發(fā)布時間：2024-10-05 07:45

　　在經(jīng)濟全球化的今天,影視產(chǎn)業(yè)發(fā)揮著越發(fā)重要的作用。中國影視產(chǎn)業(yè)在2009年首次突破60億元人民幣而在2010年達到了100億元人民幣的票房收入吸引著越來越多的外國電影涌入了中國市場。與此同時,越來越多的國產(chǎn)影視作品逐步走向世界。影視翻譯逐漸成為翻譯園地中“愈來愈重要的領域”(錢紹昌)。為了促進不同文化的傳播和交流,影視翻譯的規(guī)模也越來越大。然而,影視翻譯在翻譯領域沒有得到相應的重視,影視理論研究也是相對滯后。尤其是在我國,影視翻譯研究的規(guī)模還有待進一步深入。 本文試從一個新角度—多元系統(tǒng)來探討電影翻譯,以多元系統(tǒng)理論為支撐,將電影翻譯從只針對單個影視作品的孤立性放入整體的社會背景下,發(fā)現(xiàn)其相互的聯(lián)系和影響。多元系統(tǒng)理論是以色列學者—伊塔瑪埃文佐哈爾在70年代初提出的,他認為應該把翻譯放入更大的社會文化這個的背景中,才能對翻譯作品有更深入的了解。埃文-佐哈爾認為,各種社會符號現(xiàn)象,應視為系統(tǒng)而非由不相干的元素組成的混合體。這些系統(tǒng)并非單一的系統(tǒng),而是由若干個不同的子系統(tǒng)組成的系統(tǒng)。在這個多元系統(tǒng)中,各個子系統(tǒng)的地位并不平等,它們有的處于中心,有的處于邊緣。與此同時,他們的地位并不是一...

【文章頁數(shù)】：77 頁

【學位級別】：碩士

【文章目錄】：
ABSTRACT
摘要
Chapter One:Introduction
    1.1 Purpose of the Thesis
    1.2 Necessity of the Thesis
    1.3 Methodology
    1.4 Construction of the Thesis
Chapter Two:Literature Review
    2.1 Studies on Audiovisual Translation Abroad
    2.2 Studies on Audiovisual Translation in China
    2.3 Summv on Past Studies
Chapter Three:Audiovisual Translation
    3.1 Concept of Multimedia Translation
    3.2 The Role of Audiovisual Translation
    3.3 Characters of Audiovisual Translation Language
    3.4 Two Main Types of Audiovisual Translation
        3.4.1 Dubbing
        3.4.2 Subtitling
    3.5 Constraints of Audiovisual Translation
    3.6 The Theories about Audiovisual Translation
        3.6.1 Skopostheorie Theory
        3.6.2 Nida's Functional Equivalence
        3.6.3 Reception Theory
        3.6.4 Cultural Translation Theory
        3.6.5 Peter Newmark's Communicative Translation
Chapter Four:Introduction to Polysystem Theory
    4.1 Background of the Polysystem Theory
    4.2 A General View of Polysystem Theory
    4.3 Development of Polysystem Theory
    4.4 Study of Polysystem Theory at Home
Chapter Five:Applying Polysystem Theory to the Chinese Audiovisual Translation
    5.1 Development of Foreign Films in China before 1949
    5.2 Development of Audiovisual Translation after 1949
        5.2.1 Phase 1-Preliminary Period of 1949-1966
        5.2.2 Phrase 2-the Cultural Revolution Period of 1966-1976
        5.2.3 Phrase 3-the Boom of Audiovisual Translation Period of 1978 to Now
    5.3 Domestication vs.Foreignization
        5.3.1 Definition of Domestication and Foreignization
        5.3.2 Domestication and Foreignization in Dubbing and Subtitling
    5.4 In Summary
Chapter Six:Conclusion
    6.1 Discussion of the Findings
    6.2 Limitations of This Thesis
    6.3 Suggestions for Future Study
BIBLIOGRAPHY
ACKNOWLEDGEMENTS
PUBLISHED PAPERS



本文編號：4007717