| 片子翻译是翻译研究中的一个新兴范畴,而它也愈来愈遭到学界的留意。本文旨在对片子翻译,特别是配音翻译中涌现的一些成绩停止研究。片子翻译作为视听翻译的一种,与传统的普通意义上的翻译有很多分歧的地方。它有本身的一些特色。因为这些独有的特点使得片子翻译遭到很多身分的限制。本文试图以法国释意派翻译实际作为实际支持,站在片子翻译是为了转达信息这一立场提出四条详细的翻译战略,并在文中辅以详细的例子,来讲明这些翻译战略的实用规模及证明其适用性。这些例子都是从几部中文配音的法国片子当选取而来,有经典老片子,也有近几年比拟新的片子,这是为了使所提出的翻译战略更具有普适性。论文由三部门构成,第一章理清一些有关片子翻译的概念,并简述其分类、汗青和特色。第二章剖析了限制片子翻译的身分,并为片子的配音翻译提出四条战略来作为处理详细成绩的参考。第三章是对片子翻译市场现状的一个思虑,并剖析其成因,猜测其成长趋向。因为时光仓皇,材料无限,而且作者研究程度尚浅,本文缺乏的地方敬请专家与读者们多多斧正。 Abstract: Film translation is a new category in translation studies, and it is getting more and more attention from the academic circles. This paper aims to study the emergence of some of the results in the film translation, especially the voice translation. As a kind of audiovisual translation, film translation has many different places with the translation of the traditional common sense. It has its own characteristics. Because of these unique features make the film translation has been limited by many factors. This paper attempts to use the French interpretive theory as the theoretic support, standing in the film translation is to convey this information with the position put forward four translation strategies, supplemented by detailed examples in this paper, the practical scale and demonstrate its applicability to explain these translation strategies. These examples are from several Chinese voice of the French film elected to take, there is a classic old film, there are many new films in recent years, which is in order to make the proposed translation strategy more universal. This paper is made up of three parts. The first chapter is to clarify some concepts about the translation of the film, and to describe its classification, history and characteristics. The second chapter analyzes the factors that restrict the film translation, and puts forward four strategies to deal with the details. The third chapter is about the film translation market situation, and analyzes its causes, and its growth trend. Because in time, material is infinite, and the author research level is shallow, the lack of local experts and readers have a lot to please. 目录: 中文摘要 7 INTRODUCTION 11-15 CHAPITRE Ⅰ Breve introduction a la traduction cinematographique 15-24 1.1 la definition et la classification de la traduction cinematographique 15-17 1.1.1 ledoublage 15-16 1.1.2 le sous-titrage 16-17 1.2 l'histoire de la traduction cinematographique 17-19 1.2.1 à l'échelle globale 17-18 1.2.2 à l'échelle nationale 18-19 1.3 les spécificités de la traduction cinématographique 19-24 1.3.1 l'instantanéité 19-20 1.3.2 la popularité 20-21 1.3.3 la clarté 21 1.3.4 Duo-voie 21-24 CHAPITREⅡ Stratégies de la traduction cinématographique 24-49 2.1 les contraintes de la traduction cinématographique 24-25 2.1.1 les contraintes internes 24-25 2.1.2 les contraintes externes 25 2.2 stratégies pour dépasser les contraintes de la traduction cinématographique 25-49 2.2.1 la stratégie de la domestication 27-34 2.2.2 la stratégie de l'équivalence fonctionnelle 34-37 2.2.3 l'interprétation 37-43 2.2.4 la synchronisation 43-49 CHAPITREⅢ Situation de la traduction cinématographique en Chine 49-57 3.1 le dressement du film sous-titré en Chine et les raisons 49-52 3.1.1 les avantages commerciaux des films sous-titrés 49-51 3.1.2 le manque et la faible qualité des films doublés 51-52 3.1.3 le progrès du niveau de langue étrangère des spectateurs 52 3.2 les contraintes du sous-titrage 52-55 3.2.1 contraintes techniques 53-54 3.2.2 du discours au texte 54 3.2.3 contraintes linguistiques 54-55 3.3 coexistence du doublage et du sous-titrage 55-57 CONCLUSION 57-59 BIBLIOGRAPHIE 59-61 |
