| 摘要: | 本論文以改編自德國文學作品《錫鼓》，且曾榮獲奧斯卡最佳外語片獎之同名電影為研究對象，探討兩岸中文字幕譯文的問題與譯者的翻譯策略，並提出筆者管見。研究材料分為臺灣版VHS（原始版）與大陸版DVD（導演剪輯加長版），於蒐集、整理片中語料後，依據前人所歸納適用字幕翻譯之理論與策略，針對兩岸譯文的翻譯問題分門別類，經由實務檢視歸納出翻譯本片字幕的理想策略。以功能學派文本分析理論為主，奈達等效翻譯理論為輔，強調字幕翻譯必須站在目的語觀眾的立場，「溝通目的」為字幕翻譯上策，並提出譯者在跨文化翻譯時應重視的細節，使目的語觀眾能接收到和來源語觀眾等效的訊息感知與情緒感受；另將字幕翻譯的精簡原則與業界行規，視為翻譯時的重要規範。
本論文共分為五章。第一章為緒論，含研究動機、研究方法、文獻回顧與論文架構；第二章為《錫鼓》文學小說與電影相關介紹，含作者與導演生平、故事內容與電影劇情、影視媒體出品資訊等；第三章為筆者採用適合字幕翻譯之理論策略，包含功能學派賴斯文本分類、等效翻譯緣起及奈達功能對等論，最後歸納出文學電影《錫鼓》之理想翻譯策略，介紹字幕的由來與功用、處理原則與影響，並將吳凡《電影○影展》中的字幕翻譯原則視為業界行規；第四章為本論文重心所在，分節探討臺版與陸版字幕翻譯策略和字幕處理現象，含字幕與影音搭配處理、漏譯、誤譯、誤植、方言及俚語、熟語、外來語、其他外語處理、標點符號運用、人名與地名翻譯、德國暨西洋文化背景處理、粗話、感嘆詞翻譯等；第五章為結論，總結上述各章節提出改善意見，以及日後研究者可著筆的研究方向。
This thesis takes the film adaptation of the German novel of the same titel by Günter Grass as an example and analyses problems and strategies in the Chinese subtiltle translations. Through collecting, marshalling and analysing corpora in different media, a VHS from Taiwan and a DVD from Mainland China on hand, an ideal strategy for this film text would be orientated. I regard text typology proposed by Katharina Reiß as the principle theory and equivalent translation by Eugene A. Nida's as the secondary one. Then I infer that subtitle translator have to stand in shoes of audiences, achieve the way of “communicative translation” as the best policy and make certain that audiences in different culture have the parallel messages and experience as much as possible.
This thesis is composed of five chapters. The first chapter is introduction, including the research motive and purpose, research methodology, review of studies concerning subtitle translation in past ten years and eventually comes the structuring of this study. In chapter two, “The Tin Drum” would be briefly introduced in the fields of literature and motion picture, such as the author and director, story of the original novel and filmed production, video versions, etc. The third chapter illustrates significant theories and strategies which are adapted to subtitle translation, namely text typology as functionalists approaches as well as the development of equivalent translation and Nida's functional equivalence. At the end of this chapter, I categorize the text type of this film and draw appropriate tactics based on the translation theories mentioned above. Furthermore, I expound the history and principles of subtitling plus its application in movies and the impacts upon an audience’s comprehension of languages. In the meantime, other regulations of subtitle translation abstracted from the book “Film Exhibition”（《電影○影展》）by Wu Fan（吳凡）would be adopted as the generally accepted standard. Chapter four divides representative faults and modes of the two target texts and other cultural elements of this film into thirteen sections as the following: synchronisation between the spoken languages and written subtitles, omissions, mistranslations, typos, dialect and slang, idioms, loanwords, rendering of other foreign languages, punctuation, translations of anthroponym and toponym, special cases from the German and European cultural background, vulgarism, interjections and so forth. In conclusion, the chapter five involves not only suggestions in terms of comparison between the Taiwan and China version but feasible directions that could be taken into consideration in the future. |
