目的論視角下的電影字幕翻譯研究—以《當(dāng)幸福來敲門》為例摘要隨著中國(guó)國(guó)際地位的提高，中國(guó)與世界交往越來越密切，電影字幕的翻譯逐漸成為各國(guó)文化交流的重要手段。在研究外國(guó)優(yōu)秀電影作品的同時(shí)，其字幕翻譯無疑是一項(xiàng)必不可少的工作。目的論以簡(jiǎn)潔準(zhǔn)確為目標(biāo)，為字幕翻譯提供一個(gè)新的理論基礎(chǔ)和依據(jù)。因此，筆者希望通過目的論分析電影《當(dāng)幸福來敲門》的字幕，進(jìn)一步闡釋字幕翻譯策略，為以后的電影字幕翻譯提供借鑒基礎(chǔ)。電影《當(dāng)幸福來敲門》改編自美國(guó)著名黑人投資專家克里斯·加德納出版的同名自傳，是一個(gè)典型的美國(guó)式勵(lì)志故事。本文將從目的論角度出發(fā)，對(duì)《當(dāng)幸福來敲門》的字幕進(jìn)行研究。本文主要分為三部分。首先是理論支持目的論的產(chǎn)生和發(fā)展以及其三原則。其次是對(duì)電影《當(dāng)幸福來敲門》的介紹，主要包括主要情節(jié)以及電影的功能和語(yǔ)言特點(diǎn)還有字幕的簡(jiǎn)要介紹。最后，本文將從目的論三原則對(duì)此電影的字幕進(jìn)行分析和研究。本文從目的論視角出發(fā)，分析電影字幕的翻譯特點(diǎn)，從而提出恰當(dāng)?shù)姆g原則和翻譯策略，為以后的電影字幕翻譯研究提供借鑒。關(guān)鍵詞：當(dāng)幸福來敲門目的論三原則

AStudyonSubtitleTranslationofMoviesfromSkoposTheory-ExemplifiedbyThePursuitofHappynessAbstractWiththeimprovementofChina’sinternationalstatusandtheclosercommunicationbetweenChinaandtheworld,filmsubtitletranslationhasgraduallybecomeanimportantmeansofculturalexchange.Whilestudyingforeignexcellentfilms,subtitletranslationisundoubtedlyanessentialwork.SkoposTheoryaimsatsimplicityandaccuracy,andprovidesanewtheoreticalbasisforsubtitletranslation.Therefore,theauthorhopestoanalyzethesubtitlesofthemovieThePursuitofHappynessthroughSkoposTheory,andfurtherexplainthesubtitletranslationstrategies,soastoprovideareferenceforthefuturefilmsubtitletranslation.ThemovieofThePursuitofHappynessisadaptedfromtheautobiographyofthesamenamepublishedbyChrisGardner,afamousAfricanAmericaninvestmentexpert.ItisatypicalAmericaninspirationalstory.FromtheperspectiveofSkoposTheory,thispaperstudiesthesubtitlesofThePursuitofHappyness.Thispaperismainlydividedintothreeparts.Firstly,thetheorysupportstheemergenceanddevelopmentofSkopostheoryanditsthreeprinciples.Secondly,ThepaperintroducesthemovieofThePursuitofHappyness,whichmainlyincludesthemainplot,thefunctionandlanguagefeaturesofthemovieaswellasthebriefintroductionofsubtitles.Finally,thispaperanalyzesandstudiesthesubtitlesofthisfilmfromthethreeprinciplesofSkoposTheory.FromtheperspectiveofSkoposTheory,thispaperanalyzesthecharacteristicsoffilmsubtitletranslation,andputsforwardappropriatetranslationprinciplesandstrategies,whichcanbeusedforreferenceinthefutureresearchoffilmsubtitletranslation.Keywords:ThePursuitofHappyness;SkoposTheory;ThreePrinciples

ContentsTOC\o"1-3"\h\u3659Introduction 112849PartIIntroductiontoSkoposTheory 2312931.1TheoriginanddevelopmentofSkoposTheory 2197331.2ThreeprinciplesofSkoposTheory 2166461.2.1Theprincipleofpurpose 2220961.2.2Theprincipleofcoherence 3180391.2.3Theprincipleoffidelity 328122PartIIIntroductiontoThePursuitofHappynessAndSubtitle 4305212.1PlotandmainfiguresofThePursuitofHappyness 4181452.2LanguagefeaturesofThePursuitofHappyness 5128442.2.1Featureofcolloquialism 5178822.2.2Featureofimmediacy 5116032.2.3Featureofpopularity 5260612.3Functionsoffilms 5113532.3.1Educationalfunction 647922.3.2Recreationalfunction 6214442.4Difficultiesinsubtitletranslation 63479PartIIIAnalysisofSubtitleTranslationinThePursuitofHappynessfromSkoposTheory 873953.1Subtitletranslationundertheprincipleofpurpose 8239713.1.1Domestication 883623.1.2Four-wordstyleusage 951653.2Subtitletranslationundertheprincipleofcoherence 10242063.2.1Amplification 10165383.2.2Omission 1118213.2.3Sentencedivision 1274443.3Subtitletranslationundertheprincipleoffidelity 12205733.3.1Literaltranslation 124893.3.2Freetranslation 1319010Conclusion 1423724Acknowledgements 157100Notes 164500Bibliography 17唐山學(xué)院畢業(yè)論文PAGE1IntroductionWiththeimprovementofChina’sinternationalstatus,thecommunicationbetweenChinaandtheworldismoreandmorecloser.Filmshavegraduallybecomeanimportantmeansofculturaldevelopmentandcommunication.Thetranslationoffilmsubtitlehasgraduallybecomeanimportantmeansofculturalexchangeamongcountries.Therefore,inthestudyofforeignexcellentfilms,thesubtitletranslationisundoubtedlyanessentialwork.SkoposTheoryiswidelyacceptedintranslationtheory,whichcanprovidetheoreticalguidanceforfilmtexttranslation.ThisthesismainlyresearchesthetranslationstrategiesoffilmtextsbasedonSkoposTheory.Duetotheaudienceoffilmisrelativelywide,andcomparedwithothertexts,moviesubtitlehasmanyuniquecharacteristics,suchascolloquialism,immediacy,popularityandsoon.Inrecentyears,duetothepopularityofvarioustranslationsoftwareandtheneglectoffilmsubtitletranslation,thequalityofsubtitletranslationisunevenandsomeChineseversionsoffilmtexthavepoorquality.Duetothecontinuousimprovementofthepeople’sculturallevelandcognitiveability,theexpectationsandrequirementsforsubtitletranslationarealsoconstantlyimproving.Thisthesisthinksthatfilmtexttranslationshouldfirsthaveadeepunderstandingoffilmbackgroundandfilmtexts.Therefore,undertheguidanceofSkoposTheory,thethesiswillanalyzethetranslationofThePursuitofHappyness,soastocomeupwithstrategiesoffilmtexttranslation.Thisthesiswillbedividedintothreeparts.Inthefirstpart,SkoposTheoryincludingtheoriginanddevelopmentandpurpose,coherenceandfidelityruleswillbeintroduced.Inthesecondpart,thecharacteristicsandfunctionsoffilmsandfilmtextswillbeintroducedindetailandthenthedifficultiesandsignificancesoffilmtexttranslationwillbeanalyzed.Thenthethesiscomestoitsmainbody.Inthethirdpart,theapplicationsofSkoposTheoryinthetranslationofThePursuitofHappynesswillbeanalyzedfromtheperspectiveofSkoposTheory.Thensometranslationstrategieswillbeputforward.

PartIIntroductiontoSkoposTheoryFunctionaltranslationtheoriesoriginatedinGermanyinthe1970s.Teleologyplaysaveryimportantroleintheschooloffunctionaltranslation,sometranslationtheoriesofthisschoolarealwaysbecalledasSkoposTheory.Thispartwillintroduceditsdevelopmentbrieflyanditsthreeprinciples.TheoriginanddevelopmentofSkoposTheoryInthe1970s,functionalisttranslationtheoryemergedinGermany.Itsdevelopmenthasgoneseveralstages.KatharinaReissputforwardtheembryonicformoffunctionalisttheory.Lesbelievedthattheidealtranslationshouldbecomprehensivecommunicativetranslation,whichisequivalenttotheoriginaltextintermsofconceptualcontent,languageformandcommunicativefunction,butineffect,thepriorityshouldbegiventothefunctionalfeaturesofthetranslation.VermeerputforwardSkoposTheory.IntheframeworkofVermeer’sSkoposTheory,oneofthemostimportantfactorsdeterminingthepurposeoftranslationisthetargetaudience,whohastheirownculturalbackground,expectationsforthetranslationandcommunicationneeds.Inotherwords,thepurposeoftranslationdeterminesthestrategiesandmethodsoftranslation.Whetherdomesticationorforeignizationisadoptedintranslationdependsonthepurposeoftranslation.Sincethetheoryoffunctionaltranslationtakestheprincipleofpurposeasthehighestcriterion,andanytranslationactivityispurposeful.Theultimategoalandmainfunctionoffilmnametranslationistohelppeopleunderstandthemaincontentofthefilmandstimulatetheaudience’sdesiretowatch.JustaHolzManttarifurtherdevelopedthefunctionalisttranslationtheory,whichregardstranslationasapurposedriven,resultorientedinteractionbetweenpeople.ThreeprinciplesofSkoposTheory1.2.1TheprincipleofpurposeSkoposTheoryholdsthatthefirstprincipletobefollowedinalltranslationactivitiesis“Purposerule”,thatis,translationshouldbeabletoworkinthecontextandcultureofthetargetlanguageaccordingtothewayexpectedbythetargetlanguagereceiver.Thepurposeoftranslationbehaviordeterminesthewholeprocessoftranslationbehavior,thatis,theresultdeterminesthemethod.However,translationactivitiescanhavemultiplepurposes,whichcanbefurtherdividedintothreecategories:(1)Thebasicpurposeofthetranslator(suchasmakingaliving);(2)thecommunicativepurposeofthetranslation(suchasenlighteningthereaders);(3)thepurposetobeachievedbyusingaspecialtranslationmethod(suchasliteraltranslationaccordingtothestructureinordertoexplaintheparticularityofthegrammaticalstructureinalanguage).However,ingeneral,“purpose”referstothecommunicativepurposeofthetranslation,thatis,“thecommunicativefunctionofthetranslationtothetargetreadersinthesocio-culturalcontextofthetargetlanguage”.Therefore,thetranslatorshouldmakeclearhisspecificpurposeinthegiventranslationcontext,anddecidewhichtranslationmethodtoadoptaccordingtothispurpose-literaltranslation,freetranslationorbetweenthem.1.2.2TheprincipleofcoherenceCoherenceprinciplereferstothatthetranslationmustconformtothestandardofinter-textualcoherence.Thatmeansthetranslationhasreadabilityandacceptability,whichenablestherecipienttounderstandandmakesenseinthetargetcultureandthecommunicativecontextinwhichthetranslationisused.1.2.3TheprincipleoffidelityFidelityprinciplemeansthatthereshouldbeinter—textualcoherencebetweentheoriginaltextandthetargettext.Thisisequivalenttotheso-calledfaithfulnesstotheoriginalinothertranslationtheories,butthedegreeandformoffaithfulnesstotheoriginaldependonthepurposeofthetranslationandthetranslator’sunderstandingoftheoriginal.Inaword,thesethreerulesconstitutethebasicrulesofSkoposTheoryoftranslation.ButtherulesofcoherenceandfidelitymustbesubordinatedtotheprincipleofSkopos,whichisthefirstruleofSkoposTheory.PartIIIntroductiontoThePursuitofHappynessAndSubtitleFilmworkisdevelopingatanamazinglyfastspeedsinceitcameintobeingsomedecadesago.Underthebackgroundofglobalization,manyoverseafilmcompaniesdevelopedmanyversionsofdifferentlanguageinordertoopenforeignmarkets.Filmtexttranslationisanimportantstepforfilmandtelevisioncompaniestopromoteoverseasmarket.Beforetranslating,thetranslatorsmusthaveacertainunderstandingofthefilmbackgroundandfilmtexts.2.1PlotandmainfiguresofThePursuitofHappynessThePursuitofHappynessisadaptedfromtheAutobiographyofthesamenamepublishedbyChrisGardner,aleadingAfricanAmericanblackinvestmentexpert.ThisisatypicalAmericaninspirationalstory.Asasinglefather,Gardneroncefacedadilemmathatcouldnotbesolvedevenbyhisownfoodandclothing.“whenIwasinmytwenties,Iexperiencedallkindsoffrustrations,grievancesanddarkmomentsaspeopleimagined,butInevergaveup.”[1]theauthorsaidinhisrecollection.Next,thewriterwillgiveabriefintroductiontothestoryoutlineofthefilm.ChrisGardner(WillSmith)wasacleversalesmanwhoworkedhardbuthecannotmakeagoodlifeforhisfamily.Afterall,thewife,LindaleftChrisbecauseshecouldnotendurethishardlifeandthepressuretosupportthefamily.Onlytokeephimandhisfive-year-oldson,Christopher,areallinalltogether.Hefailedinhiscareerandbecameasinglefather.Chrisandhissonwerekickedoutoftheapartmentbythelandlordbecausehehadonly$21leftinhisbankaccountandhecouldnotpaytherent.Sohadtogotothehomelesssheltertogether.Whentherewasnoplacetolive,thefatherandsoncouldonlyspendthenightinparks,subwaybathroomsandotherplaces.Chrismanagedtogetaninternshipwithawell-knownstockinvestmentcompany,buttherewasnosalaryduringtheinternship,and90%ofthepeopledidnotsucceedintheend.ButChrismadeitclearthatthiswashislastchanceandalsowastheonlywaytoahappylife.Chrishasnoincomeandnoplacetolive,buttheonlythinghehasistheunconditionaltrustandloveofhissensibleson.Whentherewasnoplacetolive,thefatherandsoncouldonlyspendthenightinparks,subwaybathroomsandotherplaces.Whentheyhadnomoneytoeatduringtheday,theylinedupforreliefandatefoodthatwasbarelywrappedaroundtheirstomach.Thepovertyoflifeisveryfrustrating,butforhisson’sfuture,forhisownfaith,Chrisclenchedhisteeth,andalwaysfirmlybelievedthataslongastodayishardenough,happinesswillcometomorrow!Withallhisefforts,Chriseventuallybecameasuccessfulinvestmentexpert.2.2LanguagefeaturesofThePursuitofHappynessWiththedevelopmentofeconomyandthedevelopmentofforeignculturalexchanges,peoplehavehigherandhigherrequirementsforspiritualculture.Domesticfilmshavebeenunabletomeetthemarketdemand.MoreandmoreforeignfilmshavebeenintroducedtoChina,especiallyAmericanfilmsandTVseries.AndtheappreciationofforeignfilmsandTVworkscanalsoenableEnglishlearnerstotouchandcomeintocontactwithforeignsociallifeandexperienceexoticcustomswithoutleavinghome.AndalsocanlearnauthenticEnglish.Filmtranslationplaysanimportantroleinthisprocess.Differentfromwrittenliterarylanguage,filmandtelevisionlanguagehasthecharacteristicsofcolloquialism,immediacy,popularityandculture,whichmakesfilmandtelevisiontranslationdifferentfromotherliteraryworks.2.2.1FeatureofcolloquialismTheessenceoffilmandtelevisionlanguageiscomposedofdialogue,andtheprocessofdialogueconstitutesthecoreofthewholework.Comparedwiththeformalandstandardlanguageofliteraryworks,thelanguageoffilmandtelevisionismorecolloquial.Filmandtelevisionlanguagemustbeclosetolifeandeasytomouth,andrespectthelanguagecharacteristicsofdialogue,thatis,short,direct,vivid,andtherearemoreinformalandcolloquial.2.2.2FeatureofimmediacyThelanguageofliteraryworkisprintedonpaperandcanbereadtwiceormoreifthereaderisunabletoreaditonce.[2]Thelanguageinthefilmandtelevisionworksistheauditorylanguage,whichisfleeting.Theaudiencecannotthinkaboutthewordsandsentenceslikereadingliteratureworks,sothelanguageofthefilmandtelevisionworksmustbesimple,conciseandeasytounderstand.2.2.3FeatureofpopularityFilmandtelevisionartaudiovisualartisapopularart.Mostofthefilmandtelevisionworksareforpeopletowatch,sothelanguageoffilmandtelevisionshouldbeeasytounderstand,elegant,commonandpopular,suitableforallages.Asamediumofculturaltransmissionandcommunication,filmandtelevisionworksaremoreeasilyacceptedbyordinaryaudiencesbyusingpopularlanguage.2.3FunctionsoffilmsThefunctionsoffilmmainlyincludeeducationandentertainment.Asakindofmassmedia,filmworksaremoreeasilyacceptedbysocialgroupsthanotherartsbecauseofitspictureandsoundcommunicationform.Itsowncharacteristicsmakeithavemultiplefunctionsofentertainmentandaesthetics,reflectingawiderangeofculturalforms,includingalargenumberofcommercialculture.2.3.1EducationalfunctionFilmworksrevealcertainsocialreality,whichreflectacertainperiodofsocialoutlook,socialphenomenonorpsychologicalneedsandvalueorientationinacertainperiod.Secondly,thedifferentregionsandethnicculturesshowninthefilmbringusacertaindegreeofenlightenmentwhileweappreciatetheworks.Excellentfilmandtelevisionworkscanimproveourspiritualaccomplishmentandspiritualrealm,promotetheperfectionofouridealsandmorality,andevenpurifyoursoul.2.3.2RecreationalfunctionFromtheperspectiveofthepublic,thepurposeofwatchingmoviesistosatisfyconsumption,asenseofpleasureandspiritualcomfort.ThereasonwhyexcellentfilmsandTVplayscanarousetheaudience’sresonanceislargelybecausetheentertainmentmoodisgeneratedbytheaudience’srecognitionofthesociallifereflectedintheworks.2.4DifficultiesinsubtitletranslationThemovieofThePursuitofHappyness,inthemainlandhasarousedgreatrepercussions,notonlybecauseofitsuniqueandmovingstoryline,excellentactorsandperformanceskills,butalsobecauseofappropriateandaccuratesubtitletranslation.Thesubtitletranslationstaffoftheplaylargelynarroweddowntheculturaldifferencesandusedourownlanguagefeaturesandformsfortranslationactivities.Atthesametime,thetranslatordoesnotexcessivelyremovethelinguisticfeaturesofthelocalculture.Thistranslationnotonlyrespectsitsnativecultureandlanguagecharacteristics,butalsoadherestothelanguagetraditionandstyleofournationalculture.Comparedwiththetranslationofothertexts,thetranslationoffilmsubtitlesismoredistinctiveandrelativelydifficult.Subtitletranslationislimitedbythetypeoffilm,theaudienceofthetargetlanguageandthelanguagestyleofthefilmandtelevision,andalsoaffectedbytimeandspacetoacertainextent.Differenttypesoffilmshavedifferentrequirementsforsubtitletranslation.Forexample,artfilmspaymoreattentiontothedisplayofartisticliterarinessandliterarytaste;documentaryfilmspaymoreattentiontothedocumentarynatureandtherichnessofcontent.Thetranslationofsubtitlesshouldtakeintoaccountthecharacteristicsoftheaudience.Thesubtitletranslationofartfilmsshouldtakeintoaccounttherichknowledgereserveoftheaudience,andcanincreasetheamountofinformationandpayattentiontotheaccuracyofwordswithoutviolatingthetranslationcriteria;thesubtitletranslationofpopularfilmsshouldbesimpleandconcisetomeettheneedsoftheaudience,sothattheaudiencecanunderstandthegeneralideaandkeepupwiththefilmrhythm.Atthesametime,thelanguagestyleofthesourcelanguagealsoaffectsthetranslationofsubtitles.Iftherearemoreobscurewordssuchasalliterationorrhyme,metaphorandotherrhetoricaldevicesinthesourcelanguage,thetargetlanguageshouldalsobereflected.Itishelpfulfortheaudiencetofeelthecontentandculturalembodimentrelatedtothesourcelanguage.Atthesametime,subtitletranslationisalsolimitedbytimeandspace.[3]Limitedbytime,thesubtitlesmustbesynchronizedwiththecharacters’action,languageandscreenexpressiontime.Limitedbyspaceismainlyreflectedinthelimitedscreenspace,thelocationofsubtitlesandthenumberofwordsareaffectedtoacertainextent.PartIIIAnalysisofSubtitleTranslationinThePursuitofHappynessfromSkoposTheoryFilmtextsandsubtitlehavetheirownlanguagecharacteristics.Differentfilmtextshavedifferentaims.ThePursuitofHappyness,asoneofthemostpopularfilmsinmodernsociety,attachesgreatimportancetothequalityoffilmsubtitletranslation.Anditsfilmtextsareverydistinctiveandrepresentative.Inthispart,thisthesiswillanalysethetranslationofThePursuitofHappynessfromtheperspectiveofSkoposTheory.3.1SubtitletranslationundertheprincipleofpurposeAsthefirstprincipleinalltranslationactivities,purposeprincipledeterminestranslationmethodsandtranslationprocess.Translationactivitiesrequirethetranslatortochangeaccordingtotheneedsofthetargetaudienceandconveytherealintentionandcultureexpressedbythesourcelanguagetothetargetlanguageaudience.Translationcannotonlypursueliteralequivalence,norbelimitedtotheliteralmeaningofthesourcelanguage,butalsoatranslationactivityaimingatthetargetlanguageculture.3.1.1DomesticationThemethodofdomesticationistoconveythecontentoftheoriginaltextinthewaythatthetargetreadersareaccustomedto.Domesticationrequiresthetranslatortobeclosetothetargetlanguagereaders.Thetranslatormustspeaklikethefirstauthor.Iftheoriginalauthorwantstohaveadirectdialoguewiththereaders,thetranslationmustbecomethenativelanguage.Domesticationishelpfulforthepublictounderstandthetranslationbetterandenhancethereadabilityandappreciationofthetranslation.Example1:It’sanIin“happiness.”There’snoYin“happiness.”It’sanI.Translation:幸福的“幸”寫錯(cuò)了這里寫成了辛苦的“辛”了\o"添加到收藏夾"Thedirecttranslationoftheoriginalsentenceis“幸福的中間應(yīng)該是I,而不是Y.”Englishismadeupofletters,whileourChineseismadeupofChinesecharacters.It’sobviousthattheliteraltranslationisverydifficultfortheaudiencewhoisnotproficientinEnglishtounderstandandevenmaketheaudiencehavewrongideas.Withonlyafewsecondsofsubtitle,it’shardfortheaudiencetograsptheessenceofthissentence.Therefore,thetranslatorskillfullyusesananalogytechniquetoapplytheletterwritingerrorsinEnglishtothetargetlanguage.XingandXinthemselvesarealsomistakesthatourtargetaudiencecaneasilymake,whichmakesthetargetaudiencehaveadeeperandmorecomprehensiveunderstandingofthissentence.Atthesametime,italsoimprovesthecomfortoftheaudiencewhenwatchingthemovie.Example2:That’skindofthewayitworks,youknow.Iwasbelowaverage.Translation:有其父必有其子嘛我當(dāng)時(shí)籃球就處于平均水平之下ThebackgroundofthissentenceisthatChrisplayedwithhissononthecourt.Christophermissedafewshotsandwasalittledepressed.Chrissaidthat.Thedirecttranslationofthissentence“你知道的這是它工作的方式我曾經(jīng)處于平均水平之下”Inthatkindofscene,withsuchsubtitle,theaudiencewillfeelconfused.Here,thetranslatorcleverlyusesthesayingthatLikefather,likeson.Itproperlyreflectsthecontextofthedialoguebetweenfatherandson,andcoincideswitheachotherincontent.MakethissentencesimplerandmoreinlinewiththeaestheticrequirementsofourChineseaudience.Theuseofidiomsforlanguageconversion,combinedwithancientcultureonthepremiseofensuringtheaccuracyofthetranslation,isdeeplylovedbytheaudienceandaddsthickandheavyincolorstothesubtitletranslation.Example3:IgotagreenlightfromWalterRibbon...Translation:事實(shí)上沃爾特·瑞本同意我去ThebackgroundofthissentenceisthatChriscalledWalterRibbon,thepresidentofPacificBelltelephonecompany.AndthemostimportantishepromisedtogiveChrissometimetointroducetheserviceofDeanWitter.ThenChrishurrieddownstairs,buthemetMr.Frakeshunfortunately.ThenbossaskedChristohelphimparkthecar.ThissentenceistranslateddirectlyintoChinese:“從沃爾特·瑞本先生那里，我拿到了一個(gè)綠燈”Butinthiscontextanddialogue,iftranslateddirectly,itiseasyforthetargetaudiencetomisunderstand.Isthegreenlightstillbegot?Sothetranslatoragreedtoletmego.Inthisway,theaudiencecanunderstandwhatthissentencemeansandmeettheaestheticrequirementsofourtargetaudience.3.1.2Four-wordstyleusageFourwordidiomisauniquestyleofwritinginChina,whichiseasytoreadandeasytounderstand.WhentranslatingEnglishsubtitle,thetranslatorcantranslateEnglishintofourcharacteridiomsoneafteranother.ItcanbeseenthatthetranslatorhasahighleveloftranslationandisfamiliarwithSkoposTheoryandtranslationstrategies.Thetranslationoffourcharacteridiomsishelpfulforthepublictobetterunderstandthecontextandemotiontobeconveyedinthetranslationandenhancetheinterestandappreciationofthetranslation.Example4:Peoplecan’tdosomethingthemselves...theywannatellyouyoucan’tdoit.Translation:那些一事無成的人想告訴你你也成不了大器IntheChinesetranslation,“donothinggreat”comesfromLaoZi’s“Agreatmanbecomesfamouslateinlife”inChapter41oftheTaoTeChing.Herethetranslatorskillfullyusesthekeyword“agreatman”intheidiom“Agreatmanbecomesfamouslateinlife”.Theaudienceofthetargetlanguagehasabettereffectofwatchingthemovieandiseasiertounderstandthemeaningofthesourcelanguage.Theuseofidiomsforlanguageconversion,combinedwithancientcultureonthepremiseofensuringtheaccuracyofthetranslation,isdeeplylovedbytheaudienceandaddsthickandheavyincolorstothesubtitletranslation.Example5:BecausewhenlwasyoungandI’dgetanAonahistorytestorwhatever...I’dgetthisgoodfeelingaboutallthethingsthatIcouldbe.Translation:我小時(shí)候歷史還是考了個(gè)甲當(dāng)時(shí)我有種能成為任何棟梁之才的感覺IntheUnitedStates,theprimaryandsecondaryschooldisciplinescorestandardistheletterscoresystem.[4]AisthehighestscoreandFisthelowest.ButwedonothavesuchascoringstandardinChina.Weoftenuse“Jia,Yi,Bing”toscore.Jiaisthebest.InordertomakeouraudienceunderstandtheextentandmeaningofA,thetranslatorcorrespondinglychangeditintoJiainourtargetlanguage.Thetranslatordidnottranslatesimplyone-to-one,andinordertofacilitatetheaudience’sdeeperunderstanding.Thetranslatortransmittedtherealintentionandculturethatthesourcelanguagewantedtoexpress.3.2SubtitletranslationundertheprincipleofcoherenceTheprincipleofcoherenceisanimportantprincipleofSkoposTheory.Andthetranslatorshouldpresentthesubtitletranslationofthetargetlanguageinaccordancewiththeaudience.Theaudienceeffectformedbythecontentandtextofthesourcelanguageshouldbethesameasthatseenbytheaudienceofthetargetlanguage.Onlysuchtranslationofsubtitlescanbringtheappreciationresult,whichcanbecalledsuccess.Inshort,coherencemeansthatsubtitletranslationshouldsatisfyreadability,acceptabilityandcomprehensibility,andbemeaningfulinthetargetlanguagecommunicationculture.3.2.1AmplificationDuetothedifferencesinthinkingmode,languagehabitandexpressionmodebetweenEnglishandChinese,thetranslatoraddssomewords,shortsentencesorsentencestothetranslationsoastoexpressthemeaningcontainedintheoriginalmoreaccurately.Throughamplification,wecanensuretheintegrityofthegrammaticalstructureandtheclarityofthemeaningofthetranslation.Example6:Canwegototheparktoday,after?Translation:我們今天能去公園嗎在上完幼兒園之后？ThisiswhatChristophersaid.ThebackgroundisthatChrisfirstsenthissontoschoolintheplay.Hissonmadesucharequest.Theliteraltranslationofthissentenceis“我們今天能去公園嗎，之后”Itisobviousthatliteraltranslationdoesnotsatisfytheprincipleofcoherence.Itisunderstandableforthetargetaudiencetoseesuchtranslation,butitisobviousthatsuchtranslationdoesnotmeetthereadabilityandacceptabilityinourdailycommunication.Inordertomaintainthecoherenceofthetranslation,thetranslatoradds