. This paper analyzes how to use different translation strategies to achieve the function and purpose of subtitle translation through examples. Subtitle translation has its own unique label. The function of subtitle translation is to provide information to the audience. Different movies have different translation purposes and corresponding translation functions and purposes. According to Skopos theory, translation strategies should be different. Translators can decide the main strategies of subtitle translation according to different translation functions and purposes.

With the development of translation studies, Skopos theory has been studied in a broader field. It is free from the restriction of equivalent translation and emphasizes the subjective initiative of the translator. However, it only considers the purpose in translation practice, which makes the translator easy to ignore the specific context. The process of translation depends on the purpose of translation. To some extent, it will limit the translator"s dominant position and make the content and form of the translation quite different from the original text, which is not good to the readers to understand foreign cultures. The application of Skopos theory in subtitle translation is not perfect, and more research is needed to achieve the goal of making the target language audience resonate with the source language audience. Therefore, it is still an urgent task in this field to establish a reasonable evaluation system and guide further research. As a new subject, subtitle translation research is a field worthy of further exploration. With the prosperity of the media industry, the abundance of audio-visual materials and the development of the Internet, the study of subtitle translation will become more and more promising.

Works Cited

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李运兴：《字幕翻译的策略》.中国翻译，4（2001年）:38-40.

[Li, Yunxing. “Strategies for Subtitle Translation.” China Translator Journal 4(2001): 38-40. ]

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杨安妮：《从目的论三原则看《傲慢与偏见》字幕翻译》.吉林广播电视大学学报，8（2018年）：116-117，132.

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张艳杰：《《傲慢与偏见》电影字幕翻译研究》.青年时代，?（2019年）：29-32.

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