汉语文化参考资料英译中的中和倾向

Xichen Sun
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摘要

在中国第五代和第六代导演的电影中,特定文化参考(以下简称CSRs)是一个突出的特点。本文通过对1984年至2017年间四位导演制作的25部英文字幕中国电影的观察,发现通过不同的翻译策略,原中文对白中的csr在英文字幕中被中和了。本文研究的社会责任包括张艺谋电影中的风俗社会责任、陈凯歌电影中的地方艺术社会责任、贾樟柯电影中的俚语社会责任以及冯小刚电影中的幽默社会责任,分别体现了每一位导演电影制作风格的精髓。通过文本分析,揭示了这些中文社会责任文章在字幕翻译中出现中和倾向的原因和原因。结果表明,显性策略、替代策略、换位策略、补偿策略和省略策略对社会责任契约产生了中和作用。从语言学的角度来看,这种中和倾向可以归结为英语文化中对等性的缺失、汉语csr的多义性、汉语语言的紧凑性以及有时出现的错误的语内字幕。作为一种受限制的翻译活动,由于技术限制和目标受众的考虑,字幕本身加剧了csr的中性化。由于这些电影都是具有代表性的中国电影,这种中和表明了对中国知名电影最佳字幕实践的一种产品规范。同时,这也是翻译中国视听作品时文化折扣现象的语言学解释(Díaz-Cintas & Zhang, 2022)。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Neutralising Tendency in Subtitling Chinese Culture-Specific References into English
Culture-specific references (hereafter CSRs) feature prominently in films by Chinese fifth- and sixth-generation directors. Based on the observation of 25 English-subtitled Chinese films made by four directors between 1984 and 2017, this paper identifies that the CSRs in the original Chinese dialogue are neutralised in their English subtitles through various translation strategies. The CSRs examined in this study encompass CSRs of customs in Zhang Yimou’s films, CSRs of local arts in Chen Kaige’s films, slang in Jia Zhangke’s films, and humour in Feng Xiaogang’s films, respectively embodying the quintessence of each director’s filmmaking style. A textual analysis is conducted to demonstrate how and why the neutralising tendency emerges in subtitling these Chinese CSRs. It is revealed that the strategies of explicitation, substitution, transposition, compensation and omission are employed to neutralise the CSRs. From a linguistic perspective, such a neutralising tendency can be attributed to the lack of equivalence in English culture, the polysemy of the Chinese CSRs, the compactness of the Chinese language, and sometimes the mistaken intralingual Chinese subtitles. As a constrained translation activity, the subtitling itself aggravates the neutralisation of the CSRs due to technical constraints and target audience considerations. As these films are representative Chinese films, the neutralisation indicates a product norm on the best practice of subtitling high-profile Chinese films. Meanwhile, it is a linguistic explanation for the cultural discount in translating Chinese audiovisual productions (Díaz-Cintas & Zhang, 2022).
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