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随着时代的变迁,电影译制已经成为了我国电影事业的重要组成部分。电影名称的翻译就要求译者能在一系列语言规范和翻译理论的指导下,译出符合本国文学要求的佳译,达到最大限度激发观众观赏欲望的目的。传统翻译习惯将目光投向对文本本身的意义及阐述上,极少将翻译作为一个关联的整体去看待。近年来,随着一些崭新文艺理论的引进,上世纪六十年代兴起于法国的互文性理论逐渐引起了人们的关注,翻译界也开始从互文性的角度去介入对翻译的研究。
With the change of times, movie translation has become an important part of China’s film industry. The translation of the movie title requires the translator to translate the best translations that meet the requirements of the country’s literature under the guidance of a series of linguistic norms and translation theories so as to maximize the audience’s desire to watch. Traditional translation habits turn their attention to the meaning and elaboration of the text itself, seldom treat translation as a related whole. In recent years, along with the introduction of some new literary theories, the intertextuality theory started to rise in France in the 1960s has aroused people’s attention. The translation community has also begun to intervene in the translation studies from the perspective of intertextuality.