第三篇：英文電影片名的翻譯策略范文

On strategies for Translating English Movie Titles

英文電影片名的翻譯策略

CONTENTS Abstract………………………………………….……………………………….i 摘要….………..........................................................................................iii Introduction……………………………………………………………………..1 Chapter 1 Characteristics and Functions of English Movie Titles 1.1 The Movie Titles’ Classification 1.2 Characteristics of English Movie Titles 1.2.1 Concise and Memorize 1.2.2 Straightaway Languages 1.2.3 Attractive Box Office 1.3 Functions of English Movie Titles 1.3.1 Information Function 1.3.2 Aesthetic Function 1.3.3 Vocative Function Chapter 2 Principle and Methods of English Movie Titles’ Translation 2.1 Principle of English Movie Titles’ Translation 2.1.1 Information Value Principle 2.1.2 Aesthetic Principles 2.1.3 Target-oriented Principle 2.1.4 Economic Benefit Principle

2.2 Methods of English Movie Titles’ Translation 2.2.1 Literal Translation

2.2.2 Liberal Translation Transliteration 2.2.3 Transliteration 2.2.4 Complementary Translation 2.2.5 Creative Interpretation Chapter 3 Influence Factors on Translating Movie Titles 3.1 The Factor of Cultural Difference

3.2 Lacking a Comprehensive Understanding of the Story 3.3 Influence of Commercial Profits Conclusion...........................................................................................................50 Bibliography………………………………………………………………………………53 Appendix…………………………………………………………………………………...54 Acknowledgements………………………………………………………………………..55

Abstract

With development of culture exchange in the world, more and more English films have been introduced into our country, which have gained preference of the Chinese people.Well translated movie titles tend to attract audiences in one culture to appreciate movies produced in another culture.The translation of movie titles plays an important role in introducing and popularizing western movie culture.After the analysis of the characteristics, functions and translation principles of movie titles, the author of the present study discussed the methods of the English movie titles translation and summarized the influence factors on translation.Key words：Movie titles, translation, principles, characteristic, methods

摘 要

隨著文化交流的不斷擴(kuò)大，越來(lái)越多的國(guó)外影片引進(jìn)中國(guó)，受到觀眾的喜愛(ài)。翻譯的精彩的電影片名往往能吸引觀眾觀賞進(jìn)口的國(guó)外影片。電影片名的翻譯在引進(jìn)并傳播西方電影文化中起著重要的作用。在分析了電影名稱的特征、功能和翻譯的原則后，筆者探討了翻譯英文電影片名的技巧，并總結(jié)了影響電影翻譯的因素。

關(guān)鍵詞：英語(yǔ)電影片名;翻譯;原則;特點(diǎn);

Introduction

―Movie is so important that it has become the first arts of the human world,‖ pointed out by French artist and novelist Mona(Baker, 2004, p.40).Movies are cultural artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them.With the lapse of time, the process of filmmaking has developed into an art form and industry.Some films have become popular worldwide attractions by using dubbing or subtitles that translate the dialogue into the language of the viewer.What is more, movie titles which contain profound moral play a very important role.The title is the brand trademark of the movie and condenses the pith of the story.The titles are always in the eye-catching position of the playbill.In recent years, our cultural exchanges with the outside world have never been livelier, more and more western movies have come into Chinese market.The translation of English movie titles plays an important role in promoting cultural exchanges, and enriching people’s leisure time.But currently, the film title translation remains a problematic issue.As to the same title, it often has several different translations for one English film title.The Mainland China, Hong Kong and Taiwan versions can hardly achieve unity in most cases, which makes confusion and inconvenience for the audience.Like many other forms of non-literary translation, the translation of English movie titles has not yet received due attention despite their importance.Peter Newmark has called on the translators to bring their attention to ―two underplayed aspects of translation‖, one of which is ―the approach to non-literary translation.‖ Nida also called for ―more attention to exploring new fields in translation‖.As a branch of non-literary translation, the translation of English movie titles, like many other forms of non-literary translation, has not yet received due attention despite their importance.The translation of English movie titles is the important part in the translation of English movie.This paper is based on the analysis of the characteristics and functions, proposes four principles and summarizes five translation methods in the translation of English movie titles.6

Chapter 1 Characteristics and Functions of English Movie Titles

1.1The Movies Titles’ Classification

The first step of translating movie titles is in depth knows the source of titles and the characteristic.The titles mostly come from the clue of story line, background, theme and characters.The movies can be divided into the following: action films;romance films;horror films;disaster films;cartoon films;comedy;adventure films.Actually, most of movies belong to comprehensive kind;such as the Titanic belongs not only to romance films but also to films disaster.1.2 Characteristics of English Movie Titles

1.2.1 Concise and Memorize Movie titles generally highly epitomize movie content, which requires succinct and conciseness, meanwhile contains a wealth of the information of content itself.Generally speaking, the titles are made up of nouns and noun phrases, such as Titanic, Speed, Gladiator and Tarzan.This movie titles obvious to everybody it belongs to what kind of movie.1.2.2 Straightaway languages The film is the art of the common people.The movie titles should suit the original content of the film and reflect the theme of the film, and we straightaway languages, which is convenient for people to know the movie.Such as Pearl Harbor, the Princess Diaries, Twin Sisters, Beauty and the Beast and Kindergarten Cop.Through the titles, you can easily distend what is probably spoken of the story.The straightaway languages make audience readily receptive.7

1.2.3 Attractive Box Office

Movie is a commodity.The investors must pay attention to the box office, or the film industry cannot survive, develop and grow sturdily.Successful box office often depends on an attractive title.So the titles should give the audience suspension, reverie and aesthetic feeling in order to arouse the audience desire of going to movies.When the audience see the title The Silence of the Lamb, they are curious to know why they use lamb or are it a silent lamb.Thus movie got overwhelming success and the title made great contribution.Some movie titles pay attention to the spelling in order to be special and attractive, to some extent, they’re queer.Lost in Translation, Cast Away and It Happened One Night impress the audiences deeply.1.3 Functions of English Movie Titles

Forrest Gump said ―Life was like a box of chocolates, you never know what you’re going to get‖.So does a movie, you will never know whether a movie attracts you until you watch it.When watching a movie, what attracts you first is the title of the movie.The movie titles need to attract people to have a desire for rushes to the film and feel good after seeing it, so as to reach the purpose of improving box office.Chen hongwei divided the functions of movie titles into three categories: information function, aesthetic function and vocative function.1.3.1 Information Function

The titles give a neat summary of the movie in Straightaway languages.It conveys the information about the idea of the movie to the audience and makes them understand the idea and the story better.This is the titles’ the title The Shawshank Redemption will tell the audience that the story is about a person named Shawshank on the path to redemption.Pearl Harbor will remind the people of the history and the audience will know the story takes place in Pearl Harbor and has connection with World WarⅡ.The informative function is the basic function of movie titles and the most important function.8

1.3.2 Aesthetic Function The translation of movie titles which always apply many rhetoric techniques in Chinese structure is flexible, in order to create a catchy name and to give people a good sense of rhythm.That is the aesthetic function.The aesthetic feeling is a main factor that causes audience to make the decision whether they will go to a movie or not.The aesthetic function is most obviously felt on the romantic movies.Some titles of the classical movies have become the synonym of romance, such as Casablanca, Sleepless in Seattle and the Great Waltz.As W.Somerset Mangham says, words have their weight, sound and appearance.The translators try to select the words that have beauty in sound, form and meaning.These movie titles attract and touch the heart of the audience with nice language and satisfy the audience by the conciseness and vividness.1.3.3 Vocative Function

The movie titles’ vocative function is to impress thousands upon thousands of audiences and evoke their curiosity, attracting the audiences into the cinema.Everyone has curiosity;we will feel curious when we see something fresh and strange and we take delight in learning and are easily influenced.The vocative function is just to influence the audience’s sentiments and arouse their interests.Such as Jumanji left us with one of the biggest cliffhangers, thus arouse our interest in the movie.Another example, Blood Diamond strongly criticized the dirty trade of diamond and described sufferings of the people who during the Sierra Leone Civil War.The director chose blood diamond as the title in his movie to attract audience and also convey the main idea of the movie.Chapter 2 Principle and Methods of English Movie Titles’

Translation

2.1 Principle of English Movie Titles’ Translation

2.1.1 Information Value Principle The information value principle is the most basic principle in English movie titles’ translation.Title translation should convey true information, relate to the movie, and achieve the unity of title and plot, which is the so-called achieving equivalence in information value.Catch at shadows, as wide as poles apart and departure from the information value are the most taboo in titles translation.As the title, it should keep concise, but it should also contain rich information which makes audience guess what the movie is about at a glance.Such as PulpFiction;Meet the Parents;A Rather English Marriage.Another example,，the Third Man once translated into ―第三者‖，may at first seem a story about love triangles ,but in the movie, the third man actually is a person who is the witness of the horrible murder.Primary translation has a long way from the actual content.2.1.2 Aesthetic Principle Since movies possess both the commercial and artistic qualities, an excellent movie should develop its commercial value and have its artistic value as well.Translation is a kind of art.When we translate the movie titles, we should take into account the artistic quality.At the same time, the request to this profession has been becoming more and more strict along with unceasing enhancement of our living standard and the esthetic appreciation.The translation of movie titles demands for escaping away from the strains of original words and penetratingly grasping the artistic quality, thus make an activity of artistic creation.The Bridge of Madison County 廊橋遺夢(mèng)is believed to be one of the best translated titles.Firstly, it is a four-character expression which appeals to Chinese audience.Secondly, the characters in the title contain great meanings.―廊‖embodies the art of landscaping and aesthetics of structure.― 遺 ‖infers time and space, yearning between lovers and introspection.―夢(mèng)‖indicates the sincerely desire of the love and the romantic emotional appeal which is imbued with Platonic intention and affords for thought.There are some other good versions with high artistic quality: Ghost人鬼情未了, Sleepless in Seattle 西雅圖夜未眠, Gone With the Wind 亂世佳人.10

2.1.3 Target-oriented Principle Movie is a specific form of literature, so it should create value and be accepted by the audiences.The specificity of movie determines that translation should keep the target-oriented principle.That is to say, translators should be on this foundation of faithful to the original, meanwhile, stressed the effect of audience.The translation of titles should be more carefully considered.The translation’ aim is not only to faithfully transmit original words and cultural value, but also attract and be accepted by the audience.2.1.4 Economic Benefit principle The first two installments of the Godfather movie series alone earned more than $800 million at the international box-office, which allows us to realize that movies are big factories.The development of films depends on economic benefit, thus the titles’ translation should stick to the principle.We also understand that the movie’ economic benefit depends on the level of attracting audience.Whether titles are good or bad immediate impact the box office level.For example, Sound of Music was once translated into ―仙樂(lè)飄飄何處聞‖, which make the audience feel confused;Later, ―音樂(lè)之聲‖was widely accepted.Ghost was translated into ―人鬼情未了‖，which become a classic.2.2 Methods of Movie Titles’ Translation Film translation is an important and simple way to introduce foreign culture to audiences.Seemingly short though, the title translation is rather difficult and requires much translation knowledge.Excellent English film translation can bring to the audience great satisfaction both in eyes and ears.There are many techniques of translating the title of a movie and there are also many factors which affect its translation.But, I will introduce the techniques of movie titles’ translation mainly from five categories: literal translation, complementary translation, transliteration, free translation, the combination of literal and free translation.No matter what technique is employed, one fundamental and vital principle that should never be forgotten is that the translation must be related to the story in one way or another.11

2.2.1Literal Translation

Literal translation is the most common method used in film title translation.By converting the source language’s grammatical constructions to their nearest target language equivalents, literal translation can preserve both the content and originality in most cases.In occasions when a title matches the story of a movie perfectly, such as Beauty and the Beast(美女與野獸), Saving Private Ryan（拯救大兵瑞恩），only if the target language sounds not too awkward or unnatural and is capable of describing the story, literal translation can be adopted.Generally speaking, the translated Chinese titles should be capable of describing the story as well as the original English titles do.These titles are easily accepted and memorized by Chinese audience.For example, True Lies(真實(shí)的謊言)，Rain Man（雨人），Brave Heart(勇敢的心)，The Shawshank Redemption（肖申克的救贖），and so on.2.2.2 Liberal Translation

Besides literal translation, liberal translation is also commonly adopted by us.Liberal translation is also called free translation, which does not adhere strictly to the form or word order of the original.As English movie titles are mostly made up of one or two key words and highly concentrated, literally translated titles sometimes cannot make the Chinese audience understood.And there are some titles that contain lots of culture which is only well-known by westerners;Chinese audience will be confused if we translate these titles through literal translation.However, when we use free translation, the version won’t totally conform to the original titles.Though most translators treat literal translation as their first choice, in the field of English movie title translation, liberal translation is used more.Liberal translation can bring the connotation into play and elaborate the pith of the title.Gone with the Wind was translated into亂世佳人, is a good example.2.2.3 Transliteration Transliteration is a subset of the science of hermeneutics.It is a form of translation, and is the practice of converting a text from one script into another.Some foreign movies generally take the name of the heroine or where and when a story takes place as the title.For

instance, Harry Porter(哈利波特)，Tarzan(泰山)，Aladdin(阿拉丁)，Casablanca(卡薩布蘭卡), Notting Hill(諾丁山).But only use transliteration is probably fairly rare, because the domestic audience generally do not know the titles which take the name of the heroine or geographic name as titles.So we should take into account combining the transliteration with liberal translation.For instance, Patton(巴頓將軍), Forrest Gump(阿甘正傳)and All Quiet on the Western Front(西線無(wú)戰(zhàn)事).2.2.4 Complementary Translation

The translation of the English movies have to take into account the inner foreign culture of the movie itself;需要考慮電影自身所包含的外國(guó)文化

in such circumstances, the complementary translation is necessary.The complementary translation is on the basic of literal translation and liberal translation, thus making the translation adapts to the audiences’ psychological reception and cultural expectation.For example: Philadelphia(費(fèi)城故事)，Seven(七宗罪)，Shrek(怪物史萊克)，Titanic(泰坦尼克號(hào)).2.2.5 Creative Interpretation Language in English movie titles is creatively used and there are some titles that are not suitable to be translated with the skills mentioned above.As a result, with the purpose of strengthen artistic quality and influence, the translator sometimes has to create a new title or choose a best title which can describe the story and convey the most information to the audience.Cross-cultural factors have semantic and pragmatic impacts on translation, which requires translators to adopt flexible translating tactics, this is the create interpretation.The translator should be aware of these differences and try to creative a new title according to the story and his or her understanding of the western culture and history.In some English titles, the heroes’ or the heroines’ names are very unfamiliar to Chinese audience because sometimes the heroes or the heroines are ordinary people.Transliteration cannot tell the audience more than a name.However, if we create a new title mainly connected with the story, the audience will get it through.For example Dorothy Dandridge(紅顏血淚), transliteration gives audience the version多蘿西?丹德里奇, but who is多蘿西?丹德里奇? How old is she? What does she do? The audience gets nothing from this kind of translation.As a matter of fact, Dorothy Jean Dandridge(November 9, 1922 – September 8, 1965)was an American actress and popular singer, and was the first African-American to be nominated for an Academy Award for Best Actress.She performed as a vocalist in venues such as the Cotton Club and the Apollo Theater.On her way to her success, she made so much effort and endured all the unequal treatment.紅顏血淚 exactly described her lifetime—A black beauty who fought against the discrimination and paid her tears and even blood to get her success and gained people’s recognition.Another simple, The Professional(這個(gè)殺手不太冷).The title refers to the hero of the movie, Leon, a killer, very skillful and cool.One of its versions is 殺手萊昂.Appropriate to the identity of our hero as it is, it does not reveal another important side of Leon, which the version 這個(gè)殺手不太冷 vividly carries.Chapter 3 Influence Factors of Translation

This section attempts to make a deep study from the perspectives of cultural differences, comprehensive understanding towards to story and Influence of commercial profits, which affect the English movie titles’ translation.4.1 The Factor of Cultural Difference The different historical, cultural and religious factors build up different customs and courtesy.Therefore, culture is assignable factor in translation.During the course of translating, incorrect translation may result from such factors as grammar, structure, inter-cultural differences, and so on.Some translations of titles are totally unrelated to the film.The main cause lies in the lack of consideration of different characteristics of the original language and the cultural elements in those different types.For example American Beauty(美國(guó)麗人),The mainland and the HK versions both have made a mistake in taking the literal meaning of Beauty.According to the American Heritage Dictionary, ―American Beauty‖ is a type of rose bearing large, long-stemmed purplish-red flowers.And the rose is a profound image in the Oscar winner of the Best Picture in 2001, so the Taiwan version 美國(guó)

心，玫瑰情 seems more to the point.4.2 Lacking a Comprehensive Understanding of the Story

The precondition for translating the title is the depth knowledge of the story;this is the first step to make a right and the best choice among many possible versions.But in many cases, the translator, probably without going to the movie before translating the title, has to come up with a version simply from the original English and a synopsis of the movie.The Day After Tomorrow is an American science-fiction disaster film in 2004 depicting catastrophic effects of global warming in a series of extreme weather events that usher in global cooling and lead to a new ice age.The film did well at the box office.The title also quickly leapt red.It was translated by literal translation as ―后天‖，but after seeing the movie , the audience will consider the title ―后天‖improper, ―明天過(guò)后‖ was more properly.4.3 Influence of Commercial Profits

As we mentioned above, movie itself is a sort of commodity and the movie titles are attractive to draw the audience’s attention and then film producers are able to access to economic interests.As a result, we always see a lot of exciting, passionate, mysterious or thrilling words in the titles though some of these titles actually reflect nothing of the original story.Here are some examples: Backtrack

-------------赤面殺手

Platoon

-------------殺戮戰(zhàn)場(chǎng) Charlie’s Angels-------------霹靂嬌娃

Conclusion

The translation of the title of a movie is an interesting topic.Movies play an important role in the culture exchanges between different countries.The translation of movie’s title plays an important role in introducing and popularizing western movie culture.However, the translation of film titles, as a special and significant part of film translation, is a far less explored field.The translation of the film titles is a special process of re-creation.It isn't easy to obey the content and the forms of the original titles, but a hard research to the film themes, social problems, the ethnic association and national condition.Owing to the diversities of the west and the east, the westerners' opinions towards the translation are naturally different from the easterners.We wouldn't only see a part of the film and rush into translating it into literal translation or free translation.Translation is also a process of cultural communication because of the differences of the principles of the translation, the linguistic customs of the foreign countries and the characteristics of the film titles.That is not only to the audience, but also to the translators themselves.After all, the purpose of the film is to satisfy the audience.Different film titles require different translation methods.People should take all factors into consideration.In all, there are many challenges for us to translate the film titles, thus we should combine the practice of using translation methods, finding the balance between literal translation and free translation is rational to the translation of film titles.If we master the trick of the translation of film titles, everything becomes easy.To sum up, the ultimate goal of translation is to promote cross-cultural exchange —a long, evolutionary process

References

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Acknowledgements

I am grateful to the teachers for their patient help and warm encouragement.I would like, first of all, to show my sincere gratitude to Mrs.Zhang, my supervisor, for her valuable guidance and generous support.Through the work, she gave me great encouragement, which gave me the confidence and strength to complete this dissertation successfully.Also, I would like to take this opportunity to thank all my teachers who have taught me in the past four years.It is because of their help and guidance that I can finish my university and my paper successfully.山東建筑大學(xué)畢業(yè)論文

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從《實(shí)習(xí)醫(yī)生格蕾》淺析美劇所反映的文化背景和趨勢(shì) 對(duì)中西方傳統(tǒng)節(jié)日之文化差異的研究

A Probe into Three Phases for Effective Business Negotiations 對(duì)張愛(ài)玲與簡(jiǎn)?奧斯汀作品的比較性研究 論商務(wù)談判口譯員的角色

Cultural Influences on Business Negotiation between China and Japan 高中學(xué)生英語(yǔ)課堂口語(yǔ)交際活動(dòng)的錯(cuò)誤分析 從用餐禮儀看中美核心價(jià)值觀差異

從《唐頓莊園》看一戰(zhàn)對(duì)英國(guó)莊園經(jīng)濟(jì)文化的影響 階級(jí)矛盾導(dǎo)致的愛(ài)情悲劇―<<呼嘯山莊>>解讀 試論英語(yǔ)中的歧義與翻譯

從小飛俠彼得?潘淺析詹姆斯?巴里的悲劇人生

美國(guó)戰(zhàn)爭(zhēng)電影的人性和文化透視－－以《拯救大兵瑞恩》為例 《寵兒》中塞斯的性格分析

英漢味覺(jué)詞“酸甜苦辣”的比較分析 目的論視角下旅游文本的翻譯

An Analysis of Jane Eyre’s Contradictory Character

A Probe into For Whom the Bell Tolls: the Eco-awareness of Hemingway 中英死亡委婉語(yǔ)翻譯的跨文化研究

Analysis of the Female Characters in Oliver Twist

淺析英語(yǔ)諺語(yǔ)中的性別歧視現(xiàn)象及其成因

論英語(yǔ)習(xí)語(yǔ)的語(yǔ)言和文化功用 存在主義與海明威的“硬漢形象” 方位介詞“over”的隱喻含義研究

哥特式風(fēng)格特征在《遠(yuǎn)大前程》中的詮釋 初中英語(yǔ)詞匯教學(xué)的有效方法

簡(jiǎn)單的深邃—論佛洛斯特詩(shī)歌的隱秘性

論田納西?威廉斯《欲望號(hào)街車》中的逃遁主義

Slips of Tongue in English Learning as a Second Language 試析托尼?莫里森《愛(ài)娃》中的魔幻現(xiàn)實(shí)主義 商務(wù)英語(yǔ)中的縮略詞研究

中國(guó)領(lǐng)導(dǎo)人講話中中國(guó)特色詞匯的漢英翻譯 中西方對(duì)鬼怪認(rèn)識(shí)的差異

從文化差異角度看中式菜單英譯

Psychological Analysis of Holden in The Catcher in the Rye 英語(yǔ)詞匯學(xué)習(xí)存在的問(wèn)題及對(duì)策研究

從目的論視角下對(duì)比研究《哈利?波特與火焰杯》的兩個(gè)中譯本 商務(wù)英語(yǔ)信函中的禮貌原則

從功能對(duì)等角度分析英文電影片名漢譯 中美鄉(xiāng)土文學(xué)中人性美的文化差異分析 模糊語(yǔ)在國(guó)際商務(wù)談判中的語(yǔ)用功能研究 譚恩美《灶神之妻》文化解讀

法律語(yǔ)言特征和法律語(yǔ)言翻譯 88 淺析奧斯丁的女性意識(shí)

淺析《德伯家的苔絲》中苔絲的反叛精神 90 從古至今的吸血鬼文化

A Comparison of the English Color Terms 92 從韋恩?布斯的修辭理論角度分析《愛(ài)瑪》中的修辭手法 93 商務(wù)英語(yǔ)信函中的禮貌原則

試析《旅游巴士》中的猶太文化內(nèi)涵 95 The Tragic Fate of Tess 96 Rationalism in The Mysterious Stranger 97 卡勒德·胡賽尼《追風(fēng)箏的人》阿米爾的救贖分析 98 幽默元素在英語(yǔ)電影和電視劇中的翻譯 99 淺談?dòng)⒄Z(yǔ)影片名的翻譯 100 商務(wù)信函中的介詞用法

《威尼斯商人》中的種族及宗教沖突

The Application of Multi-media in Middle School English Teaching 103 從目的論角度看外宣翻譯研究

從交際翻譯理論看幽默對(duì)話翻譯——以《老友記》第一季為例 105 模糊數(shù)詞在英語(yǔ)習(xí)語(yǔ)中的構(gòu)成形式及其修辭功能 106 重新詮釋瑪格麗特的人生悲劇根源

從愛(ài)倫·坡《黑貓》探討人性的善良與邪惡 108 以姚木蘭和斯嘉麗為例看東西方女性意識(shí)差異 109 中西跨文化交際中的禮貌問(wèn)題之比較分析 110 從女性主義看《呼嘯山莊》

從后殖民視角解讀《孤獨(dú)的割麥女》 112 論英語(yǔ)新課標(biāo)下高中生跨文化意識(shí)的培養(yǎng) 113 淺析《紅字》中象征手法的運(yùn)用

English Teaching and Learning in China's Middle School 115 英文電影名漢譯中的功能對(duì)等 116 論《小鎮(zhèn)畸人》中人物的怪誕性

二元對(duì)立模型在伍爾夫《達(dá)洛衛(wèi)夫人》中的應(yīng)用 118 初中英語(yǔ)教學(xué)中的角色扮演 119 “誤譯”現(xiàn)象的合理性探析 120 如何有效地?cái)U(kuò)展大學(xué)生英語(yǔ)詞匯

On Characteristic Features of the Main Characters in The Moon and Sixpence 122 觀春潮：淺析“戲仿”背后海明威性格陰暗面 123 從歸化與異化的角度研究《金鎖記》的翻譯策略 124 中西餐桌禮儀文化差異

A Naturalistic Approach to Jude’s Tragedy in Jude the Obscure 126 淺析托妮·莫里森《寵兒》中人物的身份建構(gòu) 127 從社會(huì)符號(hào)學(xué)角度淺談漢語(yǔ)“一”字成語(yǔ)翻譯 128 從言語(yǔ)行為理論研究廣告英語(yǔ)中的隱喻 129 《哈克貝利?費(fèi)恩歷險(xiǎn)記》中階級(jí)面面觀

A Contrastive Study on Traditional Festivals in Chinese and Western Cultures—from the

Perspective of the Disparity between Spring Festival and Christmas Day 131 美國(guó)戰(zhàn)爭(zhēng)電影的人性和文化透視－－以《拯救大兵瑞恩》為例 132 中西建筑文化差異及其形成背景分析 133 通過(guò)會(huì)話原則分析手機(jī)短信語(yǔ)言

從目的論看《生活大爆炸》的字幕翻譯 135 英語(yǔ)電影片名翻譯策略研究

淺析《戀愛(ài)中的女人》的圣經(jīng)意象原型——從原型批評(píng)角度解讀 137 從情景喜劇《老友記》淺析美國(guó)俚語(yǔ)的幽默效果 138 英文電影題目翻譯的異化與歸化研究

“黑人會(huì)飛”——托妮?莫里森小說(shuō)《所羅門之歌》中的黑人神話研究 140 從合作原則違反角度分析《破產(chǎn)姐妹》中的幽默話語(yǔ) 141 從《葡萄牙人的十四行詩(shī)集》探究布朗寧夫婦的愛(ài)情 142 Judy’s Double Character in Daddy-Long-Legs 143 從校園流行語(yǔ)看中美學(xué)生思維方式的差異 144 從麥當(dāng)勞看美國(guó)快餐文化

論亨利?詹姆斯的世態(tài)小說(shuō)的特征—以《黛西?米勒》和《貴婦畫(huà)像》為例 146 論企業(yè)對(duì)員工過(guò)度壓力的管理

論簡(jiǎn)·奧斯汀在《傲慢與偏見(jiàn)》中的婚姻觀 148 從目的論的角度來(lái)看新聞?dòng)⒄Z(yǔ)中委婉語(yǔ)的翻譯 149 目的論下進(jìn)口汽車說(shuō)明書(shū)的翻譯研究 150 A Comparison of the English Color Terms 151 《傲慢與偏見(jiàn)》中的對(duì)立與統(tǒng)一

152平衡的維系——《天鈞》中的道家思想 153 英語(yǔ)廣告語(yǔ)中隱喻的研究 154 商務(wù)信函中的語(yǔ)氣結(jié)構(gòu)分析

155 論《永別了，武器》中戰(zhàn)爭(zhēng)對(duì)人物的影響 156 論被動(dòng)句的翻譯

157 從《蝙蝠俠：黑暗騎士》與《葉問(wèn)》看中美電影中塑造英雄方式的差異 158 《紅字》中替罪羊形象的分析

159 文化全球化語(yǔ)境下中英婚姻習(xí)俗的對(duì)比研究 160 從《愛(ài)瑪》看簡(jiǎn)?奧斯丁的女性主義意識(shí) 161 從生態(tài)女性主義視角解讀《喜福會(huì)》

162 《哈克貝里·費(fèi)恩歷險(xiǎn)記》中哈克和吉姆的人物形象分析

163 A Contrastive Study on Language Features of Chinese and English Proverbs 164 李安電影中的文化融合現(xiàn)象

165 語(yǔ)音歧義和語(yǔ)義歧義的語(yǔ)言學(xué)分析 166 愛(ài)倫坡偵探小說(shuō)中恐怖氣氛的營(yíng)造方法 167 大學(xué)英語(yǔ)課堂教學(xué)師生互動(dòng)建構(gòu)淺析

168 從唯美主義的角度論《道林.格蕾的畫(huà)像》中的主要人物 169 英語(yǔ)幽默語(yǔ)的語(yǔ)用研究

170 解讀《金色筆記》中的女性主義 171 論奧康納短篇小說(shuō)的創(chuàng)作特色

172 哈代的悲觀主義和宿命論在《德伯家的苔絲》中的體現(xiàn) 173 《哈利?波特》系列作品中顏色的象征意義

174 《簡(jiǎn)愛(ài)》中女主人公的人生觀分析 175 情景教學(xué)法在小學(xué)英語(yǔ)課堂中的運(yùn)用

176 《基督山伯爵》與《肖申克的救贖》中男主人公的形象比較 177 普通話對(duì)英語(yǔ)語(yǔ)音的遷移作用 178 探析《夜訪吸血鬼》中的孤獨(dú)

179 試析英漢顏色習(xí)語(yǔ)折射出的中西文化異同 180 《紅色英勇勛章》主人公刻畫(huà)手法分析 181 商務(wù)英語(yǔ)信函中名詞化結(jié)構(gòu)的翻譯

182 英語(yǔ)文學(xué)作品與改編電影的差異——以 《傲慢與偏見(jiàn)》及其版改編電影為例 183 學(xué)前英語(yǔ)游戲教學(xué)法

184 美國(guó)個(gè)人主義和中國(guó)集體主義的對(duì)比與分析

185 Living in the Crack: A Study of the Grotesques in Winesburg, Ohio 186 應(yīng)用多媒體資源提高英語(yǔ)新聞聽(tīng)力 187 目的論指導(dǎo)下的導(dǎo)游詞英譯策略研究

188 從《看得見(jiàn)風(fēng)景的房間》看女性身份的遺失和找尋 189 論西爾維婭?普拉斯詩(shī)歌中的死亡意象

190 從跨文化的視角分析美國(guó)動(dòng)畫(huà)“辛普森一家”中的習(xí)語(yǔ)現(xiàn)象 191 多媒體技術(shù)在英語(yǔ)語(yǔ)境教學(xué)中的應(yīng)用

192 雖不起眼，但不可或缺：從《洛麗塔》中的小人物看亨伯特悲劇的必然性 193 The Tragic Color of Tender Is the Night 194 淺析《黛西米勒》中男女主人公矛盾情感背后的文化沖突 195 從女性意識(shí)的角度解讀《荊棘鳥(niǎo)》中的女性形象 196 文明的樊籠—解讀《野性的呼喚》 197 商務(wù)英語(yǔ)翻譯中的隱喻研究

198 高中英語(yǔ)詞匯教學(xué)中文化意識(shí)的培養(yǎng) 199 華盛頓?歐文與陶淵明逃遁思想對(duì)比研究 200 漢英禮貌原則對(duì)比淺析

第五篇：電影片名翻譯賞析

中文電影片名翻譯賞析

一、非誠(chéng)勿擾 If You Are the One 劇情簡(jiǎn)介：秦奮(葛優(yōu)飾)的天才發(fā)明被風(fēng)險(xiǎn)投資人(范偉飾)出天價(jià)買斷。一夜暴富的這位“剩男”揣著家底開(kāi)始了“征婚”旅程。漫漫“征途”上，各懷心事者紛至沓來(lái)，一段“人間喜劇”演出2008世間百態(tài)。幾經(jīng)周折后，秦奮終遇傾心佳人梁笑笑(舒淇飾)。無(wú)奈，美人心有所屬。秦奮究竟如何逆流而上？幾番悲欣交集后，有志者事竟成！秦奮終于帶著他的真愛(ài)開(kāi)始一段全新征程。

片名翻譯賞析：本片主要開(kāi)頭就是主人公想找個(gè)人結(jié)婚，“the One”恰恰能夠表明主人公想找到心目中的那個(gè)她的愿望。然而電影的線索是征婚，一個(gè)一個(gè)來(lái)試，所以英文片名翻譯中加了“If”。中文名是從否定意義上說(shuō)的：不誠(chéng)懇，不適合就不要來(lái)打擾；英文名反了過(guò)來(lái)，從正面來(lái)假設(shè)：如果你合適。這兩者有異曲同工之妙，著實(shí)為非常好的片名翻譯。

二、101次求婚 Say Yes 劇情簡(jiǎn)介：樂(lè)團(tuán)的大提琴手葉薰（林志玲 飾）因?yàn)槿昵暗奈椿榉蛟S卓（高以翔 飾）因車禍缺席婚禮而受到傷害，三年來(lái)美麗高雅的她雖然身邊追求者不斷，自己卻無(wú)法再愛(ài)上一個(gè)人。不期然的是，黃達(dá)（黃渤 飾），一個(gè)平凡的不能再平凡，在相親路上飽受挫折的包工頭闖入她的生活，打破了葉薰原本寧?kù)o的生活。二人因?yàn)橐淮吸S達(dá)幫葉薰解圍了一場(chǎng)演變成鬧劇的相親而相識(shí)，葉薰更是幫黃達(dá)要回了被拖欠許久的工程款。在一來(lái)一往的相處中，黃達(dá)逐漸被葉薰獨(dú)特的氣質(zhì)吸引，不顧一切的展開(kāi)了對(duì)葉薰的愛(ài)情攻勢(shì)。而葉薰也在想方設(shè)法的回絕黃達(dá)的過(guò)程中對(duì)這個(gè)執(zhí)著的為自己付出的男人漸生情愫。然而就在葉薰為黃達(dá)的真情所動(dòng)時(shí)，消失了三年的許卓重新出現(xiàn)在了她的生活中，成了二人感情的最大障礙??

片名翻譯賞析：中文名稱直截了當(dāng)?shù)亟榻B了片中很重要的一個(gè)劇情，男主人公為了尋找愛(ài)情已經(jīng)相了101次親，而當(dāng)他找到自己的真愛(ài)時(shí)，他渴望對(duì)方能夠答應(yīng)自己。西方的婚禮中很重要的一部分就是相互說(shuō)“Yes, I do”，所以該片的英文名也很巧妙的使用了歸化加意譯的手法，點(diǎn)明主人公為了使女主角Say Yes而付出的艱辛努力。三、一代宗師 The Grandmaster 劇情簡(jiǎn)介：廣東佛山人葉問(wèn)（梁朝偉 飾），年少時(shí)家境優(yōu)渥，師從詠春拳第三代傳人陳華順學(xué)習(xí)拳法，師傅“一條腰帶一口氣”的告誡，支持他走過(guò)兵荒馬亂、朝代更迭的混亂年代。妻子張永成（宋慧喬 飾）潑辣干練，二人夫唱婦隨，琴瑟合璧。

1936年，佛山武術(shù)界亂云激蕩。八卦拳宗師宮羽田（王慶祥 飾）年事已高，承諾隱退。其所擔(dān)任的中華武士會(huì)會(huì)長(zhǎng)職位，自然引起武林高手的關(guān)注與覬覦。包括宮羽田的獨(dú)生女宮二（章子怡 飾）在內(nèi)，白猿馬三（張晉 飾）、關(guān)東之鬼丁連山（趙本山 飾）、詠春葉問(wèn)等高手無(wú)不將目光聚焦在正氣凜然的宮羽田身上。拳有南北，國(guó)有南北乎？最有德行之人才堪會(huì)長(zhǎng)重任，然這浮世虛名卻引得無(wú)數(shù)迷亂之人狂醉奔忙，浪擲殘生。生逢亂世，兒女情長(zhǎng)埋藏心底，被冷若寒冰的車輪碾作碎泥??

片名翻譯賞析：片名直接點(diǎn)明影片的主要內(nèi)容是關(guān)于一代德高望重的武術(shù)宗師的故事，主題鮮明，所以英文譯名也采取了直譯的手法，使得觀影者一眼就能看明白這部影片講述的內(nèi)容，切合主題，不拖不沓，清楚明了。

四、聽(tīng)風(fēng)者 The Silent War 劇情簡(jiǎn)介：1949年，新中國(guó)建立之初。江山初定，百?gòu)U待興，和平的表象下沒(méi)有硝煙的戰(zhàn)爭(zhēng)早已拉開(kāi)序幕。敗逃臺(tái)灣的國(guó)民黨接連向大陸派出特工，伺機(jī)破壞。為了應(yīng)對(duì)接二連三的破壞活動(dòng)，中共成立情報(bào)部門701局與敵方展開(kāi)連番較量。同年10月初，701局控制的偵聽(tīng)局莫名消失，為了查清消失電臺(tái)的下落，701局負(fù)責(zé)人老鬼（王學(xué)兵 飾）授命代號(hào)二〇〇的張學(xué)寧（周迅 飾）去上海尋找耳力超群的鋼琴調(diào)音師羅三耳。結(jié)果陰差陽(yáng)錯(cuò)，學(xué)寧找到了羅德小徒弟——耳力同樣超群的盲人調(diào)音師阿兵（梁朝偉 飾）。

阿兵不負(fù)眾望，不僅通過(guò)層層嚴(yán)苛的考試，還在工作中一鳴驚人。在殘酷的諜報(bào)戰(zhàn)爭(zhēng)中，阿兵和學(xué)寧之間某種情愫也暗暗滋生??

片名翻譯賞析：該片英文片名如果直譯回漢語(yǔ)就是無(wú)聲的戰(zhàn)爭(zhēng)，但實(shí)際上片中講述的故事最為重要的一個(gè)元素就是電臺(tái)中的聲音。風(fēng)幾乎是悄無(wú)聲息的，但總能有耳力超群的人能夠聽(tīng)到，也可能是譯者為了故意夸大，借“Silent”來(lái)表明主人公贏得這場(chǎng)戰(zhàn)爭(zhēng)的不易?？傮w來(lái)講，此片名的翻譯不好不壞。

五、中國(guó)合伙人American Dreams in China 劇情簡(jiǎn)介：20世紀(jì)80年代，三個(gè)懷有熱情和夢(mèng)想的年輕人在高等學(xué)府燕京大學(xué)的校園內(nèi)相遇，從此展開(kāi)了他們長(zhǎng)達(dá)三十年的友誼和夢(mèng)想征途。出生于留學(xué)世家的孟曉駿（鄧超 飾）渴望站在美國(guó)的土地上改變世界，浪漫自由的王陽(yáng)（佟大為 飾）盡情享受改革開(kāi)放初期那蓬勃激昂的青春氣息，曾兩次高考落榜的農(nóng)村青年成冬青（黃曉明 飾）以曉駿為目標(biāo)努力求學(xué)，并收獲了美好的愛(ài)情。然而三個(gè)好友最終只有曉駿獲得美國(guó)簽證，現(xiàn)實(shí)和夢(mèng)想的巨大差距讓冬青和王陽(yáng)倍受打擊。偶然機(jī)緣，被開(kāi)除公職的冬青在王陽(yáng)的幫助下辦起了英語(yǔ)培訓(xùn)學(xué)校，開(kāi)始品嘗到成功的喜悅。在美國(guó)發(fā)展不順的曉駿回國(guó)，并加入學(xué)校，無(wú)疑推動(dòng)三個(gè)好友朝著夢(mèng)想邁進(jìn)了一大步。

只是隨著成功的降臨，他們的友情也開(kāi)始承受嚴(yán)峻的考驗(yàn)?? 片名翻譯賞析：西方人對(duì)“American Dreams”是再熟悉不過(guò)了，本片名的翻譯采取了歸化的手法，把發(fā)生在中國(guó)通過(guò)奮斗而成功的故事譯為發(fā)生在中國(guó)的美國(guó)夢(mèng)。但個(gè)人認(rèn)為，自改革開(kāi)放以來(lái)，很多人都通過(guò)努力實(shí)現(xiàn)了各自的夢(mèng)想，尤其是近期中國(guó)夢(mèng)的提出更是呼應(yīng)了這一主題，所以應(yīng)譯為“Chinese Dreams”更為恰當(dāng)，同時(shí)這樣也能更有力地向國(guó)外推廣國(guó)內(nèi)的文化。