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1、 硕士学位论文 MASTERS THESIS 硕士学位论文 服从抑或逾矩？ 一美版甄嫘传字幕中文化 负载词的英译研究 论文作者 .宋越 指导教师：张峻峰副教授 学科专业 _英语语言文学 研究方向：翻译理论与实践 华中师范大学外国语学院 2015 年 12 月 硕士学位论文 MASTERS THESIS Transmuting or Transgressing?A Case Study of Chinese-English Subtitling of Culture-Loaded Words in the U.S. Version of Empresses in the Palace A The
2、sis Submitted in Partial Fulfillment of the Requirements For the M.A. Degree in English Language and Literature (On Translation Theory and Practice) By Song Yue Postgraduate Program School of Foreign Languages Central China Normal University Supervisor: Zhang Junfeng Academic Title: Associate Profes
3、sor Signature: _ Approved December, 2015 硕士学位论文 MASTERS THESIS 华中拜乾大学学隹备文康牲声用和使用救权说用 本人郑重声明：所呈交的学位论文，是本人在导师指导下，独立进行研究工作 所取得的研究成果。除文中已经标明引用的内容外，本论文不包含任何其他个人或 集体己经发表或撰写过的研究成果。对本文的研究做出贡献的个人和集体，均已在 文中以明确方式标明。本声明的法律结果由本人承担。 学位论文作者完全了解华中师范大学有关保留、使用学位论文的规定，即：研 究生在校攻读学位期间论文工作的知识产权单位属华中师范大学。学校有权保留并 向国家有关部门或机
4、构送交论文的复印件和电子版，允许学位论文被查阅和借阅； 学校可以公布学位论文的全部或部分内容，可以允许采用影印、缩印或其它复制手 段保存、汇编学位论文。 （保密的学位论文在解密后遵守此规定 ） 保密论文注释：本学位论文属于保密，在 _ 年解密后适用本授权书。 非保密论文注释：本学位论文不属于保密范围，适用本授权书。 作 者 签 名 ： 导 师 签 名 ： 曰 期 ： 年 丨 月 卩 曰 曰期： 年月曰 本人已经认真阅读 “ CALIS 高校学位论文全文数据库发布章程 ” ，同意将本人的 学位论文提交 “ CALIS 高校学位论文全文数据库 ” 中全文发布，并可按 “ 章程 ” 中的 规定享受相
5、关权益。 同意论文提交后滞后： 半年； 一年； 二年发布。 原剞牲声明 作者签名 :丨桃 曰期： 年月曰 学隹抡文版权使用投权书 导师签名： 日期： 年月曰 硕士学位论文 MASTERS THESIS ACKNOWLEDGEMENTS I owe my heartfelt thanks to all those who have helped me during this thesis-writing both directly and indirectly. My special gratitude first goes to my supervisor, Professor Zhang J
6、unfeng, whose enlightening instructions, constant encouragement and timely guidance have contributed greatly to my thesis. Without his conscientious revisions, the thesis would never come to its present form. My sincere thanks then go to the teachers in the English Department of CCNU. Their courses
7、have broadened my horizons and benefited me greatly. I am also indebted to my classmates and friends who have offered their selfless helps in one way or another. Acknowledgement is hereby sincerely extended to my families for their boundless love and encouragement during my writing of the thesis. La
8、st but not least, my gratitude goes to all the authors in the references. I 硕士学位论文 MASTERS THESIS 中文摘要 如今，中国与世界的文化交流越来越频繁，这其中的重要表现之一就是越来越 多的中国影视剧走向世界。富有中国特色的影视剧通常包含大量的中国文化，而这 些文化又大多体现在文化负载词上，因此对字幕中文化负载词的翻译直接关系到目 标语观众对中国文化的理解。 一般说来，在处理文化负载词时有两种常用的策略，即归化和异化。归化意在 服从目标语读者的表达方式，减弱源语文本的文化陌生感，而异化则强调逾越目标 语的
9、表达习惯，保存源语文本中的文化特质。归化和异化相辅相成，根据不同的翻 译目的和文本类型又有主次之分，译者经常需要在归化 与异化，服从与逾矩中灵活 转换。比如，大部分中国学者认为在中外文化交流中，为促进中国文化的传播，在 翻译中应以异化为主，归化为辅。 不同于文本翻译，字幕翻译受时间空间等条件的限制，因此其翻译策略也需要 做出一些调整。目前，有关字幕翻译中文化负载词翻译的研究比较少，且翻译方向 多为英译汉。本文拟以美版甄嫘传为例，根据奈达对文化的分类将该剧的文化 负载词分为五类：生态文化负载词、物质文化负载词、社会文化负载词、宗教文化 负载词和语言文化负载词，总结、统计并分析该剧字幕翻译中文化负
10、载词的处理方 法，以期为汉一 英方向进行的文化负载词字幕翻译提供具参考价值的理论解释和具 操作价值的翻译策略。 关键词 ：美版甄嫘传；文化负载词；字幕翻译；翻译策略 硕士学位论文 MASTKlTfrr HHSKS ABSTRACT Nowadays, the cultural communication between China and the world has become increasingly frequent and one of the important manifestations is that more and more Chinese films and TV dra
11、mas are introduced to the world. Films and TV dramas with Chinese characteristics often contain plenty of Chinese culture, which is expressed through culture-loaded words. Therefore, the subtitling of culture-loaded words matters a lot for the target-language audience to the understanding of Chinese
12、 culture. Generally speaking, there are two strategies in dealing with culture-loaded words, namely domestication and foreignization. Domestication aims at weakening the cultural differences of the foreign text by transmuting the source-language expressions into target-language expressions, whereas
13、foreignization emphasizes on retaining the cultural differences by transgressing the target-language expressions. Domestication and foreignization are interdependent and according to different translation purposes and text types, they have different proportions in a translation. The subtitlers often
14、 have to make flexible changes between domestication and foreignization, or rather, transmuting and transgressing. For example, most Chinese scholars hold that in order to promote Chinese culture in cross-cultural communication, translators should give priority to foreignization with domestication a
15、s complement. Different from written translation, subtitling is constrained by time and space, which demand the adjustments of translation strategies. At present, there are not many studies on Chinese-English subtitling of culture-loaded words. Considering the situation, this thesis will, taking the
16、 U.S. version of Empresses in the Palace as an example, classify the culture-loaded words in this drama into five categories: ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and linguistic culture-loaded words according to N
17、ida5s classification of culture. Then, the thesis will summarize, collect and analyze the translation of culture-loaded words in this drama in the hope of providing theoretical explanations and feasible strategies and methods for the Chinese-English subtitling of culture-loaded words. Key words: the
18、 U.S. version of Empresses in the Palace; culture-loaded words; subtitle translation; translation strategies III 硕士学位论文 MASTERS THESIS CONTENTS ACKNOWLEDGEMENTS . I +文摘要 - n ABSTRACT . Ill CONTENTS . IV 1. Introduction . 1 1.1 Research background . 1 1.2 Significance of the study . 3 1.3 Structure o
19、f the thesis . 3 2. Literature Review . 5 2.1 Culture-loaded words in Chinese-English translation . 5 2.1.1 Culture and language. 5 2.1.2 Definition and features of culture-loaded words . 6 2.1.3 Two translation strategies: foreignization and domestication . 7 2.1.4 Translation methods of foreigniza
20、tion and domestication . 8 2.1.5 Previous studies on translation of Chinese culture-loaded words . 11 2.1.6 Foreignization as the main strategy in translation of Chinese culture-loaded words . 13 2.2 A brief introduction to subtitling . 14 2.2.1 Subtitling and dubbing . 14 2.2.2 Previous studies on
21、subtitling . 14 2.2.3 Definition of subtitling . 17 2.2.4 Types of subtitling . 19 2.2.5 Features of subtitling . 19 2.2.6 Constraints of subtitling . 20 3. A Tentative Proposition for Translation Strategies and Methods of Subtitling of Chinese Culture-Loaded Words . 23 4. A Study on Translation of
22、Culture-Loaded Words in the U.S. Version of Empresses in the Palace . 26 4.1 Empresses in the Palace and its language features . 26 4.2 Influences and comments on the U.S. version of Empresses in the Palace in 硕士学位论文 MASTERS THESIS China and abroad . 27 4.2.1 Influences and comments in China . 27 4.
23、2.2 Influences and comments abroad . 28 4.3 A classification of culture-loaded words in Empresses in the Palace . 31 4.3.1 Ecological culture-loaded words . 31 4.3.2 Material culture-loaded words . 32 4.3.3 Social culture-loaded words . 35 4.3.4 Religious culture-loaded words . 40 4.3.5 Linguistic c
24、ulture-loaded words . 42 4.4 Translation strategies and methods adopted for rendering culture-loaded words in Empresses in the Palace . 45 4.4.1 Statistics of translation strategies and methods . 45 4.4.2 Translation strategies adopted in ecological culture-loaded words . 46 4.4.3 Translation strate
25、gies adopted in material culture-loaded words . 47 4.4.4 Translation strategies adopted in social culture-loaded words . 48 4.4.5 Translation strategies adopted in religious culture-loaded words . 51 4.4.6 Translation strategies adopted in linguistic culture-loaded words . 52 5. Conclusions ,55 5.1
26、Major findings of the study . 55 5.2 Transmuting and transgressing: two means to a multicultural world . 56 5.3 . Limitations of the study and suggestions for future research . 57 Notes . 58 References . . .59 硕士学位论文 MASTER S THESIS 1. Introduction 1.1 Research background At the end of 2011, / Pa/fl
27、ce (后宫 M 嫘传 ） ， a TV drama adapted from an Internet novel of the same name by Liu Lianzi, was aired in China and soon gained popularity. Being highly praised as one of the best Chinese historical dramas in recent years, the drama is re-broadcast for numerous times on Chinas TV channels and is also w
28、armly received in Taiwan of China and Japan11. The audiences are deeply attracted by the thrilling story, beautiful costumes, complex court etiquette, excellent acting, and tragic fates shown in the drama and they also get a glimpse of the life in the imperial harem: under the wonderful and honorary
29、 facade, the harem is actually a dangerous and lonely place with revenges，intrigues, treacheries, and tragedies. Apart from the brilliant storyline, the show also features sophisticated and poetic dialogues, which even have sparkled “Zhen Huan Style”（ “麵嬢体 ， ） among netizens. Four years later, the i
30、ntroduction of Empresses in the Palace to Netflix, which was famous for its original political drama House of Cards, again drew public attention because it became the first Chinese drama that had ever entered the U.S. mainstream media formally. The netizens were excited and curious how would the U.S
31、. viewers react to a drama full of Chinese culture and how to translate the dialogues? Actually, the original Empresses in the Palace has been aired several times on some Chinese TV channels in the U.S” but the drama didnt have English subtitles. A few websites， such as “Viki” and “YouTube” did offe
32、r English subtitles for the drama， but the fan subtitles were not always professional. Most importantly, the numbers of audience watching this drama were very limited. As the worlds leading Internet subscription service company that provides on-demand Internet streaming media in more than 5G countri
33、es (regions)， Netflix has a large audience base for the drama. Empresses in the Palace. What9s more, China leading online video platform LeTV has obtained the copyright to the U.S. version and viewers in China could also pay to watch the drama. However, instead of keeping the full 76 45-minute episo
34、des version, Netflix edited the series down to six 90-minute episodes 硕士学位论文 MASTERS THHSIS with English subtitles. Different from the popularity of the original version, the highly anticipated U.S. version encountered cold criticisms from bilingual viewers when it was aired in China. The criticisms
35、 of the drama were mainly focused on two points: the choppy storyline and the inaccurate subtitles. Firstly, 76 episodes become 6 episodes, meaning lots of crucial details are edited out and the drama is on a fast-forward mode all the time. Viewers often feel confused about the plot development. Sec
36、ondly, the subtitles lack accuracy, discouraging the U.S. viewers from watching. Then, whafs wrong with the subtitles of the drama? Since the English version of the drama was just released earlier this year, there are only a few studies on it, and so far, no one has ever studied the subtitling of culture-loaded words in this drama. Generally speaking, domestication and foreignization are two