| 從台灣電影之方言與文化詞的英譯檢視字幕譯者的角色--以侯孝賢的電影為例 |
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作者 |
楊美櫻 |
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出版年 |
2008 |
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文獻出處 |
楊美櫻。輔仁大學翻譯學研究所，碩士論文。 |
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語言 |
繁體中文 |
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關鍵詞 |
台灣電影、字幕翻譯、侯孝賢、方言、文化詞、翻譯策略、Taiwan cinema、subtitling、Hou Hsiao-hsien、dialect、cultural term、subtitling strategy |
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摘要 |
侯孝賢是國際影壇最為知名的台灣導演之一，本論文以侯導電影作為台灣電影的代表。本論文從他的17部作品中，挑選七部作為主要的研究文本，其中方言的使用（包括台語及客語）與文化詞彙（分類為引用、宗教詞、社會習俗及俗俚語）是文本分析的重心。由於字幕有字數限制與畫面干擾等因素影響，字幕翻譯本身已極具挑戰性。所以，當字幕翻譯的種種限制，遇上侯導電影中複雜的劇情背景、方言和台灣特有的文化詞之使用，譯者如何處理這些難題便值得一探究竟。本論文擬從作者、本文及接收者的角度探討字幕譯者的角色。
侯導的字幕譯者是否成功地解決了上述的難題呢？本論文首先介紹文本的作者：原文文本作者侯孝賢以及譯文文本作者字幕譯者（Linda Jaivin、Tony Rayns、賴聲川與焦雄屏）。第二章與第三章進行文本分析：第二章講述方言與專有名詞的翻譯，第三章利用翻譯策略（採用方梓勳、Jan Emil Tveit、尤金•奈達等人的策略），檢討選自七部侯導電影中的20幾個譯例，並提出筆者的個人建議。第四章探討字幕譯者對非中文母語觀眾的理解與詮釋所產生的影響；筆者將侯導觀眾分成一般觀眾與專業觀眾（即影評人），分別以進行問卷調查和細究影評文章的方式，來討論中文母語與非中文母語觀眾之間訊息接受的落差。第五章為本研究的總結，筆者也在此提出對未來研究者的研究建議。
文本分析顯示，侯導電影的英文字幕是需要改進的，尤其是當文本涉及以方言發音的諺語及俗俚語時，誤譯更為明顯，而翻譯策略的使用確實可以為字幕譯者提供可行的解決之道。從觀眾的反應可以看出，字幕譯者並非「隱形」，至少某些觀眾的影評透露出訊息接受者的理解受到訊息轉換者某種程度的操弄。希望本研究能有拋磚引玉的效果，激勵更多未來的研究者進行字幕翻譯的研究，尤其是過去研究中較少作為文本分析媒介的觀眾。
Hou Hsiao-hsien is one of the most internationally renowned directors from Taiwan. I think his films are representative of Taiwan cinema, and in this regard plan to explore subtitling Taiwan films through discussions of the English subtitles in Hou Hsiao-hsien’s films. Out of his 17 works, 7 are selected as the focus of this research, with special attention paid on the use of dialects, including Taiwanese and Hakka, and of cultural terms (classified into allusions, religious expressions, terms related to social customs, and vulgar and slangy expressions) in the film. Subtitling itself is already challenging given temporal, spatial, visual, and other constraints. Subtitling Hou’s films, therefore, becomes even more difficult, as complicated stories are presented when actors speak various languages and mention Taiwan-specific cultural concepts that are non-existent in other cultures. This thesis aims to investigate the subtitler’s role from the perspective of author, text, and recipient.
Have subtitlers of Hou’s films done a good job in solving the aforementioned subtitling difficulties? This thesis will first introduce director Hou and four of his subtitlers (Linda Jaivin, Tony Rayns, Stan Lai, and Peggy Chiao). The subtitling of dialects and proper names is dealt with in Chapter Two, and a total of some 20 subtitle examples involving the use of cultural terms are taken from seven of Hou’s films for discussion in Chapter Three. Subtitling or translation strategies proposed by subtitling practitioners, including Gilbert Fong, Jan Emil Tveit, and Eugene Nida, are applied to the problematic translations of these cultural terms, mostly followed by my improvement suggestions. In Chapter Four, I attempt to examine the subtitles from the perspective of the audience, which I divide in two: a general audience and an elite audience. By spending some space on the recipient of the text, I aim to explore, with the aid of a questionnaire survey and film critics’ reviews, how the subtitler influences the non-Chinese-speaking audience’s understanding and interpretation of the film. Chapter Five concludes this study, closing with some perspectives for future research on subtitling.
Text analysis shows that mistranslations occur mostly in expressions involving proverbs, vulgarity, and slang pronounced in Taiwanese or Hakka. By examining the English subtitles of Hou’s films, I want to stress that they can be improved with a few subtitling strategies. With the audience’s opinions and examples of misinterpretation, I would like to demonstrate that the subtitle translator is “visible,” at least in audience’s feedback. It is hoped that this thesis can invite more research on subtitling, especially on the recipient of the subtitles. |
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摘要 |
侯孝賢是國際影壇最為知名的台灣導演之一，本論文以侯導電影作為台灣電影的代表。本論文從他的17部作品中，挑選七部作為主要的研究文本，其中方言的使用（包括台語及客語）與文化詞彙（分類為引用、宗教詞、社會習俗及俗俚語）是文本分析的重心。由於字幕有字數限制與畫面干擾等因素影響，字幕翻譯本身已極具挑戰性。所以，當字幕翻譯的種種限制，遇上侯導電影中複雜的劇情背景、方言和台灣特有的文化詞之使用，譯者如何處理這些難題便值得一探究竟。本論文擬從作者、本文及接收者的角度探討字幕譯者的角色。
侯導的字幕譯者是否成功地解決了上述的難題呢？本論文首先介紹文本的作者：原文文本作者侯孝賢以及譯文文本作者字幕譯者（Linda Jaivin、Tony Rayns、賴聲川與焦雄屏）。第二章與第三章進行文本分析：第二章講述方言與專有名詞的翻譯，第三章利用翻譯策略（採用方梓勳、Jan Emil Tveit、尤金•奈達等人的策略），檢討選自七部侯導電影中的20幾個譯例，並提出筆者的個人建議。第四章探討字幕譯者對非中文母語觀眾的理解與詮釋所產生的影響；筆者將侯導觀眾分成一般觀眾與專業觀眾（即影評人），分別以進行問卷調查和細究影評文章的方式，來討論中文母語與非中文母語觀眾之間訊息接受的落差。第五章為本研究的總結，筆者也在此提出對未來研究者的研究建議。
文本分析顯示，侯導電影的英文字幕是需要改進的，尤其是當文本涉及以方言發音的諺語及俗俚語時，誤譯更為明顯，而翻譯策略的使用確實可以為字幕譯者提供可行的解決之道。從觀眾的反應可以看出，字幕譯者並非「隱形」，至少某些觀眾的影評透露出訊息接受者的理解受到訊息轉換者某種程度的操弄。希望本研究能有拋磚引玉的效果，激勵更多未來的研究者進行字幕翻譯的研究，尤其是過去研究中較少作為文本分析媒介的觀眾。
Hou Hsiao-hsien is one of the most internationally renowned directors from Taiwan. I think his films are representative of Taiwan cinema, and in this regard plan to explore subtitling Taiwan films through discussions of the English subtitles in Hou Hsiao-hsien’s films. Out of his 17 works, 7 are selected as the focus of this research, with special attention paid on the use of dialects, including Taiwanese and Hakka, and of cultural terms (classified into allusions, religious expressions, terms related to social customs, and vulgar and slangy expressions) in the film. Subtitling itself is already challenging given temporal, spatial, visual, and other constraints. Subtitling Hou’s films, therefore, becomes even more difficult, as complicated stories are presented when actors speak various languages and mention Taiwan-specific cultural concepts that are non-existent in other cultures. This thesis aims to investigate the subtitler’s role from the perspective of author, text, and recipient.
Have subtitlers of Hou’s films done a good job in solving the aforementioned subtitling difficulties? This thesis will first introduce director Hou and four of his subtitlers (Linda Jaivin, Tony Rayns, Stan Lai, and Peggy Chiao). The subtitling of dialects and proper names is dealt with in Chapter Two, and a total of some 20 subtitle examples involving the use of cultural terms are taken from seven of Hou’s films for discussion in Chapter Three. Subtitling or translation strategies proposed by subtitling practitioners, including Gilbert Fong, Jan Emil Tveit, and Eugene Nida, are applied to the problematic translations of these cultural terms, mostly followed by my improvement suggestions. In Chapter Four, I attempt to examine the subtitles from the perspective of the audience, which I divide in two: a general audience and an elite audience. By spending some space on the recipient of the text, I aim to explore, with the aid of a questionnaire survey and film critics’ reviews, how the subtitler influences the non-Chinese-speaking audience’s understanding and interpretation of the film. Chapter Five concludes this study, closing with some perspectives for future research on subtitling.
Text analysis shows that mistranslations occur mostly in expressions involving proverbs, vulgarity, and slang pronounced in Taiwanese or Hakka. By examining the English subtitles of Hou’s films, I want to stress that they can be improved with a few subtitling strategies. With the audience’s opinions and examples of misinterpretation, I would like to demonstrate that the subtitle translator is “visible,” at least in audience’s feedback. It is hoped that this thesis can invite more research on subtitling, especially on the recipient of the subtitles. |
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