权力话语视域中的英汉影视改译
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摘要
影视翻译作为一种重要的跨文化交际手段,不但可以让观众尽情地领略异国风土人情,而且对人们的语言、生活方式、价值取向等方面有重要影响。然而,目前对影视翻译的研究在我国学术界尚未能引起足够的重视。由于受到文本内因素和文本外因素的影响,在影视翻译过程中不可避免地出现了不同程度和不同层面上的改译现象。本文尝试以权力话语理论为理论框架,对文本外因素影响下的影视改译现象进行研究。
权力话语理论是由法国后结构主义家福柯提出。它转变了文本中心论的传统翻译观,揭示了翻译的社会性,给翻译研究带来了一场深刻的思想革命,并且为翻译研究提供了全新的理论视角和研究方法。权力无所不在,世界上不存在一种不受权力影响的话语。它大致可分为两类,一类是有形的,如法律条文、政权机构和监狱;一类是无形的,如文化传统与习俗、意识形态、道德伦理。这张由有形权力和无形权力构成的权力网络左右人们的一切行为。所有的权力都是通过话语实现的,而话语是权力的表现。影视翻译也不例外,因而不同的影视译本传递出不同的权力话语信息。当我们比较原文和译文时,我们不能局限于语言层面,而应当从历史、政治、文化、意识形态等权力角度对译本进行分析。
分析文本外因素影响下的影视改译现象是本文的出发点,将其放在权力话语理论观照下阐释是本文的创新点。本文以大量的英汉影视文本分析为实证基础,通过对比原语文本与目的语文本,从权力话语角度对影视改译现象进行了深入细致的分析研究,详细阐述了在政治、经济和文化等各种文本外权力话语影响下,影视翻译都发生了不同程度的改译,因此从理论上证明影视改译存在的合理性。根据权力话语理论,影视翻译不可能在真空中进行,它是在政治、经济、文化等各种文本外权力因素操控下的话语。在特定的历史和文化背景下,为了让影视译本在第一时间顺利地进入国外市场,赢得经济效益,影视翻译必须尽可能地符合目的语国家的各种准则要求。因此译者在进行影视翻译时,必须考虑这些文本外的权力因素,如政治因素,商业电影的娱乐与盈利,伦理道德规范和文化等。这些文本外因素都决定了影视翻译必须进行适当的改译,才能保证译作的可接受性。翻译批评者也必须在社会和文化语境中进行影视译本比较,才能更客观地评价译作,更好地推介译作,从而为我国翻译事业的繁荣作出贡献。
Audiovisual translation facilitates the exchanges and communication among various cultures. Excellent imported audiovisual products not only enable people to enjoy the exotic cultures but also exert strong influences on the formation of people's languages, lifestyles and even value systems. However, the academic fields do not pay enough attention to the research of audiovisual translation at present. Under the influence of linguistic and extra-linguistic factors, adaptation is unavoidable at different levels to varying degrees in the process of audiovisual translation. Some experts have explored audiovisual adaptations in linguistic aspects, but adaptations from extra-linguistic aspects are seldom studied. Under the guidance of power discourse theory, the thesis studies adaptations from extra-linguistic aspects.
Power discourse theory presented by Michel Foucault, French poststmcturalist, brings a translation revolution, changing the traditional text-oriented translation and providing a new theory as well as a study method for translation studies. Power exists everywhere, and any discourse in the world is influenced by power. According to Foucault, powers can be roughly divided into two categories: the visible powers like law, political institution, prison and the invisible powers like culture, ideology, morality. This web of powers regulates people's behaviors, telling them what should be done or not, and which behaviors can be accepted by a society or not. All powers are realized by discourses, which in turn are the embodiment of powers. Therefore, different audiovisual products are discourses of different powers. When we compare the source text with the target text, we cannot be confined to the linguistic level and we must take its historical, political, cultural and ideological elements into consideration. If we pay attention to the relationship between power discourse theory and translation, it can help us discover the social facts of translation studies and give convincing explanations about some translation phenomena just like audiovisual adaptation.
Based on the analyses and comparisons of sufficient English-Chinese audiovisual translation examples, this thesis tentatively applies power discourse theory into audiovisual adaptations to prove that those powers including political power, economic power and cultural power can cause audiovisual adaptations. According to power discourse theory, audiovisual translations cannot take place in vacuum, and they are discourses of extra-linguistic powers. In some cultural situations, audiovisual translators must adhere to requirements of target country. The author hopes the thesis can provide more reference materials for audiovisual translations. Not only audiovisual translators must take all kinds of powers into consideration, adapting E-C audiovisual product appropriately to ensure its acceptability, but also translation critics may evaluate translated works objectively from the macro-text of society and culture to promote prosperous development of E-C audiovisual translation.
权力话语理论是由法国后结构主义家福柯提出。它转变了文本中心论的传统翻译观,揭示了翻译的社会性,给翻译研究带来了一场深刻的思想革命,并且为翻译研究提供了全新的理论视角和研究方法。权力无所不在,世界上不存在一种不受权力影响的话语。它大致可分为两类,一类是有形的,如法律条文、政权机构和监狱;一类是无形的,如文化传统与习俗、意识形态、道德伦理。这张由有形权力和无形权力构成的权力网络左右人们的一切行为。所有的权力都是通过话语实现的,而话语是权力的表现。影视翻译也不例外,因而不同的影视译本传递出不同的权力话语信息。当我们比较原文和译文时,我们不能局限于语言层面,而应当从历史、政治、文化、意识形态等权力角度对译本进行分析。
分析文本外因素影响下的影视改译现象是本文的出发点,将其放在权力话语理论观照下阐释是本文的创新点。本文以大量的英汉影视文本分析为实证基础,通过对比原语文本与目的语文本,从权力话语角度对影视改译现象进行了深入细致的分析研究,详细阐述了在政治、经济和文化等各种文本外权力话语影响下,影视翻译都发生了不同程度的改译,因此从理论上证明影视改译存在的合理性。根据权力话语理论,影视翻译不可能在真空中进行,它是在政治、经济、文化等各种文本外权力因素操控下的话语。在特定的历史和文化背景下,为了让影视译本在第一时间顺利地进入国外市场,赢得经济效益,影视翻译必须尽可能地符合目的语国家的各种准则要求。因此译者在进行影视翻译时,必须考虑这些文本外的权力因素,如政治因素,商业电影的娱乐与盈利,伦理道德规范和文化等。这些文本外因素都决定了影视翻译必须进行适当的改译,才能保证译作的可接受性。翻译批评者也必须在社会和文化语境中进行影视译本比较,才能更客观地评价译作,更好地推介译作,从而为我国翻译事业的繁荣作出贡献。
Audiovisual translation facilitates the exchanges and communication among various cultures. Excellent imported audiovisual products not only enable people to enjoy the exotic cultures but also exert strong influences on the formation of people's languages, lifestyles and even value systems. However, the academic fields do not pay enough attention to the research of audiovisual translation at present. Under the influence of linguistic and extra-linguistic factors, adaptation is unavoidable at different levels to varying degrees in the process of audiovisual translation. Some experts have explored audiovisual adaptations in linguistic aspects, but adaptations from extra-linguistic aspects are seldom studied. Under the guidance of power discourse theory, the thesis studies adaptations from extra-linguistic aspects.
Power discourse theory presented by Michel Foucault, French poststmcturalist, brings a translation revolution, changing the traditional text-oriented translation and providing a new theory as well as a study method for translation studies. Power exists everywhere, and any discourse in the world is influenced by power. According to Foucault, powers can be roughly divided into two categories: the visible powers like law, political institution, prison and the invisible powers like culture, ideology, morality. This web of powers regulates people's behaviors, telling them what should be done or not, and which behaviors can be accepted by a society or not. All powers are realized by discourses, which in turn are the embodiment of powers. Therefore, different audiovisual products are discourses of different powers. When we compare the source text with the target text, we cannot be confined to the linguistic level and we must take its historical, political, cultural and ideological elements into consideration. If we pay attention to the relationship between power discourse theory and translation, it can help us discover the social facts of translation studies and give convincing explanations about some translation phenomena just like audiovisual adaptation.
Based on the analyses and comparisons of sufficient English-Chinese audiovisual translation examples, this thesis tentatively applies power discourse theory into audiovisual adaptations to prove that those powers including political power, economic power and cultural power can cause audiovisual adaptations. According to power discourse theory, audiovisual translations cannot take place in vacuum, and they are discourses of extra-linguistic powers. In some cultural situations, audiovisual translators must adhere to requirements of target country. The author hopes the thesis can provide more reference materials for audiovisual translations. Not only audiovisual translators must take all kinds of powers into consideration, adapting E-C audiovisual product appropriately to ensure its acceptability, but also translation critics may evaluate translated works objectively from the macro-text of society and culture to promote prosperous development of E-C audiovisual translation.
引文
1.Because power discourse is a multidiscipline,Foucault does not explain power discourse theory from a translation perspective specially.When introducing this theory,the author of the thesis analyzes its essence.
2.Quoted from http://www.hyberdictionary.com/dictionary/adaptation
3.Quoted from Baker,M.2004.Routledge Encyclopedia of Translation Studies,8.Shanghai:Shanghai Foreign Language Education Press.
4.Quoted from King,E.1945.Rickshaw.New York:The Sun Dial Press.
5.Quoted from Qian Shaochang,2004.The Present Status of Screen Translation in China.Meta 49(1):57
6.Trans-quoted from赵化勇,2000,《译制片探讨与研究》。北京:中国广播电视出版社,31页。
7.Trans-quoted from谢天振,1999,《译介学》。上海:上海外语教育出版社,182页。
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2.Quoted from http://www.hyberdictionary.com/dictionary/adaptation
3.Quoted from Baker,M.2004.Routledge Encyclopedia of Translation Studies,8.Shanghai:Shanghai Foreign Language Education Press.
4.Quoted from King,E.1945.Rickshaw.New York:The Sun Dial Press.
5.Quoted from Qian Shaochang,2004.The Present Status of Screen Translation in China.Meta 49(1):57
6.Trans-quoted from赵化勇,2000,《译制片探讨与研究》。北京:中国广播电视出版社,31页。
7.Trans-quoted from谢天振,1999,《译介学》。上海:上海外语教育出版社,182页。
Baker,M.2004.Routledge Encyclopedia of Translation Studies.Shanghai:Shanghai Foreign Language Education Press.
Bassnett,S.2004.The translation turn in cultural studies.In Bassnet,S.&Lefevere A.Constructing Cultures:Essays on Literary Translation,123-140.Shanghai:Shanghai Foreign Language Education Press.
Cattrysse,Patrick.2001.Multimedia & translation:methodological consideration.In Gambier,Yves & Gottlieb,Henrik,(eds.).(Multi)Media Translation,Concepts,Practices and Research.Amsterdam/Philadelphia:John Benjamins Publishing Company.
Danan,M.1991.Dubbing as an expression of nationalism.Meta 36(4):606-614.
Delabastita,D.1989.Translation and mass-communication:film and TV translation as evidence of cultural dynamics.Babel 35(4):193-218.
Delabastita.1990.Translation and mass media.In Bassnett,S.& Lefevere A.Translation History and Culture,97-109.London:Pinter Publishers Ltd.
Delabastita,D.(eds.).1996.Wordplay and Translation.Manchester:St.Jerome Publishing.
Foucault,M.1973.The Order of Things.trans.Anonymous.New York: Atheneum.
Foucault.1976.The Archeology of Knowledge and the Discourse on Language.trans.A.M.Sheridan Smith.New York:Harper & Row.
Foucault.1977.Language,Counter-Memory Practice.trans.Donald F.Bouchard and Sherry Simon.Ithaca:Comell University Press.
Gentzler,E.2004.Contemporary Translation Theories.Shanghai:Shanghai Foreign Language Education Press.
Gottlieb,H.1992.Subtitling—a new university discipline.In Dollerup,Cay and Annette Lindegaard(eds.).Teaching Translation andlnterpreting 1:Training,Talent and Experience,1-11.Amsterdam/Philadelphia:John Benjamins Publishing Company.
Gottlieb.1993.Subtitling:people translating people.In Dollerup,Cay &Annette Lindegaard(eds.).Teaching Translation and Interpreting 2:Insights,Aims,Visions,261-274.Amsterdam/Philadelphia:John Benjamin Publishing Company.
Gottlieb.1994.Subtitling:diagonal translation.Perspectives 5bodies in Translatology 2(1):101-121.
Gutknecht,Chritoph & Rolle,Lutz J.1996.Translating by Factors.New York:State University of New York.
Gutt,Ernst-August.2004.Translation and Relevance:Cognition and Context.Shanghai:Shanghai Foreign Language Education Press.Hillis,Miller,J.1987.The Triumph of Theory,the Resistance to Reading, and the Question of the Material Base.London:PMLA.
Jorge Diaz Cintas.2007.Audiovisual translation in the third millennium In Gunilla Anderman & Margaret Rogers.Translation Today:Trends and Perspectives.Beijing:Foreign Language Teaching and Research Press.
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