摘要
在经济全球化不断加快的今天,电影已日益成为国家文化产业的核心,代表着一个国家和民族的形象参与对外商品输出的竞争。近几年来,中国电影产业在“走出去”工程的号召下积极开展国际合作,发展迅猛,其中古装大片以其精美的画面和富有东方神韵的文化色彩深受广大西方观众的青睐,其高质量的字幕翻译也日益受到国内外学者的关注。但与西方相比,国内字幕翻译的理论研究还不成熟,相关学术著作不是甚多,中文字幕的英译策略研究更是寥寥无几,这不利于中国的电影更好地走向世界。事实上,字幕翻译是一项复杂的、涉及很多因素的活动；按语篇范围(field of discourse)电影可分为故事片／电视剧、记录片、科教片、宣传片等等,不同语篇所要求的翻译策略也不尽相同。
有感与此,笔者在选材上限定了在西方票房收入及字幕翻译质量俱佳的4部中文古装大片作为研究对象,以德国功能主义翻译目的论为理论根基展开对其英译的策略探讨。功能派认为,翻译是一项有目的的跨文化交际行为,在翻译前必须有一个明确的翻译目的(Skopos),并以此作为决定翻译策略的指挥棒,即“目的决定手段”。在某种层面,该理论把翻译研究的中心视角从源文本转移到目标文本上来,同时把译者的忠诚因素带入翻译活动中,对实用文体翻译具有理论指导价值,可谓对翻译学研究的一大突破和贡献。
按照该理论,不同的翻译策略是由于不同的目的所致。在探讨古装大片字幕翻译的策略前,首先要解决的是寻究其翻译的目的。作者受启于该学派的理论阐释,提出了该类影片字幕翻译的目的推导模式,并付诸这4部大片的具体分析中。基于此,作者水到渠成得出了字幕翻译的几个准则(rule),也就是功能目的论中的次要目的(sub-skopos)。在分析的最后,作者得出结论：古装大片字幕翻译的目的(skopos)是在有限的时空范围内要以观众对字幕的迅速理解和文化认同为中心,突出信息性。
明确目的后,作者就展开对古装大片字幕翻译具体策略的探究。在语言上,提出要缩减为主(修剪,缩减式释意、省),但也不能忽视在必要时扩张性的显性译意和对等转移；在文化上,作者以语块移动法(chunking)分析电影中文化负载词的翻译策略；对古汉语的翻译主张采取简化策略；此外,作者按照功能目的论对文本分类的阐释,认为在译后编辑中,首先要检查语篇的等效翻译,以期实现导演目的和观众期待的共鸣。在策略探讨结束时,作者进一步提出,观众在欣赏电影时,字幕的“无障碍”效果是字幕翻译工作者应追求的境界。
在最后的结论中作者创新性提出,字幕翻译质量的好坏不能只看原文脚本和译文脚本的对等程度,而应更多地把字幕放到电影语境中去评价翻译的效果。
了解中国古装大片字幕英译的特殊性,有利于更好地指导实践,帮助中国的电影更快地走向世界,“越是民族的,就越是世界的”；同时也有利于拓展翻译理论的研究领域。
In the past few years, China's film-making industry has achieved preliminary success in expanding its market into the international arena and Chinese movies have become part and parcel in developing China's cultural undertaking. Among all genres of movies, the emerging Chinese costume blockbusters (CCBs hereinafter) with their exquisite pictures and Oriental charm have won special acclaim amongst the Western audience and their good subtitling quality has increasingly whetted the curiosity of scholars both at home and abroad. But generally speaking, subtitling studies in China fall far short of the accomplishments in the Western academia, and they are in a nascent stage, C-E subtitling studies in particular. This has posed great challenges for China's movie in its pursuit of growth. As a matter of fact, subtitling is a complex activity involving many factors in the process. According to the field of discourse, movies can be classified as feature films/TV series, documentaries, special reports etc., each of which calls for its own subtitling strategies.
Seeing that, the author confines subtitling strategy studies to four CCBs with German functionalist approaches as the theoretical foundation. From the perspective of this school, translating means producing a text in a target setting for a target purpose and target addressees in target circumstances and before any translation strategy is applied, the skopos must be identified, i.e. the end justifies the means. This school has liberated the focus of translation studies from the ST to the TT and put the translator's loyalty into consideration in the translating process. This breakthrough is of theoretical value in guiding pragmatic translation.
According the functionalist theory, the preference of translating strategies rests with the definite skopos, so it is vital to prioritize gaining subtitling skopos of CCBs before any translation is carried out. Inspired by the vivid interpretation of this school, the paper proposes a skopos deduction model and applies it to detailed analysis of four CCBs, then concludes the skopos of this genre:in the limited space and time, subtitling must aim at audience's easy and quick comprehension and cultural identification with information conveyance as the core. After that subtitling strategies are explored with examples illustrated in a concrete way.
Linguistically, "reduction" is preferred (clipping, reductive paraphrasing and deletion) followed by two aiding strategies---expansive semantic explicitation and transfer. Culturally, the chucking strategy is frequently applied to deal with the heavily culture-bound words. Besides, simplification is suggested when archaism is concerned. Furthermore, the present paper finds that in post-editing stage, the text-function equivalent translation should be considered in order to achieve the resonance between the director's intention and the audience's expectation. Finally, the paper argues that "unobstructiveness" on the audience's part shall be the pursuit of subtitlers.
At the conclusion of this thesis, the author finds his own criteria of judging subtitling. We must not compare the ST and TT to see whether there is full equivalence; instead, the TT, which is usually reduced and adapted, must be put into the filmic context to test the effect on the audience.
A knowledge of particularity of subtitling benefits its practice, and can facilitate the "going global" process of China's movie industry. "What's unique for a nation is also precious for the world." Meanwhile, a know-how of subtitling is conducive to the expansion of translation studies.
引文
1 See China Film Yearbook 2008, p257
2 See China Film Yearbook 2008, p445
3 See China Film Yearbook 2008, p448
4 http://accurapid.com/joumal/30subtitling.htm
5 See "Purposes of Audio-visual Translation" by Yang Lu-ping in CNKI
6 In his article "Strategies on Subtiting", Li Yunxing says that "the function of subtitles is obvious, to provide informaiton(字幕的功能显而易见：提供信息)’”.(Chinese Translators Journal 2001 (7):39)
7 http://www.stnn.cc/celeb/200903/t20090302_987790.html
8 http://news.xinhuanet.com/newscenter/2002-02/07/content_271405.htm
9 http://www.sdci.sdu.edu.cn/detail.php?id=18100
10 See Translating Cultures—An Introduction for Translators, Interpreters and Mediators (P147-157)
11 A famous bicycle brand in China during 1980s.
12此句为译文。摘之金沛霖先生所编的《孔子语录》中英文对照本(2005)。原文为： 君子义以为质,礼为行之,孙以出之,信以成之。君子哉! (《论语》卫灵公篇第十五)
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