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跨語言和跨文化轉換--論英文電影的中文字幕翻譯的圖書 |
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跨語言和跨文化轉換--論英文電影的中文字幕翻譯 作者：梁麗絲 出版社：中山大學出版社 出版日期：2022-04-01 語言：簡體中文 規格：平裝 / 292頁 / 13 x 19 x 1.46 cm / 普通級/ 1-1 |
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圖書名稱：跨語言和跨文化轉換--論英文電影的中文字幕翻譯
內容簡介
英語電影的中文字幕翻譯過程涉及複雜而獨特的語言和文化轉換。本著作結合不同電影種類和多個交叉學科，對兒童電影、政治電影、女性電影、歷史電影和喜劇電影的英譯中字幕翻譯展開個案研究，深刻揭示出翻譯學和其他學科的共生特性。本著作分析了官方的中文字幕翻譯實踐，審視了不同類型的電影所關聯的英國文化的複雜性和獨特性，審視了字幕翻譯過程中中國文化，尤其是中國價值觀的介入與融合。
作者介紹
梁麗絲博士
中山大學國際翻譯學院博士後，碩士生導師，畢業于英國卡迪夫大學現代語言學院，主攻影視傳媒翻譯專業。研究方向為視聽翻譯、影視文化外譯和文化創意經濟等。主持廣東省人文社會科學重點研究基地廣東外語外貿大學翻譯學研究中心項目一項，參與社科項目、教育部國際司委託項目和校級項目共四項。在New Voices of Translation Studies,Journal of Audiovisual Translation等重點核心期刊發表文章多篇，擔任國際翻譯期刊inTRAlinea評審專家。
中山大學國際翻譯學院博士後，碩士生導師，畢業于英國卡迪夫大學現代語言學院，主攻影視傳媒翻譯專業。研究方向為視聽翻譯、影視文化外譯和文化創意經濟等。主持廣東省人文社會科學重點研究基地廣東外語外貿大學翻譯學研究中心項目一項，參與社科項目、教育部國際司委託項目和校級項目共四項。在New Voices of Translation Studies,Journal of Audiovisual Translation等重點核心期刊發表文章多篇，擔任國際翻譯期刊inTRAlinea評審專家。
目錄
List of Figures and Tables
List of Screen Shots
1. Introduction
1.1 Literature Review on Audiovisual Translation
1.1.1 A Brief History of Screen Translation in China
1.1.2 The Critical Landscape of Subtitling in China
1.2 Research Questions
1.3 Methodology
1.4 Overview of Theoretical Framework
1.4.1 Translation and Cultural Theories
1.4.2 Theoretical Model in Relation to the Categorisation of Examples
1.5 Main Contributions
1.6 Thesis Synopsis
2. Subtitling Harry Potter's Fantastic World: Linguistic and
Cultural Transfer in a Subtitled Children's Film
2.1 Aim of the Chapter
2.2 Why Harry Potter and Sorcerer's Stone?
2.3 Translation Strategies
2.4 Subtitling British Fantasy for Young Chinese Audiences
2.4.1 Scariness
2.4.2 Smallness
2.4.3 Flying
2.4.4 Aliveness
2.4.5 Magic
2.4.6 Corporeal Humour
2.4.7 Childlike Appellation
2.4.8 Other Made-up Names
2.5 Conclusion
3. Subtitling a Political Film: Linguistic and Ideological
Transfer in The Iron Lady (2011)
3.1 Aim of the Chapter
3.2 The Politics of Margaret Thatcher
3.3 Thatcher's Relationship with China
3.4 Why Release and Subtitle The Iron Lady in China
3.5 Reception of the Film in China
3.6 Theoretical Framework
3.7 Case Analysis
3.7.1 Metaphors of Household Management
3.7.2 Metaphors of Female Leadership
3.7.3 Metaphors of Terrorism and War
3.7.4 Metaphors Relating to Trade Unions
3.7.5 Bodily Metaphors
3.7.6 Metaphors Relating to Political Opponents
3.7.7 Translating Political Rhetoric
3.8 Conclusion
4. Subtitling a Historical Film: Cultural and Temporal
Transfer in Oliver Twist (2005)
4.1 Introduction
4.2 Oliver Twist in the British and Chinese Contexts
4.3 Why Oliver Twist?
4.4 Theoretical Framework
4.5 Case Analysis
4.5.1 Religious Terminology
4.5.2 Biblical Allusions
4.5.3 Social Conventions
4.5.4 Elements of the Victorian Era
4.6 Conclusion
5. Subtitling Bridget Jones's Fantasy World: The Transfer
of Sexuality and Gender in a Chick Flick
5.1 Introduction
5.2 Bridget Jones's Diary in the Chinese Context
5.3 Theoretical Framework
5.4 A Case Analysis: Transfer of Gender, Swearing and Sexuality
5.4.1 Swearing and Offensive Languages
5.4.2 Sex-Related Languages
5.4.3 Euphemism and Humour
5.4.4 Women, Food Products, Boyfriends and Clothes
5.5 Conclusion
6. Subtitling Comedy: The Transfer of Humour in the
Chinese Subtitles of Notting Hill (1999)
6.1 Introduction
6.2 Theoretical Framework
6.3 Notting Hill in the British and Chinese Contexts
6.4 Justification of the Case Study
6.5 Humour Translation in Notting Hill
6.5.1 Contextual Httmour
6.5.2 Contextually Cultural Humour
6.5.3 Contextually Linguistic Humour
6.5.4 Contextually Cultural and Linguistic Humour
6.6 Conclusion
7. Conclusion
7.1 Main Findings
7.2 Research Contribution
7.3 Possibilities for Future Research
7.4 Suggestions for Practice and Policy
References
List of Screen Shots
1. Introduction
1.1 Literature Review on Audiovisual Translation
1.1.1 A Brief History of Screen Translation in China
1.1.2 The Critical Landscape of Subtitling in China
1.2 Research Questions
1.3 Methodology
1.4 Overview of Theoretical Framework
1.4.1 Translation and Cultural Theories
1.4.2 Theoretical Model in Relation to the Categorisation of Examples
1.5 Main Contributions
1.6 Thesis Synopsis
2. Subtitling Harry Potter's Fantastic World: Linguistic and
Cultural Transfer in a Subtitled Children's Film
2.1 Aim of the Chapter
2.2 Why Harry Potter and Sorcerer's Stone?
2.3 Translation Strategies
2.4 Subtitling British Fantasy for Young Chinese Audiences
2.4.1 Scariness
2.4.2 Smallness
2.4.3 Flying
2.4.4 Aliveness
2.4.5 Magic
2.4.6 Corporeal Humour
2.4.7 Childlike Appellation
2.4.8 Other Made-up Names
2.5 Conclusion
3. Subtitling a Political Film: Linguistic and Ideological
Transfer in The Iron Lady (2011)
3.1 Aim of the Chapter
3.2 The Politics of Margaret Thatcher
3.3 Thatcher's Relationship with China
3.4 Why Release and Subtitle The Iron Lady in China
3.5 Reception of the Film in China
3.6 Theoretical Framework
3.7 Case Analysis
3.7.1 Metaphors of Household Management
3.7.2 Metaphors of Female Leadership
3.7.3 Metaphors of Terrorism and War
3.7.4 Metaphors Relating to Trade Unions
3.7.5 Bodily Metaphors
3.7.6 Metaphors Relating to Political Opponents
3.7.7 Translating Political Rhetoric
3.8 Conclusion
4. Subtitling a Historical Film: Cultural and Temporal
Transfer in Oliver Twist (2005)
4.1 Introduction
4.2 Oliver Twist in the British and Chinese Contexts
4.3 Why Oliver Twist?
4.4 Theoretical Framework
4.5 Case Analysis
4.5.1 Religious Terminology
4.5.2 Biblical Allusions
4.5.3 Social Conventions
4.5.4 Elements of the Victorian Era
4.6 Conclusion
5. Subtitling Bridget Jones's Fantasy World: The Transfer
of Sexuality and Gender in a Chick Flick
5.1 Introduction
5.2 Bridget Jones's Diary in the Chinese Context
5.3 Theoretical Framework
5.4 A Case Analysis: Transfer of Gender, Swearing and Sexuality
5.4.1 Swearing and Offensive Languages
5.4.2 Sex-Related Languages
5.4.3 Euphemism and Humour
5.4.4 Women, Food Products, Boyfriends and Clothes
5.5 Conclusion
6. Subtitling Comedy: The Transfer of Humour in the
Chinese Subtitles of Notting Hill (1999)
6.1 Introduction
6.2 Theoretical Framework
6.3 Notting Hill in the British and Chinese Contexts
6.4 Justification of the Case Study
6.5 Humour Translation in Notting Hill
6.5.1 Contextual Httmour
6.5.2 Contextually Cultural Humour
6.5.3 Contextually Linguistic Humour
6.5.4 Contextually Cultural and Linguistic Humour
6.6 Conclusion
7. Conclusion
7.1 Main Findings
7.2 Research Contribution
7.3 Possibilities for Future Research
7.4 Suggestions for Practice and Policy
References
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