中英文电影片名的翻译【毕业论文】.doc

1、I（20_届）本科毕业设计英语中英文电影片名的翻译II摘要电影是一种集艺术性和商业性于一体的艺术形式，是最具有影响力的媒体之一。随着中国改革开放的成功，中国与英语国家的经济文化交流日益频繁。近年来，越来越多的英语电影涌入中国电影市场。为满足中国观众日益增长的观影需求，英语电影在不断地被译为汉语。电影的翻译既是介绍异域文化的一种简洁直观的手段，又是传播本国本民族文化的一个重要途径，而电影片名的翻译又是影片翻译中的重中之重，所以我们通过实例，针对不同的片名采用不同的译法，进而深入研究电影片名的翻译方法。由于英文电影片名独特的文化内涵，在汉译时必须要从多方面考虑，采用适当的翻译方法。文章从分析英语电

2、影片名总体情况入手，分析了英文电影片名的特点和功能，研究了英语电影片名英译汉时应遵循的理论原则和翻译方法，然后提出了音译、直译、意译、编译四种方法。关键词英文电影片名；特点；翻译方法IIIABSTRACTTHEMOVIE,APOPULARARTWITHBOTHARTISTICANDCOMMERCIALVALUES,ISONEOFTHEMOSTINFLUENTIALMASSMEDIANOWADAYSWITHTHESUCCESSOFCHINASREFORMANDOPENINGUPPOLICYANDTHESTRENGTHENEDECONOMICANDCULTURALCOMMUNICATIONBETW

3、EENCHINAANDENGLISHSPEAKINGCOUNTRIES,RECENTYEARSWEHAVESEENALARGEFLOWOFENGLISHMOVIESINTOCHINESEMOVIEMARKETENGLISHMOVIESAREBEINGCONTINUOUSLYTRANSLATEDTOMEETCHINESEAUDIENCESGROWINGNEEDSTHETRANSLATIONOFMOVIESISNOTONLYASIMPLEANDDIRECTWAYTOINTRODUCETHEEXOTICCULTURE,BUTALSOANIMPORTANTCHANNELTOTRANSFEROUROWN

4、CULTUREWHILETHETRANSLATIONOFTHETITLEOFAMOVIEISTHETOPPRIORITYINMOVIETRANSLATION,THEREFORE,WESTUDYTHEWAYTHATTHETRANSLATIONOFMOVIESDEEPLY,USINGDIFFERENTWAYSTOTRANSLATEMOVIESASTHETITLESOFTHEENGLISHMOVIESALWAYSCARRYTHESPECIALCULTURALSENSES,WHENTHEYTRANSLATEDINTOTHECHINESE,MANYFACTORSSHOULDBECONSIDEREDAND

5、DIFFERENTMETHODSOFTRANSLATIONSHOULDBETAKENACCORDINGLYTHEPAPEREXPLORESTHEGENERALANALYSISOFENGLISHMOVIETITLES,DISCUSSESTHEFEATURESANDTHEFUNCTIONOFTHEMOVIETITLES,ANDPUTSFORWARDTHERELEVANTTHEORIESANDMETHODS,THENGIVESTHEFOURTRANSLATIONMETHODSTRANSLITERATION,LITERALTRANSLATION,FREETRANSLATIONANDADAPTEDTRA

6、NSLATIONKEYWORDSENGLISHMOVIETITLEFEATURETRANSLATIONMETHODSIVCONTENTSABSTRACTIIIINTRODUCTION错误未定义书签。1ANALYSISOFENGLISHMOVIETITLES错误未定义书签。11FEATURESOFENGLISHMOVIETITLES错误未定义书签。12FUNCTIONOFENGLISHMOVIETITLES错误未定义书签。2THEFACTORSINFLUENCINGTHENAMINGOFENGLISHMOVIETITLES521CUTRALFACTORS错误未定义书签。22COMERCIALFA

7、CTORS623INDIVIDUALFACTORS73LITERATUREREVIEW831DEVELOPMENTOFSCOPOSTHEORY832THENUCLEUSOFSKOPOSTHEORY1033THREERULESOFSKOPOSTHEORY114STRATEGIESFORENGLISHMOVIETITLETRANSLATION1341TRANSLATERATION1342LITERALTRANSLATION1443FREETRANSLATION1644ADAPTATION17CONCLUSION19BIBLIOGRAPHY错误未定义书签。ACKNOWLEDGMENTS错误未定义书签

8、。1INTRODUCTIONWITHCHINASPOLICYOFREFORMANDOPENINGUPTOTHEOUTSIDEWORLDANDITSENTRYINTOWTOANDTHESTRENGTHENINGPROCESSOFGLOBALIZATION,COMMUNICATIONAMONGNATIONSISBECOMINGMOREANDMOREFREQUENT,OFWHICHCULTURALEXCHANGEISANIMPORTANTPARTASANIMPORTANTMEANSOFCULTURALCOMMUNICATION,MOVIESPLAYAVERYIMPORTANTPARTTHEYAREA

9、LSOONEOFTHEMOSTIMPORTANTELEMENTSINTHEWORLDSCULTURALCOMMUNICATION,WHICHCANBEREGARDEDASANEFFECTIVEWAYOFPROMOTINGMUTUALUNDERSTANDINGBETWEENDIFFERENTCOUNTRIESSINCEMOVIETITLESHAVEALWAYSBEENPUTINANEYECATCHINGPLACE,THETRANSLATIONOFENGLISHMOVIETITLESBECOMESMORESIGNIFICANTTHISTHESISMAINLYDEALSWITHMOVIETITLET

10、RANSLATIONFROMENGLISHINTOCHINESETHETRANSLATIONOFMOVIETITLESISNOTANEASYJOB,BUTAVERYCOMPLICATEANDDIFFICULTONEWHATSMORE,MANYTAKETRANSLATIONEQUIVALENCEASTHETRANSLATIONCRITERION,BUTMANYPROBLEMSCANNOTBESOLVEDBYJUSTFOLLOWINGTHETRADITIONALEQUIVALENCEPRINCIPLEITISTHESTARTINGPOINTATWHICHTHISTHESISTRIESTOOFFER

11、SOMECONSTRUCTIVESUGGESTIONSFORENGLISHMOVIETRANSLATIONTHISTHESISTAKESGERMANFUNCTIONALISTTRANSLATIONAPPROACH,MAINLYSKOPOSTHEORY,ASTHETHEORETICALBASISSKOPOSTHEORYTAKESTHETARGETTEXTASTHEPRIMEPRINCIPLEGUIDINGTHETRANSLATIONACTION,WHICHSEESTRANSLATIONASAPURPOSEFULACTIVITYASANINTENTIONALINTERCULTURALCOMMUNI

12、CATION,SKOPOSTHEORYCANBEUSEDASAGUIDELINEFORTHETRANSLATIONOFENGLISHMOVIETITLES“THEENDJUSTIFIESTHEMEANS”1ISITSMOSTDISTINCTIVEFEATURES,WHICHOFFERSMUCHFREEDOMFORTRANSLATORSTOUSEASATISFACTORYMETHODTHISTHESISISCOMPOSEDOFFOURPARTSFIRSTPARTISAGENERALANALYSISOFENGLISHMOVIETITLES,DISCUSSINGTHEFEATURESANDFUNCT

13、IONSOFMOVIETITLESSECONDPARTISTHEANALYSISOFFACTORSINFLUENCINGTHENAMINGOFENGLISHMOVIETITLESBESIDES,THESETWOPARTSSERVEASTHEFOUNDATIONFORTHEANALYSISOFTHEFOLLOWINGTRANSLATIONSTRATEGIESTHIRDPARTISTHELITERATUREREVIEWOFGERMANFUNCTIONALISTTHEORYFOCUSINGONSKOPOSTHEORYFORTHPARTOFFERSADETAILEDANALYSISOFTRANSLAT

14、IONSTRATEGIESUNDERTHEGUIDANCEOFSKOPOSTHEORIESTHECONCLUSIONSUMMARIZESTHEWHOLETHESISASWELLASPUTSFORWARDSOMESUGGESTIONS21ANALYSISOFENGLISHMOVIETITLES11FEATURESOFENGLISHMOVIETITLESMOVIETITLESAREBASICALLYCHARACTERIZEDBYCONCISENESSANDVIVIDNESSGOODMOVIETILESMAYADDAPPEALTOTHEMOVIESANDCONTRIBUTEALOTTOTHEBOXO

15、FFICEVALUEALTHOUGHMOVIESHAVESOMETHINGINCOMMONWITHOTHERLITERARYFORMS,THEYHAVETHEIRUNIQUELINGUISTIC,AESTHETIC,ANDCULTURALFEATURES,TOWHICHTRANSLATORSSHOULDPAYMUCHATTENTIONINORDERTOPROVIDEABETTERUNDERSTANDINGOFTHESTUDYSUBJECTTHEFIRSTISLINGUISTICFEATURESGENERALLYSPEAKING,ASFARASTHEIRSTRUCTUREISCONCERNED,

16、ENGLISHMOVIETITLESAREUSUALLYVERYSHORT,CONCISEINLANGUAGESOTHATTHEYWILLBEEASYTOREADANDTOREMEMBERFORTHEAUDIENCEINTHEVIEWOFTHEFORM,THEYEMPLOYONEORTWOWORDSWHICHMAYBETHENAMEOFHEROORHEROINE,THEPLACEORTHEKEYYEARTHESTORYTAKESPLACE,FORINSTANCE,ALI拳王阿里,PARRTON巴顿将军ANDSOONHOWEVER,INMOSTCASES,THEYADOPTVARIOUSKIND

17、SOFPHRASESASTITLES,NAMELY,NOUNPHRASES,VERBPHRASES,ADJECTIVEPHRASES,ADVERBPHRASESANDPREPOSITIONALPHRASESEXAMPLESAREONGOLDENPOND金色池塘,OUTOFAFRICA走出非洲,DANCEWITHWOLVES与狼共舞,FACEOFF变脸AREALLTITLESOFTHISKINDTHESECONDISAESTHETICFEATURESGENERALLYSPEAKING,THEAESTHETICCHARACTERISTICSOFENGLISHMOVIETITLESARECLOSEL

18、YRELATEDTOTHEAPPLICATIONOFRHETORICALDEVICES,SUCHASSIMILE,METAPHOR,IRONY,PERSONIFICATION,ALLITERATION,ANDSOONTHEAPPLICATIONOFRHETORICDEVICESTOMOVIETITLEHASBEENPROVEDEFFECTIVEANDPOWERFULEACHFIGUREHASITSOWNCHARACTERISTICANDITSOWNWAYOFACHIEVINGCERTAINEFFECT,EITHERTOENLIGHTENTHEUNDERSTANDING,TOAROUSETHEI

19、MAGINATIONORTOMOVETHEPASSIONFOREXAMPLEDANCEWITHWOLVESPERSONIFICATIONPRIDEANDPREJUDICEALLITERATIONTIGERTIGERTIGERREPETITIONTHEAGEOFINNOCENCEIRONYWARANDPEACECONTRADICTIONTRUELIESOXYMORONTHETHIRDISCULTURALFEATURESLANGUAGEDOESNOTEXISTINDEPENDENTLYANDISCLOSELYRELATEDTOCULTURE“LANGUAGEHASACULTURAL,NOTABIO

20、LOGICALLYINHERITEDFUNCTION,CHANGESINCULTUREOFTENGIVERISETONEWTYPESOFDISCOURSE”2ALLGOODMOVIESARESOCIALPRODUCTSOFCULTURALFACTORSANDIDEOLOGICALTRENDSOFCERTAINERASMOSTLY,THECULTURALFEATURESOFENGLISHMOVIETITLESARECLOSELYRELATEDTOTHEQUOTATIONOFALLUSIONSWHICHCONVEYRICHCULTURALMEANINGSFOREXAMPLE,ADAMSRID,SE

21、VEN,SILENCEOFTHELAMB,ORIGINALSIN,ANDSOON312FUNCTIONOFENGLISHMOVIETITLESACCORDINGTOVERMEER,“FUNCTIONREFERSTOWHATATEXTMEANSORISINTENDEDTOFROMTHERECEIVERSPOINTOFVIEW”3INHISATEXTBOOKOFTRANSLATION,PETERNEWMARKPROPOSESSIXFUNCTIONSEXPRESSIVEFUNCTION,INFORMATIVEFUNCTION,VOCATIVEFUNCTION,AESTHETICFUNCTION,PH

22、ATICFUNCTION,ANDMETALINGUALFUNCTIONNORDPROPOSESINTRANSLATIONASAPURPOSEFULACTIVITYTHATTHEFOLLOWINGFUNCTIONSTHEREFERENTIAL,THEEXPRESSIVE,THEAPPELLATIVEANDTHEPHATICCONSIDERINGCOMBINATIONOFTHEENGLISHMOVIETILESANDTHEABOVETHEORIES,HEREWEWILLSTUDYTHEFOURMAINFUNCTIONS,THATIS,THEINFORMATIVE,AESTHETIC,EXPRESS

23、IVE,VOCATIVEFUNCTIONSTHEINFORMATIVEFUNCTIONISTHEMOSTIMPORTANTFUNCTIONFORANENGLISHMOVIENEWMARKPROPOSESTHATTHEINFORMATIVEFUNCTIONOFLANGUAGEISFEATUREDWITHTHEEXTERNALSITUATIONASITCORE,ANDEXTERNALSITUATIONMEANSTHEFACTSOFATOPIC,REALITYOUTSIDELANGUAGE,INCLUDINGREPORTEDIDEASORTHEORIESINTHISTHESIS,THEINFORMA

24、TIVEFUNCTIONMEANSINFORMINGTHEAUDIENCEOFTHERELEVANTINFORMATIONABOUTTHEMOVIE,FORINSTANCE,WHENANDWHERETHESTORYHAPPENSORWHOMTHEMOVIEISABOUTSOMETITLESTELLUSTHEHEROORHEROINEOFTHEMOVIE,FOREXAMPLE,THEFORRESTGUMP阿甘正传,MRANDMRSSMITH史密斯夫妇,SOMEMAYTELLUSTHECONTENTORBACKGROUNDOFTHEMOVIE,SUCHASPEALHARBOR珍珠港,TITANIC

25、泰坦尼克,SOMEREVEALTHETHEMEOFTHEMOVIE,WHICHAREABSTRACT,ONLYAFTERYOUSEETHEMOVIE,WILLYOUKNOWWHYITWASNAMED,FORINSTANCE,BRAVEHEART勇敢的心,THESOUNDOFMUSIC音乐之声,ANDSOMEWILLPROVIDEUSWITHTHEPLOTOFTHEMOVIE,SUCHASAROUNDTHEWORLDIN80DAYS环游世界80天,SAVINGPRIVATERYAN拯救大兵瑞恩ACCORDINGTONEWMARK,LANGUAGEISDESIGNEDTOPLEASETHESENS

26、ETHROUGHTHERHYME,SOUNDEFFECTANDTHERHETORICDEVICESEMPLOYEDINMOVIETITLESCANADDMORECHARMTOTHEMOVIESTHEAESTHETICFUNCTIONOFTHEMOVIECANATTRACTANDTOUCHTHEHEARTOFTHEAUDIENCEWITHNICELANGUAGEANDSATISFYTHEAUDIENCEBYTHECONCISENESSANDVIVIDNESS,FORINSTANCE,AWALKINTHECLOUD云中漫步,GONEWITHTHEWIND乱世佳人,THEWIZARDOFOZ绿野仙踪

27、“THEEXPRESSIVEFUNCTIONISSENDERORIENTED”4ANDITREFERSTOTHESENDERSATTITUDETOWARDTHEOBJECTANDPHENOMENAOFTHEWORLDTHEEXPRESSIVEFUNCTIONOFTHEMOVIETITLESMEANSTHEAUTHORSATTITUDEORFEELINGTOTHISMOVIETHROUGHTHETITLETHEAUDIENCECANSENSETHETHEME,THEMOODANDTHESTRUCTUREINWHICHTHEMOVIEISORGANIZEDFORINSTANCE,THESHAWSH

28、ANKREDEMPTION肖申克的救赎4NEWMARKPROPOSESTHATTHECOREOFTHEVOCATIVEFUNCTIONOFLANGUAGEISTHEREADERSHIP,THEADDRESSEEASTOMOVIETITLES,THEADDRESSEEMAYREFERTOTHEAUDIENCE,SOTHEVOCATIVEFUNCTIONISTOATTRACTTHEAUDIENCETOBUYTHETICKETSWITHTHESATISFACTIONOFTHEIRPSYCHOLOGYWHICHCANCONTRIBUTEALOTTOTHEBOXOFFICEVALUETHEREFORE,

29、MANYMOVIEPRODUCERSPREFERTOUSETHEADVERTISEMENTTOPROMOTETHEIRMOVIES,SUCHASVICEINMIAMI迈阿密风云,DEATHONTHENILE尼罗河惨案ANDEARTHQUAKE惊魂夺命,ANDSOON2THEFACTORSINFLUENCINGTHENAMINGOFENGLISHMOVIETITLES21CULTURALFACTORSACCORDINGTONORD,“THECULTURALSPECIALPHENOMENONISTHEONETHATISFOUNDTOEXISTINA5PARTICULARFORMORFUNCTION

30、INONLYONEOFTHETWOCULTURESBEINGCOMPARED”5WEKNOWTHATTHEREAREALOTOFDIFFERENCESBETWEENCHINESEANDENGLISHCULTURESMOVIETITLESARECLOSELYRELATEDTOVARIOUSASPECTSOFSOCIETIES,RELIGIONS,PHILOSOPHIES,HISTORIESANDSOONSOINTRANSLATINGANENGLISHMOVIETITLE,WESHOULDPAYMOREATTENTIONTOCULTURALFACTORSTHISPAPERWILLDISCUSSCU

31、LTURALFACTORSFROMTHREEASPECTS,NAMELY,RELIGION,THINKINGSTYLEANDDIFFERENTREGIONSFIRST,ASWEALLKNOWTHATTHEWESTERNPEOPLEBELIEVEINCHRISTIANITY,MOVIETITLESALSOWILLBEINFLUENCEDBYITACTUALLY,ALOTOFALLUSIONS,IDIOMSANDSLANGSORIGINATEFROMTHEBIBLE,THERELIGIOUSTALESWHICHHAVECONTRIBUTEDALOTTOTHEFORMATIONOFENGLISHMO

32、VIETITLES,SUCHAS,SEVENCOMESFROMTHEBIBLE,ANDITREFERSTOTHESEVENDEADLYSINS,NAMELY,PRIDE,WRATH,ENVY,LUST,GLUTTONY,AVARICE,ANDSLOTHSO七宗罪ISMORESUITABLETHAN七SECOND,INTRANSLATION,THEREISANIMPORTANTDIFFERENCEINTHINKINGSTYLESBETWEENCHINESEANDWESTERNPEOPLETHECHINESEPEOPLEPREFERTOTHINKINTERMSOFIMAGES,THATIS,CON

33、CRETETHINKING,HOWEVER,WESTERNERSPREFERTOTHINKINTERMSOFABSTRACTION,THATISABSTRACTTHINKINGINENGLISHMOVIETITLETRANSLATION,TRANSLATORSALWAYSTRYTOMAKEENGLISHMOVIETITLESAGREEWITHCHINESETHINKINGSTYLESOWHENWEFINDALLTHEMEANINGSOFTHEWORDSARENOTSUITABLE,ITISNECESSARYTOMAKESOMECHANGESORRECREATEANOTHERTITLETHIRD

34、,ALTHOUGHPEOPLEINMAINLANDCHINA,HONGKONGANDTAIWANHAVETHESAMETHINKINGWAYANDCULTURALBACKGROUND,THEREAREOFTENDIFFERENTVERSIONSFORONEANDTHESAMEENGLISHMOVIETITLEWECANCOMPARETHEFOLLOWINGEXAMPLESORIGINALTITLEHKTAIWANMAINLANDPULPFICTION黑色通缉令危险人物低俗小说PRETTYWOMAN风月俏佳人麻雀变凤凰漂亮女人LOLITA洛丽塔一树梨花压满堂禁忌情迷THEENGLISHPATIE

35、NT英国病人别问我是谁英伦情人LEGENDSOFTHEFALL燃情岁月燃情岁月真爱THETERMINATOR终结者未来战士魔鬼终结者FROMTHECOMPARISON,WECANSEETHATHKANDTAIWANVERSIONSAREMUCHMOREFANCIFULTHANTHEMAINLANDONESTHEYAREAPTTOUSEINFLAMMATORYWORDSTHATCANAROUSESTRONGEMOTIONFORONEREASON,THETRANSLATIONTHEORIESANDPRACTICEOFTHEMAINLANDAREMOREDEVELOPEDTHANTHOSEOFHKA

36、NDTAIWANANDANOTHERREASON,WHICHSHOULDNOTBENEGLECTED,ISTHATHKANDTAIWAN,WITHTHEIRSPECIALSOCIALSYSTEM,PAYMOREATTENTIONTOCOMMERCIALEFFECTS,EVENTOTHEEXTENTOFEXCESSIVENESS,WHILETHEMAINLANDISMOREFAITHFULTOTHEORIGINAL,TAKINGBOTHCOMMERCIALANDAESTHETICEFFECTSINTOACCOUNTTHETHIRDREASONISTHATHKANDTAIWANHAVETHEIRO

37、WNHABITUALUSAGEOFWORDS,ESPECIALLY6SOMEWORDSINTHEIRDIALECTSWHENTHESEDIALECTSAREUSED,TITLESSOUNDMOREATTRACTIVETOTHELOCALAUDIENCEORIGINALTITLEHKTAIWANMAINLANDSPACEJAM太空也入樽太空也入樽空中大扣篮MULTIPLICITY丈夫一箩筐丈夫一箩筐复制丈夫THERUNAWAYBRIDE走佬俏佳人走佬俏佳人落跑新娘TITANIC铁达尼号铁达尼号泰坦尼克SCHINDLERSLIST舒特勒的名单舒特勒的名单辛德勒的名单22COMMERCIALFACT

38、ORSASAPOPULARARTISTICFORM,MOVIESARETHEPRODUCTOFCOMMERCIALIZATIONMOVIESAREAPTTOATTRACTTHEPUBLICATTENTIONANDEARNALARGEBOXOFFICEINCOMETHEREFORE,ASTHEIMPORTANTPARTOFENGLISHMOVIETITLESAREALSOTINGEDWITHCOMMERCIALCOLOR，THEREHAVEEMERGEDALOTOFEXCITINGPASSIONATE,MYSTERIOUSORTHRILLINGTITLES,WHILESOMEOFTHESETIT

39、LESARENOTTHEREFLECTIONOFTHEORIGINALSTORYFORINSTANCE,THESHAWSHANKREDEMPTIONHAVETHREERENDERINGS,NAMELY,刺激1995,月黑风高AND肖申克的救赎ASFARASWEKNOWTHATTHEMOVIEDESCRIBESTHEESCAPEOFTHEHEROFROMMAINESSHAWSHANKSTATEPRISON,ACTUALLY,THEMOVIEISNOTSOEXCITING,BUTQUITESHOCKING,INSPIRINGANDMOVING,WHATSMORE,ITHASNOTHINGTODOW

40、ITHTHEYEAR1995EXCEPTTHATTHEMOVIEWASRELEASEDIN1995月黑风高ISMORECAUSINGBECAUSETHEHEROESCAPESFROMTHEPRISONINONEDARKNIGHT肖申克的救赎ISTHEMAINLANDVERSION,WHICHISTHELITERALTRANSLATION,LEADINGCONFUSIONANDAMBIGUITYSOCOMPAREDWITHTHEMAINLANDANDHKVERSIONS,THETAIWANVERSIONISDEEPLYINFLUENCEDBYCOMMERCIALFACTORSANOTHEREXA

41、MPLEISBACKTRACK赤面煞星AFTERSEEINGTHEMOVIE,WELEARNITTELLUSASTORYBETWEENAWOMANANDAKILLERINSTEADOFKILLINGHER,THEKILLERFALLSINLOVEWITHHERANDHELPSHERGETTHROUGHTHECRISISACTUALLY,THETITLEOFFERNOINFORMATIONABOUTTHISMOVIE,SOTHEVERSION赤面煞星ISACTUALLYTINGEDWITHCOMMERCIALCOLOR23INDIVIDUALFACTORSACCORDINGTONIDA,“DIF

42、FERENTPEOPLEWILLHAVEDIVERSEUNDERSTANDINGSOFACERTAINTEXT,AND,THEREFORE,TWOENTIRELYDIFFERENTINTERPRETATIONSANDTRANSLATIONSOFATEXTAREALWAYSBOTHREASONABLENOTRANSLATORCANAVOIDACERTAINDEGREEOFPERSONALINVOLVEMENTINHIS7WORK”6DUETODIFFERENTPEOPLESDIFFERENTPERSONALEXPERIENCES,PREUNDERSTANDING,ANDCOGNITIVEMODE

43、S,THEINTERPRETATIONSAREBOUNDTOBEDIFFERENTASAVITALIMPORTANTPARTOFENGLISHMOVIE,MOVIETITLESSHARETHESAMEFEATUREFIRST,THETRANSLATIONISARECREATIVEPROCESSTHETRANSLATORSSUBJECTIVEAWARENESS,WORLDVALUE,VALUETREND,COGNITIVEMODEANDTHEAESTHETICTASTEANDSOON,WILLINFLUENCEUNDERSTANDINGANDTRANSLATIONOFTHEOBJECTIVETE

44、XT,THATIS,THEORIGINALMOVIETITLESSOTOSOMEEXTENT,THETRANSLATIONOFTHEMOVIETITLESHAVETINGEDWITHTHESUBJECTIVEIDEAOFTHETRANSLATORWHICHCANREFLECTTHEUNDERSTANDINGANDREALIZATIONOFTHETRANSLATOR,SODIFFERENTTRANSLATORSHAVEDIFFERENTVERSIONSOFTHESAMEMOVIETITLES3LITERATUREREVIEW31DEVELOPMENTOFSKOPOSTHEORYASARELATI

45、VELYCOMPLETEANDSYSTEMATICTHEORY,FUNCTIONALISTAPPROACHESTOTRANSLATIONDIDNTAPPEAROVERNIGHT“THE1970SAND1980SWITNESSAMOVEAWAYFROMTHESTATICLINGUISTICTYPOLOGIESOFTRANSLATIONSHIFTSANDANEMERGENCEANDFLOURISHINGINGERMANYOFAFUNCTIONALISTANDCOMMUNICATIVETOTHEANALYSISOFTRANSLATION”7“LINGUISTICSALONEWONTHELPUSFIR

46、ST,TRANSLATINGISNOTMERELYANDNOTEVENPRIMARILYALINGUISTICPROCESSSECONDLY,“LINGUISTICSHASNOTYETFORMULATEDTHERIGHTQUESTIONSTOTACKLEOURPROBLEMS,SOLETSLOOKSOMEWHEREELSE”8THEPROMINENTFIGURESINTHISFIELDAREKATHARINAREISS,8HANSJVERMEER,HOLZMANTTARIANDCHRISTIANENORDKATHARINAREISSISONEOFTHEINITIATORSOFTHEFUNCTI

47、ONALISMSHEPROPOSESTHATTHEIDEALTRANSLATIONWOULDBEONEINWHICHTHEAIMINTHETLISEQUIVALENCEASREGARDSTHECONCEPTUALCONTENT,LINGUISTICFORMANDCOMMUNICATIVEFUNCTIONOFASLONEEXCEPTIONISWHENTHETARGETTEXTISINTENDEDTOACHIEVEAPURPOSEORFUNCTIONINSTEADOFTHATOFTHEORIGINALANOTHEREXCEPTIONISWHENTHETARGETTEXTADDRESSESANAUD

48、IENCEDIFFERENTFROMTHEINTENDEDREADERSHIPOFTHEORIGINALTHATISTOSAYTHETARGETTEXTHASASPECIFICGROUPOFTARGETADDRESSESOTHERTHANTHATOFTHEORIGINALBOTHEXCEPTIONSHAVEALLOWEDTHEFUNCTIONALPERCEPTIVEINTHETRANSLATIONPROCESSTOOVERRULETHEEQUIVALENCESTANDARDSTHETRANSLATIONCRITICSCANNOLONGERRELYONFEATURESDERIVEDFROMSOU

49、RCETEXTANALYSISBUTHASTOJUDGEWHETHERTHETARGETTEXTISFUNCTIONALINTERMSOFTHETRANSLATIONCONTEXTINTHISCASE,FORREISS,ALLTHETYPESOFTRANSLATIONMAYBEJUSTIFIEDINPARTICULARCIRCUMSTANCES,ANDTHENFUNCTIONALEQUIVALENCEISNOLONGERREGARDEDASTHENORMALAIMOFTRANSLATIONHANSVERMEERHASGONEMUCHFURTHERINTRYINGTOBRIDGETHEGAPBETWEENTHEORYANDPRACTICEHISMOSTDISTINGUISHEDTHEORYISSKOPOSTHEORY,WHICHWASDEVELOPEDASTHEFOUNDATIONFORAGENERALTHEORYOFTRANSLATION,DEALINGWITHSPECIFICLANGUAGESANDCULTURESSINCETRANSLATIONINVOLVESTHETRANSFEROFCOMMUNICATIVEVERBALANDNONVERBALSIGNSFROMONELANGUAGEINTOANOTHER,VERMEERCONSIDERST