《從生態(tài)翻譯學(xué)看《美麗中國(guó)》字幕翻譯》由會(huì)員分享，可在線閱讀，更多相關(guān)《從生態(tài)翻譯學(xué)看《美麗中國(guó)》字幕翻譯（16頁(yè)珍藏版）》請(qǐng)?jiān)谘b配圖網(wǎng)上搜索。

1、 Contents Chinese Abstract 2 English Abstract 3 1. Introduction 4 1.1 Research Background 4 1.2 Thesis Structure 5 2. Literature Review 6 2.1 Previous Studies of Eco-translatology at Home and Abroad 6 2.2 Review of Documentary Subtitle Translation 7 3. Theorectical Framework of Eco-tra

2、nslatology 9 3.1 Translational Eco-environment 9 3.2 Adaptation and Selection 9 3.3 Three-dimensional Transformation 10 4. Analysis of Wild China from Three-dimensional Transformation 11 4.1 Linguistic Dimension 11 4.2 Cultural Dimension 12 4.3 Communicative Dimension 13 5. Conclusion 14 Bi

3、bliography 16 1 從生態(tài)翻譯學(xué)看《美麗中國(guó)》字幕翻譯 摘 要 新世紀(jì)伊始，中國(guó)學(xué)者胡庚申提出一種稱為生態(tài)翻譯學(xué)(Eco-translatology)的新翻譯方法。生態(tài)翻譯學(xué)以達(dá)爾文的“適應(yīng)/選擇”學(xué)說(shuō)為理論指導(dǎo)，是一種立足于生態(tài)學(xué)視角的翻譯研究。該理論所強(qiáng)調(diào)的“生態(tài)”、“和諧”等概念與中英合拍的紀(jì)錄片《美麗中國(guó)》如出一轍。因此，本文采用了理論和例證分析相結(jié)合的方法，對(duì)《美麗中國(guó)》漢譯字幕中的具體例子進(jìn)行三維轉(zhuǎn)換上的分析,希望能夠?yàn)樽帜环g研究提供一個(gè)新的理論角度，進(jìn)而指導(dǎo)具體的翻譯活動(dòng)。通過(guò)分析發(fā)現(xiàn)，譯者能有效地從語(yǔ)言、文化、交際三個(gè)維度進(jìn)行轉(zhuǎn)換，

4、最終創(chuàng)作出能夠很好地彌合中西文化差異的譯文。同時(shí)，筆者認(rèn)為研究選題有助于擴(kuò)寬該理論的應(yīng)用領(lǐng)域以及研究的視角，豐富生態(tài)翻譯學(xué)的理論體系，將為生態(tài)翻譯學(xué)理論的發(fā)展作出微薄的貢獻(xiàn)。 關(guān)鍵詞：生態(tài)翻譯學(xué)；三維轉(zhuǎn)換；美麗中國(guó) On Subtitle Translation of Wild China from the Perspective of Eco-translatology Abstract At the very beginning of the 21st century, Professor Hu Gengshen prop

5、osed a new translation method called eco-translatology. Guided by Darwin’s “adaptation/selection” theory, eco-translatology can be explained as translation studies from an ecological perspective. The concepts like “ecology” and “harmony” emphasized by eco-translatology coincide with what the documen

6、tary Wild China would like to deliver. This paper combines the theory and example illustrations to analyze the specific cases in Wild China’s Chinese subtitles under eco-translatology in the hope of providing a new theoretical perspective for subtitle translation research. By analysis, it is found t

7、hat the translator effectually transforms the language from linguistic, cultural and communicative dimensions, makes adaptive selection and eventually produces the translation that can well bridge the cultural differences. Simultaneously, the author deems that the research subject will be a minor co

8、ntribution to the development of eco-translatology, which may broaden the application field and research perspective of eco-translatology. Key words: eco-translatology; three-dimensional transformation; Wild China 1. Introduction 1.1 Research Background Nowadays, an assortment of films and

9、 television programs could claim to be dazzling and are extensively adored by the audience at all levels. Amongst numerous forms of TV programs, documentaries achieve success owing to the unique significance and value they possess. And also, such sort of distinctiveness helps contribute to the most

10、prominent characteristic, namely, authenticity. Documentaries take the real life as source material, and they record historical facts, natural environment, ethnic cultures, etc. In the global film and television circle, there is no such a substitute for documentaries on account of their multiple fun

11、ctions to some extent. Documentaries play the role of international publicity and global cultural communication. The ones that mirror the unique human and natural landscapes of a nation are especially beneficial for developing its tourism and creating a positive image for the whole world. What’s mor

12、e, shooting documentaries also serves as a means of recording and persevering human civilization at the age of information explosion. It’s undeniable that documentaries have profound research values and educational functions. Wild China, a remarkable TV documentary produced over the past decade, is

13、 the first co-directed work of CCTV and BBC. The documentary production took over four years and more than 80% of the scenes were taken under the natural observations rather than in a studio. In 2009, Wild China had received many awards in the 30th Emmy Award, which is the counterpart of the Oscar i

14、n the film industry and Grammy Awards in the musical circles. Shot in a high-definition way, the film tried to place the audience in the rare and splendid scenery of the natural reserve in China. Coinciding with the 2008 Beijing Olympics, the documentary was also produced with a special aim to publi

15、cize China’s notion of attaching great importance to ecological and environmental protection. In the meantime, it will embody the harmony between man and nature in China, thus attracting more international tourists. In such a process of cross-cultural communication, the translation of subtitles undo

16、ubtedly plays a key part in the development of the film industry. It enables the audience at home and abroad to learn more about China’s geographical features, unique flora and fauna, interesting ethnic customs and so on. Although the periodicals and theses on subtitle translation have been gradual

17、ly increasing in recent years, the researches on documentary subtitle translation are far from enough in scale and depth. Compared with films and TV series, documentaries receive less attention and a comparatively small range of audience groups. In addition, the language of documentaries tends to be

18、 formal and professional, which directly leads to the complexity of translation activities and makes it more challenging to produce vivid and lively documentary subtitles. Therefore, it is imminent to strengthen the theoretical research of subtitle translation for it can provide a new theoretical pe

19、rspective and guide specific translation activities. Eco-translatology is a burgeoning translation theory proposed by Hu in 2001. Its emergence presents a brand-new viewpoint for translation studies. To some degree, it may help fill in the blank of Chinese original translation theories (思創(chuàng)哈格斯, 2011)

20、. In December, 2001, Prof. Hu for the first time reported his paper An Initial Exploration on Approach to Translation as Adaptation and Selection. This paper laid a foundation for the comprehensive construction of eco-translatology. He claimed that eco-translatology could be explained as “an ecolog

21、ical approach to translation studies”, or “translation studies from an ecological perspective” (胡庚申, 2008: 11). Spanning at least Ecology and Translatology, it’s also a multidisciplinary research in translation theory. Initially enlightened by Charles Darwin’s Theory of Evolution, Prof. Hu inherited

22、 part of the theory and employed them in translation field. Hence, a series of terminologies about eco-translatology came into view, such as translational eco-environment, adaptation and selection, three-dimensional transformation, etc. Since this theory sprouted, it has stood forth to public view.

23、When it has been gaining its popularity day by day, related literature has mushroomed simultaneously, giving impetus to the development of the theory. Recently many journals and articles have begun to lay more emphasis on subtitle translation, but only a few study documentary subtitle translation u

24、nder eco-translatology. Therefore, the author attempts to present a new viewpoint for subtitle translation and further guide the translation activities in movies. In the meantime, it might be helpful to broaden the application field and research perspective of the theory, with an aim to enrich the t

25、heoretical system of eco-translatology. 1.2 Thesis Structure This paper chiefly employs the literature research methods. They include reading books, periodicals and collecting documents that are related to the research topic. It helps clarify the current research achievements in the field of eco-t

26、ranslation and the research status of eco-translatology, laying a theoretical foundation for paper-writing. This paper mainly includes five parts. Chapter one presents an introduction of this research. It shows the background and the main structure of this thesis. Chapter two is the literature revi

27、ew of the research. This part elaborates on the previous studies of eco-translatology at home and abroad as well as an overview of subtitle translation research. On the basis of clear background, chapter three concentrates on the analysis of the core concepts of the theory, incorporating the transla

28、tional eco-environment, the translation principle and translation method during the translation process, i.e., adaptation and selection and three-dimensional transformation. Chapter four attempts to analyze some specific cases in Wild China from the perspective of three-dimensional transformation, i

29、ncluding the linguistic dimension, cultural dimension and communicative dimension. Finally, this paper makes a conclusion of the findings and limitations. It’s hoped to make suggestions for future research of eco-translatology. 2. Literature Review 2.1 Previous Studies of Eco-translatology at

30、Home and Abroad Since 1960, human society has witnessed the transformation from industrial civilization to ecological civilization. In 1972, the United Nations issued the declaration of the human environment. The declaration raised the concerns for the protection of natural environment to a high le

31、vel of all mankind. China, then, began to lay emphasis on the ecological and environmental issues. This transformation of human society, reflected in the study of translatology, thereupon formed the theory of eco-translatology. In the next place, the ecological trend of thought has swept many discip

32、lines, and various disciplines with ecological nature have emerged, such as ecological criticism, ecological aesthetics, etc. Coupled with the rich ancient ecological wisdom in China, they jointly hasten the birth of eco-translatology and endow it with vigorous vitality (胡庚申, 2010). The first sprou

33、t of eco-translatology originated from Theory of Evolution. In 1859, Charles Robert Darwin (1809-1882), a British naturalist, published the monumental work, On the Origin of Species, which expounded the biological evolution. Later, the core ideas of Darwin’s evolutionism were accepted by some wester

34、n thinkers, who inferred that the development of human society was also a process of continuous evolution. And the process followed the development principle of natural selection. Initially enlightened by the principle, Hu Gengshen attempted to make an analogy between evolution and translation. In

35、 1971, Einar Haugen, an American linguist and professor of Standford University, first proposed the concept of “l(fā)anguage ecology”. In 1988, Peter Newmark, a prominent British translator, proposed the concept of “translation ecology”. David Katan (1999), professor in University of Salento, classified

36、 the ecological culture of translation in more details. He held that translational eco-environment should contain physical environment, climate, etc. Thereafter, the international translation community had turned the spotlight on translation from an ecological perspective. In October 2001, Hu prop

37、osed the idea of constructing an approach to translation as adaptation and selection. It follows the guidance of natural selection theory. In December of the same year, Hu published a paper entitled An Initial Exploration on Approach to Translation as Adaptation and Selection. Starting from a brand

38、new angle of adaptation and selection, the paper redefined the translation activity. It set forth the process and method of translation in a different way (思創(chuàng)哈格斯, 2011). Prof. Hu then composed a train of monographs on eco-translatology. In 2004, he published An Approach to Translation as Adaptatio

39、n and Selection. The book explored the relationship and laws between translators’ adaptation and selection. After its publication, the book had received plenty of attention and comments from scholars throughout the world. Relevant articles and researches had been springing up at the same time. In 20

40、08, a paper named Interpretation of Eco-translatology composed by Hu elaborated the theory in more details. It includes the background, the present situation and so on. In 2011, another article named Eco-translatology: Research Foci and Theoretical Tenets composed by Hu provided a minute explication

41、 of eco-translatology, identifying the core ideology that included researches into the ecological paradigm of translation, the sequence chain, and post-event penalty. These foci further improved the theoretical framework of eco-translatology. In April 2010, researchers on eco-translatology initiate

42、d the establishment of International Association of Eco-Translatology Research (IAETR). Before long, the first seminar on eco-translatology was staged in Macao, China in November of the same year. More than 50 experts and scholars from all over the world gathered to attend the conference (思創(chuàng)哈格斯, 201

43、3). Numerous participating scholars highly appreciated the creation and innovation of eco-translatology, which flagged the theory’s steady steps towards internationalization. Meanwhile, the establishment of the international association led by Chinese translation scholars would also have a certain s

44、ignificance to enhance the international image and academic status of Chinese translation. 2.2 Review of Documentary Subtitle Translation During the 1920s and the 1930s, a brand new style of films came into being — documentaries, a type that combined the characteristics of art, news and education.

45、 In 1946, John Grierson (1898-1972), an English documentary director and producer, released Drifters — the first documentary with its own distinctive characteristics. The public regarded this period and this work as a sign and symbol for the birth of documentaries. In accordance with their diverse f

46、unctions, Nie Xinru (2010), professor of East China Normal University, approximately classified documentaries into four categories: record of actual events, publicity, entertainment and practical ones. Wild China reveals the charming nature and diverse cultures of our country. It vigorously trumpets

47、 the country’s harmonious ecological and environmental concepts. It functions as a means of both a record of magnificent landscape and a publicity to domestic and overseas audience. Subtitle is a text processed in the post-production of films. It is presented at the multimedia screen’s bottom side.

48、 It is synchronized with the dialogues or narrations so as to aid the audience to comprehend the program. With the integration of cultures around the world, subtitle translation is gaining popularity day by day, aiming to enable the audience who do not understand foreign languages to not only hear t

49、he original voice but also understand the plot of the movies. What’s more, bilingual subtitles offer foreign audience with channels and materials to study language. By watching alien TV works, they can experience the authentic native expressions of the language foreign to them. And likewise, they ca

50、n learn and analyze the source language and the target language from multiple levels and perspectives. Subtitle translation is covered by Multimedia Translation, also known as Audiovisual Translation (AVT). Subtitle translation is one of the most common models in this field. And nowadays, documenta

51、ry subtitle translation is an indispensable part in film translation. It’s crucial for the development of the film industry. A well-made documentary could possibly change people’s core values and the way of dealing with things, influencing their life and thoughts. Documentaries functions as a carrie

52、r in the frequent cultural exchanges between China and foreign countries. They undertake the sacred mission of promoting the long-standing history and splendid treasures of Chinese civilization to foreign countries. Therefore, the quality of the translated subtitle will affect the result of cultural

53、 communication. Judging from this, documentary subtitle translation should be in compliance with the following strict principles: First and foremost, authenticity. Since documentaries are based on the real life, the terms of subtitle translation must be true and reliable. Subtitle producers should

54、not add or omit the content according to personal feelings, let alone fabricate randomly and mislead the audience. Then, accuracy. Cultural variations exist between any two languages. The connotations of specific things in different cultures may be disparate. Therefore, the translation of subtitles

55、should correspond with the logical thinking and living habits of the native people. Thirdly, uniformity. The subtitles should be consistent with the sound and scenes for any small advance or delay will bring difficulties for the audience to understand. Last but not least, subtitle translation has to

56、 be smooth and concise. Only by doing so can we accomplish our goal of cultural exchanges. 3. Theoretical Framework of Eco-translatology 3.1 Translational Eco-environment Translational eco-environment is one of the key terminologies in eco-translatology. It is also one of the crucial perspe

57、ctives of systematic eco-translatology to explain translation phenomena. Professor Hu believes that translation, a dynamic transformation process, is actually a selective activity. Its ultimate goal is to enable the translation and the original text to reach the maximum degree of equivalence in lang

58、uage, culture and communication. Thus, it can achieve the best ecological effects of language. According to Prof. Hu, translational eco-environment means “the world presented by the original text, the source language and the target language” (胡庚申, 2013: 18). Clarifying the ecological environment of

59、 translation is vital for translators to make wise adaptive selections. Fang Mengzhi, professor of Shanghai University, defined the translation eco-environment as the sum of all external conditions that affect the survival and development of translation subjects in his paper On Translation Eco-Envir

60、onment (方夢(mèng)之, 2011: 1, translated by the author). The translation subjects mentioned above are generalized, namely, they are all the living organisms related to the translation activities. They are comprised of the original author, translator, reader, etc. In fact, whether it is the macro and micro e

61、cology that have influences on the translation process, or the external conditions that affect all the motile life bodies in the process, it emphasizes the coordination and interaction of multiple participants in translation practice under the conditions of multi-level language, culture and social c

62、ontext. There are two reasons for Hu to replace context with translational eco-environment. One of the reasons is that the concept can match with the Darwinian evolution. The other is that translational eco-environment differentiates from context in the aspects of the concept, scope and perspective

63、. Context takes language as a reference. It does not contain the language itself and its use. While translational eco-environment means an interrelated whole. It contains language, communication, society and so on. Therefore, the concept of translational eco-environment is more extensive, and it is

64、one of the components that influence translators’ adaptation and selection, which directly affects translation quality. Translational eco-environment, as one of the core concepts of eco-translatology, deserves more attentions. 3.2 Adaptation and Selection Darwin’s theory contains three basic conce

65、pts: mutation, adaptation and evolution. Darwin believed that mutation is universal, which is not only manifested in the external form of organisms, but also in the internal structure of organisms. He also contended that natural selection could gradually perfect the adaptability of life to the envir

66、onment, which is the so-called “adaptation/selection” theory. Its essence is that any organism is able to adjust to the environment. And only when it does that can it survive and reproduce. As for evolution, it is a long process from low to high, simple to complex, so that new species can emerge from the old through natural selection. It can be seen from the above that the three basic concepts are interrelated. However, they also have their own emphasis at the same time. Obviously, the focus