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1、 SUBTITLING TRANSLATION OF AMERICAN HUMOR IN THE BIG BANG THEORY by Sun Qinqin Under the Supervision of Professor Gu Feirong Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Arts English Department School of Foreign Studies Nanjing Agricultural University November 201
2、2 原创性声明 本人郑重声明：所呈交的学位论文，是本人在导师的指导下，独立进行研究工作 所取得的成果。除文中已经注明引用的内容外，本论文不包含任何其他个人或集体已 经发表或撰写过的作品成果。对本文的研究做出重要贡献的个人和集体，均已在文中 以明确方式标明。本人完全意识到本声明的法律结果由本人承担。 学 位 论 文 作 者 （ 需 亲 笔 ） 签 名 ： 1 ) 年 月 十 曰 学位论文版权使用授权书 本学位论文作者完全了解学校有关保留、使用学位论文的规定，同意学校保留并 向国家有关部门或机构送交论文的复印件和电子版，允许论文被查阅和借阅。本人授 权南京 农业大学可以将本学位论文的全部或部分内容
3、编入有关数据库进行检索，可以 采用影印、缩印或扫描等复制手段保存和汇编学位论文。 保密 , 在 _ 年解密后适用本授权书。本学位论文属于不保密口。 (请在以上方框内打 “ V” ） 学 位 论 文 作 者 （ 需 亲 笔 ） 签 名 2 川 年 丨 月十曰 导师（需亲笔）签名 : 年丨 I 月曰 TABLE OF CONTENTS TABLE OF CONTENTS . i 摘要 . I ABSTRACT . Ill CHAPTER ONE INTRODUCTION . 1 1.1 Subtitling: a More Favorable Form of Audiovisual Transla
4、tion . 1 1.2 . Purpose and Significance of the Research. 4 1.3 Thesis Structure .5 CHAPTER TWO LITERATURE REVIEW . 7 2.1 Previous Studies in the West . 7 2.2 Previous Studies in China . 9 2.3 Comments on Previous Studies.11 2.4 Research Questions and Methodology .11 2.5 Humor .12 2.5.1 Origin and De
5、finition of Humor .12 2.5.2 Classification of Humor .13 2.6 Humor and Translation .14 2.6.1 Translatability of Humor .14 2.6.2 Humor in Sitcom .15 2.7 Summary .17 CHAPTER THREE MOTIVATION OF SUBTITLING: SKOPOSTHEORIE . 19 3.1 Development of the Functionalist Translation Theory .19 3.1.1 Katharina Re
6、iss and the Functionalist Category of Translation Criticism. 19 3.1.2 Hans J. Vermeer Skopostheorie .20 3.1.3 . Justa Holz-Manttari and the Theory of Translational Action . 21 3.1.4 Christiane Nord and the Concept of Function plus Loyalty .21 3.2 Skopostheorie .22 3.2.1 Basic Aspects of Skopostheori
7、e .22 3.2.2 Three Rules of Skopostheorie .23 3.2.2.1 Skopos Rule .24 3.2.2.2 Coherence Rule .24 3.2.2.3 Fidelity Rule .25 3.3 Subtitling as a Purposeful Activity . 26 3.4 Summary . 27 CHAPTER FOUR HUMOR TRANSLATION IN THE BIG BANG THEORY . 29 4.1 About Fansub Groups . 29 4.2 A Brief Introduction of
8、the Big Bang Theory . 30 4.3 Subtitling of The Big Bang Theory under Skopostheorie . 32 4.3.1 Analysis of the Addressees . 32 4.3.2 Analysis of the Translators . 33 4.3.3 Analysis of the Motive . 34 4.4 Translation of Three Types of Humor in The Big Bang Theory Guided by Skopostheorie . 35 4.4.1 Tra
9、nslation of Universal or Reality-based Humor . 36 4.4.2 Translation of Culture-based Humor . 38 4.4.2.1 Annotations . 38 4.4.2.2 Substitution . 41 4.4.2.3 Creation . 42 4.4.2A Domestication . 45 4.4.3 Translation of Linguistic Humor. 46 4.5 Summary . 49 CHAPTER FIVE CONCLUSION . 51 5.1 Implications
10、. 51 5.2 Limitations . 52 5.3 Suggestions for Future Study . 53 REFERENCES . 55 ACKNOWLEDGEMENTS . . 61 摘要 生活大爆炸中美式幽默的翻译 摘要 随着中西方文化交流的进一步加深，越来越多的国外影视作品涌入中国市场。 美国的情景喜剧就是一种重要的影视类型。在情景喜剧中，幽默起着至关重要的作用， 而幽默的翻译对目的语观众欣赏整部喜剧起着决定性作用，同时也对跨文化交流有着 深远的影响。 长久以来，配音在影视翻译中一直是主流。在全球化的背景下，随着网絡的普 及，字幕翻译被越来越多的中国观众接受。许多美
11、国热门情景剧，在美国本土播出几 个小时后，中国影迷便能从网上下载已嵌入中文字幕的剧集。互联网上出现了一个名 为 “ 字幕组 ” 的群体，他们长期以来默默无闻地无偿翻译国 外电视节目，彼此之间自 发形成一个严密的组织，被尊称为互联网时代的 “ 义工 ” 。 本文以功能翻译理论的核心 _目的论为理论依据，对时下非常受欢迎的美国 情景喜剧生活大爆炸中的幽默语翻译进行了个案研究，分析译者在不同类型的幽 默翻译过程中所采取的具体策略。本文将具体应用目的论三大基本原则，即目的原则， 连贯原则和忠实原则，分析该美剧中一般幽默、文化幽默和语言幽默的翻译方法，并 探讨译者应该以再现原文中的幽默效果为首要原则，并
12、根据目的语观众的期望，顺从 目的语语言文化习惯，选用恰当的翻译策略，将幽默的效果再现于 目的语，使目的语 观众理解源语中的幽默。通过分析可以得出，生活大爆炸的目的语观众数量相对 来说较少，主要集中在大学生以及白领人群中，并且字幕翻译人员也是其中一部分。 因此，只要这一小部分目的语观众能理解中文字幕，译者采用的翻译方法和策略就是 可行正确的。 关键词 ：情景喜剧；字幕翻译；幽默；目的论；生活大爆炸 I ABSTRACT SUBTITLING TRANSLATION OF AMERICAN HUMOR IN THE BIG BANG THEORY ABSTRACT With deepening c
13、ultural communication between China and the western countries, more and more foreign audiovisxial works have swarmed into the Chinese market, among which are American situation comedies. As a special audiovisual genre， American sitcom is featured by humor. Therefore， humor translation plays a decisi
14、ve role in understanding and appreciating the sitcoms by the target language audience and has profound influences on cross-cultural communication. For much of the history， dubbing is a dominant form of audiovisual translation. Under the context of globalization in the era of the Internet, however, i
15、t seems that subtitled audiovisual works are accepted by more and more Chinese audience. A few hours after broadcast in America American sitcoms with Chinese subtitles can be downloaded free in China. The increasing popularity of subtitling in China is certainly conMbuted by a fansub group who volun
16、tarily create Chinese subtitles for foreign TV programs through free Internet downloading. Based on the core theory of functional translation approaches Skopostheorie, this diesis presents a case study of the humor translation in the popular American sitcom The Big Bang Theory by analyzing the trans
17、lation strategies which the translators adopt when translating different types of humor in tiiis sitcom. It applies the three basic rules in humor translation and then tries to summarize some translation techniques for the translation of universal, culture-based and linguistic humors. The translator
18、 is suggested to take tiie reproduction of humorous effect of the source text as the chief principle and choose appropriate translation strategies so as to make the target audience perceive the humor of the source language in accordance with their expectations and the cultural customs of the target
19、language. In this case, the translators are part of the target audience, mainly made up in Subtitling Translation of American Humor in The Big Bang Theory of college students and white-collar workers. We can draw a conclusion that it is not necessary for the translators to achieve a universal unders
20、tanding of tiie source text， for the target audience is such a small group of people. As long as the small group of people could understand the rendered subtitles easily，the choice of strategies is deemed correct and feasible. KEY WORDS： situation comedy; subtitling; humor; Skopostheorie; The Big Ba
21、ng Theory IV Chapter One Introduction CHAPTER ONE INTRODUCTION With the advent of digital era, now foreign movies and TV series are widely spread through the Internet and appeal to young people all over the world. Especially in recently years, a larger number of American TV series have entered the A
22、sian market than that of English/British/European literary works. As a prevailing form of entertainment, American TV series seem not only to be the easiest access to American culture and living style for Chinese young people, but also an enjoyable way of learning the English language. As a result, t
23、he audiovisual translation plays an important role in cross-cultural communication between the two countries. To some extent, the quality of audiovisual translation is a decisive factor in the success and economic returns of the audiovisual works. As we know, dubbing and subtitling are the most comm
24、only used types of audiovisual translation. Baker (2001, p. 24) claims that two methods of film translation have been dominant; subtitling and dubbing since 1929 when the first sound films reached an international audience. 1.1 Subtitling: a More Favorable Form of Audiovisual Translation The debate
25、about the two forms has lasted for several decades. Dubbing used to be considered as the better way in the early times, yet as a matter of fact, subtitling costs less money and time. Even more, the audience prefer subtitling to dubbing because subtitling brings the original flavor of the foreign lan
26、guage and the original picture to the viewers while the dubbed audiovisual works sometimes sound distorted. t For more than 70 years, the international film industry has promoted these two foms of tr哪lation: subtitles (姐 abbreviated version of the didogue， which is projected on the screen) and dubbi
27、ng (an alternate, synchronized soundtrack of the complete dialogue)?, (Zatlin, 2008, p. 123). Many scholars showed their strong preferences for one of the two forms of audiovisual translation either at the national or personal levels. Compared with subtitling, dubbing is more like a kind of techniqu
28、e that covers the 1 1 Subtitling Translation of American Humor in The Big Bang Theory original voice in the film by another voice* The dubbing has an advantage that the target viewers could understand the scene simply by listening to the rendered langxxage from the soundtrack. In those countries tha
29、t speak French German, Italian or Spanish, dubbing is prior to subtitling. Some scholars， such as Mark Herman and Ronnie Apter， rejected subtitling because 6tfor such translation, even if done well, offer only a glimpse of the original work to a person not fluent in the original language（ Herman & Apter，1991， p. 102). Scholars have contended that subtitling brings about a destruction of the completeness of the picture. Moreover, subtitles may be distracting. The audience must simultaneously take in the visual image while reading a script at the bottom of the screen. Subtitl