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SkoposTheoryandFilmSubtitleTranslation从目的论的角度看影视字幕翻译SkoposTheoryandFilmSubtitleTranslation第14页共11页 SkoposTheoryandFilmSubtitleTranslationAbstract:Filmisnotonlyatypicalformofartmostpeoplelovetoseeandhear,butalsooneofthemostinfluentialmediainthesociety.Asanimportantpartofthefilm,filmsubtitleisofinformativeexpressiveandaestheticfunctions,butfilmsubtitletranslationisnoeasytask.Althoughquiteafewtranslatorshaveputforwarddifferentkindsoftranslatingtechniquesinthisfield,wearestilllackingaseriesofscientificandinstructivetranslationtheoriesandprinciplesasguidanceintranslatingpractice.Thisthesisattemptstoadoptskopostheorytoanalyzesubtitletranslation.Theproductsoftranslationshouldbeevaluatedbythepurposeorskoposachieved,notbytheapproachesemployed.Therefore,skopostheorycanbeconsideredasafeasibleandscientificguidelinetothetranslationofsubtitles.Keywords:film;subtitletranslation;skopostheory摘 要：电影是人们喜闻乐见的艺术形式，作为电影的重要组成部分，电影字幕具有传达信息，表现美感和吸引观众的功能。但是，电影字幕的翻译并非易事，虽然目前很多译者就电影字幕的翻译提出各种各样的翻译方法，但仍然缺少具有科学性和指导性的系统翻译理论。本文试图运用德国功能主义的“目的论”，分析研究电影的字幕翻译。一切以目的而不是以手段评价译文的优劣，力求各种关系的协调一致，因此目的论为影视翻译提供了科学、可行的指导意义。关键词：电影；字幕翻译；目的论第14页共11页 SkoposTheoryandFilmSubtitleTranslationContentsⅠ.Introduction…………………………………………………………..1Ⅱ.PurposeandSignificance……………………………………………1Ⅲ.SkoposTheory………………………………………………………..2A.Threestages…………………………………………………………………….21.KatharinaReissandthefunctionalcategoryoftranslationcriticism……………………………………………………………………22.HansJ.Vermeerandskopostheory...........................................................23.JustaHolz---Manttariandthetheoryoftranslationalaction………...3B.Threerules……………………………………………………………………..31.Theskoposrule…………………………………………………………….32.Thecoherencerule………………………………………………………...33.Thefidelityrule…………………………………………………..4Ⅳ.PreviousStudiesonEnglishFilmTranslation……………………..4A.Newdefinitionoftranslation………………………………………………..4B.PreviousstudiesonEnglishfilmtranslation………………………………4Ⅴ.ApplicationofSkoposTheorytoFilmSubtitleTranslation………5A.Foreignization………………………………………………………………...6B.Domestication…………………………………………………………………7C.Compromise…………………………………………………………………..8D.Omission………………………………………………………………………8E.Transliteration………………………………………………………………...9Ⅵ.Conclusion..........................................................................................10WorksCited..............................................................................................11第14页共11页 SkoposTheoryandFilmSubtitleTranslationⅠ.IntroductionWiththerapiddevelopmentofglobalization,digitalization,andmultimediatechnologyaswellasthewideninganddeepeningofcrossculturalcommunication,therearemoreandmoreexchangesofaudio-visualproductsbetweenChinaandtheoutsideworld.Withoutgoodsubtitletranslation,therecouldbenosuccessfulexchangesoftheproducts.Amongallthetheoriesemployedinfilmtranslation,Skopostheoryhasprovidedasolidtheoreticalfoundationforthefaithfultransferenceofsubtitleinfilms.Skopostheoryliberatestranslationfromthechainofthesourcetextandprovidesanewperspectivetoelucidatetranslationalactivities.Ⅱ.PurposeandSignificanceAppreciationofforeignfilmshasbecomeanessentialpartofmodernlifeinChina.It'sanimportantchanneltofurtherunderstandingandcommunicationbetweendifferentcultures.Inrecentyears,theaudiovisualtranslation(AVT)hasshoweditsmountingsignificance.ResearchesonAVThavebeencarriedoutmoreextensivelyandintensivelyintheWest,thuscommongroundhasbeenreachedandconventionshavebeenestablishedintermsoftranslationstrategiesandqualitycontrol.Incomparison,researchesinthisfieldarefarfromenoughinChina.Atpresent,audiovisualproductsspringupingreatamountatthemarket,buttheirqualitiesareatquitedifferentlevelsduetothelackoftheoreticalinstructionsandnormalization.Thefunctionofsubtitleistomaximallyconvey,undertheconstraintsoftimeandspace,theinformationoftheoralspeechestotheaudienceandachieveconversionofculturesatthesametime.Skopostheoryholdsthattranslationshouldcenterontranslationpurpose,thetranslationstandardsshouldbemulti-facetedandthemulti-lateralrelationshipsbetweentheoriginalauthor,translationinitiator,translatorandtargetreadersshouldallbetakenintoconsiderationinthetranslationprocess.Meanwhile,thefunctionofcross-culturalcommunicationshouldbestressed.Obviously,Skopostheorycanprovidefeasibletheoreticalinstructionforsubtitling.ThetranslationstrategiesunderthesupervisionofSkopostheorygobeyondthelimitofanysingletranslationcriterion.Skopostheorybroadensthehorizonoffilmtranslationbyputtingtranslationintoascopeofdynamicactionsthatintegratethemulti-lateralrelationships第14页共11页 SkoposTheoryandFilmSubtitleTranslationbetweenthefilmproducer,translator,targetaudience,translationbrief,time,spaceandmedium.TheproductsoftranslationshouldbeevaluatedbythepurposeorSkoposachieved,notbytheapproachesemployed.Therefore,Skopostheorycanbeconsideredasafeasibleandscientificguidelinetothetranslationofsubtitles.Ⅲ.SkoposTheorySkopostheoryisanapproachtotranslationproposedinthelate1970sandearly1980sbyReissandVermeer.Itstressestheinteractional,pragmaticaspectsoftranslation,arguingthattheshapeoftargettextshouldaboveallbedeterminedbythefunctionor“skopos”thatitisintendedtofulfillinthetargetcontext.Skopostheoryseestranslationasaformofhumanaction.Therefore,likeanyotherformsofhumanaction,translationhasapurpose.Andtranslatingshouldbetakenasapurposefulactivity.Theword“skopos”,derivedfromGreek,meansnothingbut“aim”or“purpose”,then,isatechnicaltermfortheaimorpurposeofatranslation(Vermeer227).A.ThreestagesThedevelopmentoffunctionalismgoesthroughthreestages:KatharinaReissandthefunctionalcategoryoftranslationcriticism,HansJ.VermeerandSkopostheorie,JustaHolz-Manttariandthetheoryoftranslationalaction.1.KatharinaReissandthefunctionalcategoryoftranslationcriticismSheholdstheviewthattheidealtranslationisone“inwhichtheaiminthetargetlanguageisequivalenceasregardstheconceptualcontent,linguisticformandcommunicativefunctionofasourcelanguagetext”.Shereferstothiskindoftranslationas“integralcommunicativeperformance”(Nord9).2.HansJ.VermeerandskopostheoryReissinitiatesthefunctionalisttheorybutisstillrestrainedbythedominantcriterion-equivalence.HerstudentHansJ.Vermeershakesoffthebondageofequivalenceandfocusesonthepurpose.HeprovidesanewaccesstotranslationstudiesfromtheperspectiveofSkoposbasedonthetheoryofaction.Hedefineshumanactionasintentional,purposefulbehaviorthattakesplaceinagivensituationandtranslationisatypeofhumanaction.Therefore,translationispurposeful.Oneofthemostimportantfactorsdeterminingthepurposeofatranslationistheaddressee,第14页共11页 SkoposTheoryandFilmSubtitleTranslationwhoistheintendedreceiverorandienceofthetargettextwiththeirculture-specificworldknowledge,theirexpectationsandtheircommunicativeneeds.Everytranslationshouldbedirectedatanintendedaddressee.Vermeerregardsthesourcetextasonlyan“offerofinformation”andconsiderstranslationtobeatypeoftransferwherecommunicativeverbalandnon-verbalsignsaretransferredfromonelanguageintoanother.ThestatusofthesourceisclearlymuchlowerinSkopostheoriethaninequivalence-basedtheories.3.JustaHolz---ManttariandthetheoryoftranslationalactionJustaHolz-Manttariisaradicalfunctionalistandevenavoidsusingtheterm“translation”inthestrictsensewhichenableshertomoveawayfromthetraditionalconceptsandconnotationsconnectedwiththeword.Sheproposesanewterm“messagetransmitters”consistingoftextualmaterialcombinedwithothermediasuchaspictures,soundsandbodymovements.Translatorsareexpertsinproducingappropriatemessagetransmittersininterculturalcommunication.“Holz-Manttariplacesspecialemphasisontheactionalaspectsofthetranslationprocess,analyzingtherolesoftheparticipants(initiator,translator,user,messagereceiver)andthesituationalconditions(time,place,medium)inwhichtheiractivitiestakeplace”(Nord13).B.ThreerulesSkopostheoryismainlyconstructedbythreerules:Skoposrule,coherenceruleandfidelityrule.1.TheskoposruleSkoposrule,asthetop-rankingruleforskopostheoriesaysthatatranslationalactionisdeterminedbyitsSkoposwhichmeans“theendjustifiesthemeans”(Reiss101).VermeerexplainstheSkoposruleinthefollowingway:“Eachtextisproducedforagivenpurposeandshouldservethispurpose.TheSkoposrulethusreadsasfollows:translate/interpret/speak/writeinawaythatenablesyourtext/translationtofunctioninthesituationinwhichitisusedandwiththepeoplewhowanttouseitandpreciselyinthewaytheywantittofunction”(Nord29).Theruleisintendedtosolvetheeternaldilemmasoffreevs.faithfultranslationdynamicvs.formalequivalence,goodinterpretersvs.slavishtranslator,andsoon.Itmeansthattheskoposofaparticulartranslationtaskmayrequirea“free”ora“faithful”translation,oranythingbetweenthesetwoextremes,dependingonthepurposeforwhichthetranslationisneeded.第14页共11页 SkoposTheoryandFilmSubtitleTranslation2.ThecoherenceruleThecoherencerulecomingfromintratextualcoherencemeansthatanytranslationshouldbeunderstoodbythereceiveranditshouldmakesenseinthecommunicativesituationandcultureinwhichitisreceived.Whatatranslatorcando,andshoulddo,istoproduceatextthatisatleastlikelytobemeaningfultotarget-culturereceivers.3.ThefidelityruleOriginatingfrominter-textualcoherence,itsuggeststhatthetargetlanguagetextorthetranslatedtextshouldbefaithfultothecorrespondingsourcelanguagetext.Inter-textualcoherenceshouldexistbetweensourceandtargettext,whiletheformittakesdependsbothonthetranslator'sinterpretationofthesourcetextandonthetranslationSkopos.Itmaybeamaximallyfaithfulimitationofthesourcetextoracompletedeviation.FidelityruleisconsideredsubordinatetobothcoherenceruleandtheSkoposrule.Ⅳ.FilmTranslationFilmtranslationisarelativelynewgenreinthefieldoftranslationstudiesalthoughitdatesbacktothetwentiethcentury.Itisessentialtogiveabriefbutclearintroductiontofilmtranslationfirst.A.Newdefinitionoftranslation“Ihavedefinedtranslationasinformationofferedinalanguageofculturewhichimitatesinformationofferedinlanguageofculturesoastofulfillthedesiredfunction.Thatmeansthatatranslationisnotthetrans-codingofwordsorsentencesfromonelanguageintoanother,butacomplexactioninwhichsomeoneprovidesinformationaboutatextundernewfunctional,culturalandlinguisticconditionsandinanewsituation,wherebyformalcharacteristicsareimitatedasfaraspossible.”(Snell-Hornby46)B.PreviousstudiesonEnglishfilmtranslationInthewest,theresearchonmultimediatranslationbeganfromthebeginningof20thcenturyandhasenjoyedarapiddevelopmentespeciallyinrecentdecades.Manyresearchinstituteshavebeenestablishedformultimediaresearch,suchastheEuropeanAssociationforStudiesinScreenTranslation(ESIST),theEuropeanInstituteforthe第14页共11页 SkoposTheoryandFilmSubtitleTranslationMedia(EIM),andtheIndependentTelevisionCommission(ITC).Fromthestudiesonthetypes,features,strategies,assessmentandtrainingofmultimediatranslation,theyhavearelativelycompletesystemandmechanismtooperateandtofollow.Subtitlingastheonetypeoffilmtranslationhadgainedremarkableachievements.InChina,however,audio-visualtranslationinthemediaisanewgenre.Ithasnotbeenlargelyunexploredinthefieldoftranslationstudies.Wearestillonthestageofsummarizingstrategiesandexperiencesandseldomtouchthepointofmythologyandtheory.WecouldseethatimportedfilmandTVindustryareboomingwhilefewpeoplehaveconductedsystematicresearchtowardsfilmtranslation.Upuntilnow,wemostlyfocusedonthestrategyandmethod.LikeProfessorQianShaochang,ZhangChunbai,LiYunxingandMaZhengqietc.TheyareallpioneersresearchersinthisfieldinChina.Filmtranslationisaninterdisciplinaryresearch.Weneedtofindcertaintheoryandnormincertainaspects,amongwhichskopostheoryisagoodone.Ⅴ.ApplicationofSkoposTheorytoFilmSubtitleTranslationFilmisbothanartisticformandmentalproduct,withwhichcultural,political,andideologicalelementsareconveyed.Nowadays,withtheindustrializationandcommercializationoffilmindustry,filmhasfarexceededtheconventionalartisticform.Therefore,films,especiallyfilmtitles,shouldnotbeseenandtranslatedaspureliteratureunderthedirectionoftraditionaltranslationtheories,whichoverlyemphasizethelinguisticformsandattachtoomuchmoreimportancetothesourcetextthantothetargetculturalconditionsandintendedaudience.Ithelpstofreetranslatorsfromthebondageoftraditionaltheoriesbyprovidingthemanewwayofthinking,andestablishesaprofoundfoundation,helpingpeopletopenetratedeeperintoculturalandtranslationalphenomena.Accordingtoskopostheory,theprimeprincipledetermininganytranslationprocessisthepurposeoftheoveralltranslationalaction.Forthisreason,itisnecessarytodefinetheskoposoffilmsubtitletranslationfirst.ForNord,therearemainlythreekindsofpurposes,namely,thegeneralpurposeaimedatbythetranslatorinthetranslationprocess(perhaps‘toearnaliving’),thecommunicativepurposeaimedatbythetargettextinthetargetsituation(perhaps‘toinstructthereader’)andthepurposeaimedatbyaparticulartranslationstrategyorprocedure(Nord27-8).Asinthespecificcaseoffilmsubtitletranslation,suchthreekindsofpurposescouldbe第14页共11页 SkoposTheoryandFilmSubtitleTranslationunderstoodinthefollowingway:(a)generalpurpose:Fortranslator,filmsubtitletranslationcanberegardedasameansofearninghislivingandasuccessfultranslatedworkmaywinhimgreatfame.(b)communicativepurpose:alsotheultimategoaloffilmsubtitletranslation,whichistoarousetheaudience'sinterestanddrawtheirattention.(c)purposeofusingparticulartranslationstrategies:toachievethethreefunctions,namely,informativefunction,aestheticfunctionandcommercialfunction,toinstructandentertaintheaudience.Ifatranslationfulfillstheprimarypurposeoftranslation,itisregardedasasuccessfulone,whatevertranslationstrategiesthetranslatortakes.Translationmethodscanbevariousastheyvaryaccordingtothedifferentpurposesthetranslatorintendedtoachieve.Skopostheoryaccountsforthedifferentmethodsindifferenttranslationsituations.Inthissense,skopostheorytakesamoretolerantattitudetotranslationpractice,especiallythoseconsideredtobeagainsttheexistingtranslationcriteriabutprovedtobesatisfactoryandsuccessfulinoutcome(Chen9-12).Inthewest,therootsofthesetwoterms(domestication,foreignization)tracetotheargumentputforwardbySchleiermacher,arenownedGermanphilosopherandtranslator,hearguedthat“thereareonlytwodifferentmethodsoftranslation,eitherthetranslatorleavestheauthorinpeace,asmuchaspossible,andmovesthereaderstowardshim;orheleavesthereaderinpeace,asmuchaspossible,andmovestheauthortowardshim（Schulte&Biguenet42）.Basedonskopostheory,thispaperdiscussesfivestrategiesappliedtofilmsubtitletranslation.A.ForeignizationTheideaof“foreignizingatranslation”wasintroducedbyVenutiandhedefinesthisprocessas“takingthereaderovertotheforeignculture,makinghimorherseethe(culturalandlinguistic)differences”(Venuti4).Foreignizationissourcelanguage-cultureorientedinthatittriestoretainandtransmitthepeculiaritiesofsourceculture,taketargetlanguagereaderstothesourcecultureandletthemfeelthedissimilaritiesbetweenthetwocultures.Foreignizationmeansmaintainingtheforeignflavor,andtriestopresentthecompleteandfullpictureoftheoriginalsoastobringtheaudiencetoexperiencetheforeignness,andthediversifiedculturearoundtheworld.Forexample:第14页共11页 SkoposTheoryandFilmSubtitleTranslation1)ReverendMotheralwayssaidthatwhentheLordclosesonedoorsomewhereelseheopensawindow.院长嬷嬷总是说，上帝关上门的同时会在另一个地方开一扇窗。2)You’renogentleman,you’renottotalkofsuchthing.你不是绅士，你怎么能这样说话！3)老温：这是什么人做的什么事，活人让屁给憋死Justlikemetobepracticallykilledbyafart.4)梁伯母：就算不离婚，黄狗拉车这么拖下去It’slikeatireddogdraggingsomebrokencart.Idioms,thevaluableassetsofalanguage,alsocalledidiomaticphrases,arerefinedphrasesorshortsentenceswhichareusuallyforceful,terseandvividandthemeaningofthemareoftenimpliedintheimagesandfiguresofspeechcontained.Foreignizationhasthemeritsofpreservingthenationalculturalflavoroftheoriginallanguageandtransplantingfreshexpressionsintothetargetlanguage.Intheaboveexamples,“Lordclosesonedoorsomewhereelseheopensawindow”“You’renogentleman”“活人让屁给憋死”“黄狗拉车这么拖下去”arealltranslatedliterally.However,iftheforeignnessistoowellpreservedtobeunderstoodbytheaudience,itwillbynomeanspromotetheculturalexchanges.Theaudiencewouldbepuzzledandconfusedandannoyed,andgraduallytheywouldloseinterestinthisfilm.Asforthiscircumstance,wemayusedomesticationmethod.B.DomesticationDomestication,onthecontrary,isorientatedtowardstargetlanguageandculture.ItstrivestorejecttheexoticismofsourceculturebyreplacingthelocaltermsandexpressionswiththosethatarefamiliartoTLreaders.Forexample:1)Jessica’sthelightofmylife,theappleofmyeye,thecreaminmycoffee.杰西卡是我的生命之光，是我的掌上明珠，是我咖啡里的奶油。2)Icouldn’tgotosleepeitherwithoutgettingsomething“offmychest”,astheAmericanssay.我也是睡不着，就像美国人说的“心里有话不吐不快”。3)Andwewasyoungandfullofbeans.Imean,ifyouwasmadat’em,well,Imean,ifthey’ddoneyousomewrong,Icouldseeshooting’em.我们那时年轻又气盛。如果你对他们很生气......因为一些坏事，我可以理解打死他们。第14页共11页 SkoposTheoryandFilmSubtitleTranslation4)No.Ididn’t.Someoneelsedid,andIwounduphere.是的，我没有。别人杀了人，我成了替罪羊。Intheaboveexamples,“theappleofmyeye”,“offmychest”“fullofbeans”“woundup”areexpressionsofEnglishcharacteristicswhichcannotbetranslatedliterally,otherwisetheChinesecanusuallynotunderstandwell.Fortunately,therearesomeidiomswiththesimilarmeaninginChinesesuchas“掌上明珠”“心里有话不吐不快”and“气盛”“替罪羊”.C.CompromiseThedifferencesbetweenChineseandtheWesternculturesunavoidablyleadtothegreatdisparityinlanguageexpressions.Foreignizationanddomesticationcannotsolvealltheculture-specificproblems.Moreoftenthannot,translatorshavetotakecompromisingattitudeandmeasure,leaveouttheculturalimageintheoriginal,andpreservethecoremeaningoftheoriginal.Thisstrategyalsobelongstofreetranslation.Forexample:1)餐厅经理：朱师傅，您是不是打算“另起炉灶”呢MasterChu,areyouthinkingofopeningyourownrestaurant?2)梁伯母：苦海无边，回头是岸Lifeisaboundlesssea,onlyreturningtoshoreishappiness.3)梁伯母：我跟你讲，“家家有本难念的经”Itellyou,everyfamilyhasabookofunspeakableproblems.4)朱师傅：三十多年了，你这个狗嘴里吐不出象牙Howisitthatfor30yearsIhaveputupwiththiskindoftalkfromyou.5)老温：女大不中留啊Girlseventuallyleavehome.6)老温：正好是“干烧甲鱼—鳖（憋）”Youareasrepressedasturtle.Inexample1,“另起炉灶”istranslatedas“openingyourownrestaurant”.Thereisno“炉灶”inthewesternculture.Thetranslationuserestaurantinstead,preservingthecoremeaningoftheoriginal.Thesameareastherestoftheexamples.D.OmissionGenerallyspeaking,oneofthedifferencebetweensubtitlingandotherformsofliterarytranslationisthe“none-note”characteristicoftheformer.Inotherformsoftranslation,addingnoteorextraexplanationifequivalentsareunavailablemay第14页共11页 SkoposTheoryandFilmSubtitleTranslationillustratesomeculture-specificlanguage.However,undertheconstraintsoftimeandspace,itisalmostimpossibletodoso.Inthissituation,subtitlerswillhavetochoosethetechniqueofomission.Forexample:1)家珍：鸭性属寒，用洋葱来爆炒，正好可以平衡过来Ducksautéedwithgarlic.Aperfectbalance.2)食补药膳里讲究就是能、性、味三方面的平衡Itisancientphilosophy:foodbalancedwithenergy,flavorandnature.3)玉娇龙：娘说鲁老太爷是朝内的大官，又是三代翰林TheGousareaverypowerfulfamily.4)贝勒爷：江湖上也要有所联络，九门提督才坐的稳ContactsintheGiangHuunderworldcanensureyourposition5)高师娘：听说她是道上的人Sheisoneofthose.Inexamples1,“寒”，“食补药膳”，arebothcultural-loadedwords,usedinChinesetraditionalmedicine.Themeaningof“寒”isevendifficulttodefineinChinese,letaloneinEnglish.“爆”isaterminChinesecuisine.Therearemanyverbssuchas“煎，炒，炸，爆，熘，煸，炮，氽，烹”andsooninChineselanguage,referringtodifferentcookingintheoilpot.Eachofthemshowsthenuancesinthequalityofoil,theduration,thespeedofcooking,theaddingofcondimentsandwater,etc.ItisdifficulttoputthesewordsintoEnglishaccurately.“翰林”，“九门提督”areofficialtitlesinChina’sQingdynasty(1640s),andthetranslationofthesetitlewillmakenosensetotheWesternaudience.Asfor“道上”,averyabstractconceptinChinesefolkculture,itismoreuntranslatablethan“江湖”,whichistranslatedinto“GiangHuunderworld”inexample5,butthistranslationarefarfetchedandinappropriatebecause“underworld”hasaderogatoryconnotationinEnglish.Therefore,thebestsolutionistoomittheseculturalwordsinsubtitle.E.TransliterationSomeculturaltermsandimageshavenoequivalentsinthetargetlanguage;furthermore,itisverydifficulttotranslateaccuratelytheirmeaningsthroughoneortwowords.Inthiscases,thepronunciationofthesecharactersaredirectlytransplantedintoEnglish.Forexample:1)That’sexactlywhattheNazisarelookingfor!那就是纳粹正在找的东西！第14页共11页 SkoposTheoryandFilmSubtitleTranslation2)Somethingelsecold-coke,water,somedisgustingsugarydrinkpretendingtohavesomethingtodowithfruitsoftheforest?其他冷饮-可乐，水，或者那些恶心的仿制成水果混合物的含糖饮料？3)雷蒙：这我懂，就像阴阳需要调和一样ThisIunderstand.Likebalanceyinandyang.4)言语不通，又找不到麻将搭子Thelanguage,nocompanionformah-jongg.Intheaboveexamples,“Nazis”,“coke”,“yinandyang”and“mah-jongg”areallcultural-loadedwords.Therearenoequivalentsinthetargetlanguage.So,wechoosetransliteration.WiththedevelopmentofcommunicationbetweenChinaandforeigncountries,someoftheChineseculture-specifictermshavemergedintoEnglishvocabularyandthesamefortheEnglishculture-specificterms.Intheaboveexample,“阴”and“阳”arenottranslatedinto“negative”and“positive”or“feminine”and“masculine”,becausetheseChinesetermsembodyspecialculturalconnotation,notreferringtoanyconcretematerials.Ⅵ.ConclusionAlthoughfilmsubtitlingmaybeanalyzedfromotherperspectivessuchasRelevanceTheoryorReceptionTheory,consideringthegreatdistinctionbetweentext-typeandtextfunctionofthesource-textandtarget-textinvolved,IchoosetheSkoposTheoryasthestartingpointtocarryouttheresearchofsubtitlingputsforwardsometranslationprinciplesandthenjustifythecorrespondingtranslationstrategies.However,owingtothescantstudiesinthisfield,manynecessarymaterialsareunavailable.Thusthestudyinthisthesisisstillincompleteandneedstobefurtheranalyzedandexplored.JustasVermeersaid:“Whattheskoposstatesisthatonemusttranslateconsciouslyandconsistently,inaccordancewithsomeprinciplerespectingthetargettext.Thetheorydoesnotstatewhattheprincipleis:thismustbedecidedseparatelyineachspecificcase”(Vermeer182).Soweshouldviewtranslationasapurposefulactivity.Skopostheoryplaysanimportantroleintheprocessoffilmsubtitletranslation,butitisstillanewapproachtothestudyoftranslation.Theskopostheory第14页共11页 SkoposTheoryandFilmSubtitleTranslationislimitedandtheresearchfindingsarenotveryfruitful.Buttheaimofthethesisisonlytoarousethetranslators’attentionontheapplicationofskopostheorytotranslation,andhelptorealizetheindustrializationandcommercialvalueoffilm.WorksCitedChen,Sheng-jie.LinguisticDimensionsofSubtitling:PerspectivesfromTaiwan.ShanghaiForeignLanguageEducationPress,2004.Nord,Christiane.TranslatingasaPurposefulActivity:FunctionalistApproachesExplained.Shanghai:ShanghaiForeignLanguageEducationpress,2001.Reiss,Kathatina.TranslationCriticism:ThePotentials&Limitations.Shanghai:ShanghaiForeignLanguageEducationPress,2004.Schulte,R&Biguenet.IntroductiontoTheoriesofTranslation:AnAnthologyofEssaysFromDrydentoDerrida.Shanghai:ShanghaiForeignLanguageEducationPress,1992.Snell-Hornby,Mary.TranslationStudies:AnIntegratedApproach(RevisedEdition).Shanghai:ShanghaiForeignLanguageEducationPress,2002.Vermeer,Hans.SkoposandCommissioninTranslationAction.Shanghai:ShanghaiForeignLanguageEducationPress,1989.Venuti,Lawrence.TheScandalsofTranslationtowardsanEthicsofDifference.ShanghaiForeignLanguageEducationPress,1998.Zhang,Chunbai.TheTranslatingofScreenplaysintheMainlandofChina.Shanghai:ShanghaiForeignLanguageEducationPress,2004.陈小慰.翻译功能理论的启示一对某些翻译方法的新思考[J].中国翻译，2000(4):9-12.陈怡.影视语料与当代英语口语解析[M].上海：上海交通大学，2009.李寿春.100部经典英语电影精彩对白[M].苏州：苏州大学出版社，2007.第14页共11页
