從功能對(duì)等理論視角分析《功夫熊貓》字幕翻譯

-4-ChapterOneIntroductionWithmorefrequentandin-depthculturalexchangesbetweenChinaandtheworld,alargenumberofEnglishfilmshavebeenintroducedintoChina,amongwhichAmericanfilmsandTVshowsaremuchloved.Thecommunicationbetweenfilmsandcountriesthroughouttheglobeisalsoboomingandplaysanincreasinglyimportantroleininternationalexchanges.Forsomelanguagelearners,subtitlinginsteadofdubbingisoneofthebestwaystoimprovetheirlisteningandspeechskills.Byfollowingtheoriginalpronunciation,thosewhoareinterestedinthespokenlanguagecanlearnmanyexpressionsfromthesourcelanguage.Asaresult,moreandmorepeoplelovewatchingfilmswithsubtitles,particularlyyoungpeople.Sincesubtitlesaresuperiortodubbing,translationofsubtitleshasbecomeanunavoidabletendencyinmovietranslation.Therefore,subtitletranslationbecomesmoreimportant.ThepurposeofthispaperisbasedonEugeneNida’sfunctionalequivalencetheory,takingKungFuPandaasanexample,toanalyzethesubtitletranslationinfilmworksfromthelexical,syntacticandstylisticlevels.Trytofeelthefunctionalequivalencetranslationmethod,soasbetteringimprovethesubtitletranslationinfilmandtelevisionworks.Thenonthebasisofthefunctionalequivalencetheory,thispaperanalyzesthedifferencesbetweenthemeaningsofsubtitletranslationatdifferentlevelsandhowtoachievefunctionalequivalencetoagreaterextent.Basedonthefunctionalequivalencetheory,thispaperanalyzesitsembodimentinthesubtitletranslationofKungFuPanda,andconfirmstheroleandvalueofthetheoryinthesubtitletranslationfromthesemantic,formalandculturallevels.Itishelpfulfortranslatorstounderstandthe“equivalence”inthetheoryandbetterusethetranslationstrategiesofthetheoryinsubtitletranslation,whichpromotesthewideapplicationofthefunctionalequivalencetheoryinthesubtitletranslationoffilmandtelevisionworks,andpromotesthefuturedevelopmentofsubtitletranslation.Thissectionisorganizedintofivechapters.Thefirstchapteristheintroduction,whichsetsoutthebackgroundoftheresearch,thepurposeoftheresearchandthematerialsusedinthisarticle.ThesecondchapterpresentsthetheoryoffunctionalequivalencetheoryofNidaanditsequivalenceinfouraspects,whichprovidesatheoreticalbasisforacasestudy.Thethirdchapterisacaseanalysis.ThetranslationsusedinthesubtitletranslationofKungFuPandaareanalyzedfromthelexical,syntacticandstylisticperspective.Thefourthchapterdiscussthefeasibilityandnecessityofthetheoryinthetranslationofmoviesubtitles.Thefifthchapteristheconclusionpart,whichsummarizesthewholearticle.ChapterTwoTheoreticalIntroduction2.1IntroductionofFunctionalEquivalenceTheoryNida,anexceptionallinguistandtranslationtheoristfromAmerica,hasachievedimmensesuccessinthefieldoftranslation.Heiswidelyregardedasoneofthebesttranslatorsinmoderntranslationstudies.HisFunctionalEquivalenceTheoryhasgreatlyinfluencedthefieldoftranslationinChinaandtheWest.InhisbookFromOneLanguagetoAnotherpublishedin1986,Nidadistinguishedbetweenformalequivalenceanddynamicequivalence.Formalequivalencereplacestheformerwhilefunctionalequivalencereplacesthelatter.Nidaadvocatesfortheuseof“functionalequivalence”tostresstheimportanceofthecommunicativefunctionoftranslation.However,thissubstitutiondoesnotimplynegationof“dynamicequivalence”whichis,inessence,similartotheconceptof“functionalequivalence”.Theemphasiswithfunctionalequivalenceisontheneedtoidentifytranslationequivalentsandappropriatelyrestructuretheformandsemanticstructureofinformationtofacilitatecommunicationbetweenlanguagesandcultures.Nidahasconstructedahugetheoreticalsystemoftranslationinhisseriesofworks,thecoreofwhichisfunctionalequivalencetheory.Thistheorybelievesthatthegoaloftranslationistoachievefunctionalequivalenceinsteadofstrictcorrespondenceinthetargettext,whichresultsinthesameeffectontargetreaders.Tobridgethegapbetweenthesourceandtargetlanguagesandmeetcertainstandards,Nidaintroducedtherenowned“dynamicequivalence”theoryintermsoflinguistics,whichemphasizesfunctionalequivalence.Nida’sdefinitionoftranslationhighlightsthatitexceedslexicalmeaningequivalenceandincludesstyleandsemanticequivalence.Thetranslationconveysnotonlysurfacelexicalinformationbutalsoprofoundculturalinformation.Ifthelanguageformisdifferent,theformofthecontentmustbealteredtoretaintheoriginallanguagecontent.2.2FourAspectsofFunctionalEquivalenceTheoryInthetranslationskillsoffunctionalequivalencetheory,therearefourimportantaspects:lexicalequivalence,syntacticequivalence,textualequivalence,andstylisticequivalence.Below,Iwillintroducethemseparately.Inthetheoryoffunctionalequivalence,wordsdonotexistinisolation,butratherinthecontextshapedbyculturalnorms,valuesandbeliefs.Therefore,inordertofullycomprehendthemeaningofaword,itisnecessarytoexamineitsculturalandsocialcontextanditsfunctionincommunication.Onekeyconceptoffunctionalequivalencetheoryislexicalequivalence,whichmeansthatwordsindifferentlanguagesmaynothavedirectequivalents,butcanbefunctionallysimilarinmeaningandusage.Lexicalequivalenceisparticularlyimportantinculturalcommunication.Usersofdifferentlanguagesmayneedtotranslateandinterpretwordsandphrasesacrosslanguages.LexicalequivalencebetweenEnglishandChinesegenerallyincludesfivecorrespondingsituations:wordequivalence,multi-wordsynonymy,polysemy,wordmeaninginterweavingandnon-equivalentwords.Thecompleteequivalenceofwordsismainlyappliedtopropernamesandtechnicalwords.Intheactualtranslationsituation,wearegenerallytroubledbyhowtofindthebestmeaninginthetargetlanguage.However,thisisoftenchallengingbecausewordsmayhavedifferentmeaningsandusagesindifferentcultures.Therefore,itmaybeimpossibletoachievelexicalequivalencebecausetheexactmeaningandnuancesofawordmaybedifficulttocaptureinanotherlanguage.Therefore,accordingtothefunctionalequivalencetheory,itismoreimportanttoachievefunctionalequivalence,whichinvolvesconveyingtheexpectedmeaningandpurposeofwordsratherthanaccuratetranslation.Syntacticequivalenceisanimportantpartoffunctionalequivalencetheory,becauseitallowsustocomparethecognitiveprocessesofdifferentlanguages.Moreover,syntacticequivalenceisundoubtedlymorecomplicatedthanlexicalequivalence.WhentranslatingfromEnglishtoChinese,therewillbeproblemsinvolvingthecategoriesofsingularandcomplexnumbers.AsChineseisoftennottheobviouslanguageusedinthepluralmark,butinEnglish,thepluralisreflectedincisivelyandvividly.Ontheotherside,grammaticalmarkerssuchasgenderandnumberalsoinvolvetenseconsistencyduringtranslation.Atthesametime,differentlanguagesmayusedifferentsyntacticstructurestoexpressnegation,butthesestructureshavethesamepotentialcognitivefunction.Insomelanguages,negationisexpressedbyaddingnegativeauxiliarywordsbeforeverbs,whileinotherlanguages,negationisexpressedbyaddingnegativemarkersbeforeverbs.Despitethesesyntacticdifferences,thecognitivemeaningofutterancesisthesame.Attimes,lexicaldifferencescanalsoimpedesyntacticequivalenceduringtranslation.InChinese,forexample,thereisalackofrelativepronouns,makingtheorderandcombinationofattributiveclausescrucialinEnglish-Chinesetranslation.Intheprocessoftranslation,thereorganizationofsyntacticstructurebecomesmorecomplexgiventhatinChinese,theattributiveisplacedbeforethesentence,notafterit,resultinginshorterChinesesentencescomparedtoEnglishones.Therefore,thefunctionalequivalencetheoryholdsthatthereareimportantsimilaritiesinthewayweunderstandandproducelanguage.Thetranslatorshouldnotonlyknowwhetherthereissuchastructureinthetargetlanguage,butalsounderstandthefrequencyofitsuse.Theequivalencebetweensimilartextualstructuresindifferentlanguagesisknownastextualequivalence,whichfallsundertheumbrellaofdiscourseanalysis.Toeffectivelyanalyzelanguageinitscontext,wemustconsiderboththelanguageitselfandhowitreflectsmeaningandfunction.Discourseequivalenceiscomprisedofthreelevels:context,situationalcontext,andculturalcontext.Analyzinglanguagecontextinvolvesconfirmingsemanticcomponents.Intheprocessoftranslation,pragmaticpremisereasoningisusedtodeterminethetranslationtransformationofsemanticsbyjudgingthemeaningofwordsorsemanticunitsintheoriginaltext.Situationalcontextincludescommunicationchannels,interrelationships,psychologicalemotions,andthespecificpeopleandthingsinvolvedincommunication.Determiningthemeaningoflanguagephenomenathatcannotbeclarifiedbycontextrequiresconsiderationoftheevents,participants,andcommunicationmethodsduringlanguageuse.Thesocialandculturalbackground,historicalandculturaltraditions,andsocialpsychologyoflanguageusemakeuptheculturalcontext.Textualequivalenceisanimportantconceptinthetheoryoffunctionalequivalence.Ithelpsusunderstandtheequivalenceanddifferenceinlanguage,andputsforwardanewunderstandingofcommunicationinsomefields.Stylisticequivalenceinfunctionalequivalencetheoryreferstothesimilarityinlanguagechoice,suchasmood,register,form,andlanguagemeans,suchasmetaphorandidiomaticexpression.Forexample,thetwolanguagesmaybesyntacticallydifferent,butiftheyusethesamemetaphoricalexpressionsindiscourse,theycanstillbestylisticallyequivalent.Althoughthegrammarofthetwolanguagesisdifferent,themetaphoricalexpressionsusedarethesame.Itcanconveymeaningevenwhenspecificwords,syntacticstructuresorgrammaticalrulesdifferbetweenthespeaker’slanguage.Theconceptofstylisticequivalencehelpsidentifylinguisticsimilaritiesandallowspeopleofdifferentlanguagestobetterunderstandandcommunicate.Atthesametime,translationworksofdifferentstylesalsopossesstheiruniquelinguisticcharacteristics.Itisonlythroughmasteringboththesourcelanguageandthetargetlanguage’scharacteristicsandskillfullyutilizingthemthatatranslatorcanproduceatranslationthataccuratelyreflectsthestyleofthesourcelanguage.Thevariationinthelanguagestylesoftheworksalsomeansthattheculturalfactorscontainedarealsodifferent.Forinstance,scienceandtechnologygenrescontainfewerculturalfactorsthanliteraryworks.Asaresult,itismuchmoreimportanttoaccuratelyandtruthfullytransformtheinformationcontentofthesourcelanguageintothetargetlanguagethantotransformbothlanguagesandcultures.Incontrast,whentranslatingliteraryworks,culturalfactorsareintegralandshouldnotbeignored.Ifculturalfactorsareignored,thetranslationturnsintoalifelessstructuremadeupofwordsandsentences.Therefore,inordertoproduceexcellenttranslatedworks,translatorsshouldfullyconsiderhowtodealwithculturaldifferencesindifferenttypesofworksinliterarytranslationpractice.

ChapterThreeTheEmbodimentofFunctionalEquivalenceTheoryintheSubtitleTranslationofKungFuPandaThischapterwillanalyzetheembodimentoffunctionalequivalencetheoryinthesubtitletranslationofKungFuPandafromthreeaspects:lexicalequivalence,syntacticequivalenceandstylisticequivalence.ItalsoanalyzeshowthetheoryreproducesChineseelementsintothetranslationandcausestheaudiencetoresonatewiththestory.3.1EmbodimentofLexicalEquivalenceIntheprevioustheoreticalintroduction,weintroducedthatlexicalequivalenceistofindthemostappropriatemeaningofthewordinthetargetlanguageintranslation.Inmostcases,mostexpressions,includingwords,phrases,clauses,sentencesanddiscourses,havemorethanonemeaning,sopeoplewillmakechoicesaccordingtothesituation.SelecttheappropriateChineseexpressionaccordingtothespecificsituationtoensurethatthetranslationremainsequivalenttothegreatestextentpossible.Thefollowingareexamplesoflexicalequivalenceinfilmsubtitles.Example1-Po!Getup!--阿寶！快起床！-Po.Whatareyoudoingupthere?--阿寶，你磨蹭啥呢？-Nothing.--沒(méi)啥。ThisistheconversationthatPoispracticinghismartialartsupstairswhilehisfatherisurginghimdownstairstocomedowntoservediners.Inthissentence,“磨蹭”referstoanactofdeliberatelydelayingtimeorkillingtime.Indailylife,weoftenuseittourgeotherstodosomethingtheyshoulddo.ItvividlyshowsthatPodeliberatelyprocrastinatedtoservecustomersinordertopracticemartialarts,andhisfatherwantedhimtolearntodobusinessandinherittheancestralnoodlebusiness.“啥”means“what”,whichoriginatesfromadialect,butithasbeenwidelyusedinChinaandisgenerallyusedinmorecasualoccasions.Here,thetranslatordoesnotuse“什么”,butadjuststhetranslationmethod,using“啥”tomakethedialogueclosertoourdailylife,asiftheeventisjustacommonthingthathappensaroundus,withcolloquialcharacteristics.Anddidnottranslatetheoriginaltextinto“Whatareyoudoingonit?”Withtheword“磨蹭”,thenaughtyandlovelyimageofPoisvividlydisplayed.Example2-whowonitfromafriendinmahjong.--這店可是爺爺打麻將從朋友手里贏來(lái)的。-Ithoughtaboutrunningawayandlearninghowtomaketofu.--倒是想過(guò)出去闖闖，去拜師學(xué)做豆腐。ThisisthedialoguebetweenPo’sfatherintroducedtheoriginofthenoodleshopandhisonceyoungandcrazytofudream.Inthissentence,therearetwonouns,oneis“mahjong”,whichisatraditionalChinesegamewithalonghistory;theotheris“tofu”,whichisanutritiousandhistoricalbeanfoodinChina.ThesetwonounshaveprototypesinChina,sothedirectuseofliteraltranslationcansatisfytheChineseaudience’sunderstandingofthem,andbasicallydonotneedannotationstoexplain.Example3-No,Imeantyoudon’tbelonghere.Imean,inthisroom.Thisismyroom.--不，我指你不屬于“這兒”。我指這個(gè)房間。這是我的房間。-PropertyofOrane.--仙鶴房產(chǎn)。HereiswhatPomistakenlyenteredtheroomofOraneandcomplainedthathemightnotbesuitableforpracticingmartialartsandwasnotsuitableforstayinghere.Inthissentence,“property”generallymeanssomeone’spossessions.Accordingtothecontext,“thisismyroom”meansthatthisroomistheroomoftheOrane,sothemeaningof“property”canbedirectlytranslatedinto“theroomoftheOrane”.Example4-I’mnotabigfatpanda.--我不是什么又肥又胖的熊貓。-I’mthebigfatpanda.--我是獨(dú)一無(wú)二的又肥又胖的熊貓。ThisistheendofthebattlebetweenPoandTaiLungforthescrollofthedragon.WhentheTaiLungdidnotbelievethatPocoulddefeathim,heusedthecavetoattackPo,andcontinuedtomockPo,Poshoutedarebuttaltothedragon.Inthissentence,thetranslationofthedefinitearticle“the”reachesitspeak.InEnglishgrammar,thedefinitearticle“the”hasmanyusages,andtherearealsomanytranslations.Generally,“the”meansacertaincategoryorsomethingmentionedbeforeinasentence.The“the”hereistranslatedas“unique”,andthetranslatorchoosestheusageof“the”thatcanbeusedbeforeuniquethings.Combinedwiththepictureofthefilmatthattime,itnotonlyhighlightsPo’sself-confidence,butalsorefutestheTaiLung’scontemptforPo.ItalsoreflectsthegreatchangesbeforeandafterPobecameadragonwarrior.3.2EmbodimentofSyntacticEquivalenceSyntacticequivalenceisgenerallyreflectedinthegrammarofdifferentlanguages.ItiswellknownthattherearetensechangesandtheuseofclausesinEnglishgrammar.InChinesegrammar,thereisgenerallynotensechangeofverbsandtheuseofclauses.Therefore,whentranslatingEnglishintoChinese,thetranslatorshouldpayattentiontothechangeofverbtenseinEnglishtousesomewordsthatreflecttimeintime,andpayattentiontothedifferencebetweenChineseandEnglishwordorder,andchangethetranslationintothewordorderfamiliartothetargetlanguage.Herearesomeexamplesoftenseandsentenceequivalenceinmovies.3.2.1InTemporalEquivalenceExample1-I’msorry,brother.Ithoughtyousaidyouwereready.--真不好意思，我以為你說(shuō)的是你早已準(zhǔn)備好了呢。-I’vebeentakingiteasyonyou,panda.Butnomore.--我一直都對(duì)你手下留情，熊貓。但到此為止了。HereistheconversationbetweenPoandMasterShifuduringthetrainingsession.Inthefirstsentence,wecanseethepastformoftheverb“thought”,whichindicatesthatthissentenceisasimplepasttense.However,inEnglish-Chinesetranslation,thereisnotensechangeofverbsinChinese,sothetranslatoruses“早已”and“了”tohighlightthepasttense.Inthesecondsentence,wefindtheform“havebeendoing”,whichisusedinthepresentperfecttense.Intheprocessoftranslation,thetranslatorusesthewords“一直”and“到此為止”toreflectthetenseofthepresentperfecttense.Example2-Iknowhecanseemkindofheartless,buthewasn’talwayslikethat.--我知道他看上去有點(diǎn)無(wú)情，可他原本不是這樣的。Here’saconversationaboutwhathappenedTaiLungandMasterShifuinthepast,ledbyTigresswhenPomentionstheMasterShifu’srigourwhilereceivingacupuncturefromtheMantisandViper.Inthissentence,theword“wasn’t”leadstothepasttense.Thetranslatorusestheadverb“原本”tomodifytheverb,thusachievingtheconsistencyoftense.3.2.2InSentencePatternExample1-Tigress,youneedmoreferocity!Monkey,greaterspeed.--嬌虎，力道要更強(qiáng)！金猴，速度要更快！-Orane,height.Viper,subtlety.Mantis...--仙鶴，凌空要更高！靈蛇，出招要更敏銳！螳螂……AfterintroducingPo’snoodleshop,theFiveattackMasterShifu,whoissittingunderatreeplayingtheflute,andMasterShifucommentsonthemartialartsoftheFive.Thissentenceusesthecomparativeformoftwoadjectivesandtwonounsinsuccession,representingmorepower,speed,height,andagility.Thelasttwosentencesusethenounformoftheadjective,apparentlyomittingthemeaningof“more”topreventrepetition.Inordertomakethetranslationcontentusethesamesentencepatterntoshowthesenseofcontrast,thetranslatorusestheadditivetranslationmethodtosupplementthenounmeaningofthelasttwosentences,addingthemeaningof“more”backintothesentence.Example2-Youaretooconcernedwithwhatwasandwhatwillbe.--你患得患失，太在意從前，又太擔(dān)心將來(lái)。Here’sMasterOogwayexhortingPotobelieveinhimself.Inthissentence,therearetwoparallelobjectclausesindifferenttenses.First,accordingtotheChinesewordorder,thetranslatordividedthesentenceintothreeshortsentences,respectivelytranslatingtwoobjectclausesintoseparatesentences.Makeawholeobjectclauseintothreesimplesentences.Secondly,sincethereisnochangeintheverbtenseinChinese,thetranslatoradds“formerly”and“future”respectivelyinthelasttwoshortsentencestoexpressthepasttenseandfuturetenseintheclause.Itnotonlyachievestheequivalenceofsentencepattern,butalsoachievestheequivalenceoftense.3.3EmbodimentofStylisticEquivalenceIthasbeenpointedoutinprevioustheoreticalintroductionsthatstylisticequivalencereferstosimilaritiesinlanguagechoices,suchasmood,register,form,andlinguisticdevices,suchasmetaphorandidiomaticexpression.Stylisticequivalencecanbeachievedinspiteofgrammaticaldifferencesbetweenthetwolanguages.Insubtitletranslation,culturebecomesoneoftheimportantfactorsthatshouldbeconsideredintranslation.InKungFuPanda,thebackgroundisfilledwithancientChinesemartialartsculture.Therefore,itisparticularlyimportanttomastertheaccuracyoffour-characterwordsandclassicalChinesesentencepatternsinthetranslation.3.3.1UseofFour-characterWordsExample1-It’sveryimpressive.--相當(dāng)?shù)貒@為觀止。ThissentenceappearswhenZengwenttotheprisontoremindtheguardstostrengthenthedefense,thejailerledZengtowatchthecelldefensemeasures,fromZengsighing.Inthiscontext,tobe“嘆為觀止”meanstosaythatsomethingissogoodthatyoudon’tevenneedtowatchitanymore.Andtheword“impressive”meansmakingastrongorvividimpressiononsomeone.Theuseofthefour-characterwordherewouldbetterconveytheshockoftheprison’sdefenses,sothatonedoesnotneedtolookanyfurther,inkeepingwiththeuseoftheword“嘆為觀止”.Example2-Totakehisstrengthanduseitagainsthim,untilhefinallyfalls,orquits.--借力打力，直到他倒地不起，或求饒認(rèn)輸。ThisisaconversationthatcameupwhenMasterShifuwastrainingPo.Thefirstsentence,“Totakehisstrengthanduseitagainsthim”ismeanttousetheotherperson’sstrengthandinturndefeathim.InChina,thephraseisshortenedto“借力打力”.“借”correspondstothesentence“take”,and“打”correspondstothesentence“against”.Inthesecondphrase,“倒地不起”meanslyingonthegroundandunabletogetup.Thisisbasicallythesamemeaningastheoriginalsentence.“quit”inthelastsentencemeans“toquit”,Butthetranslatorusestwowords,“求饒”and“認(rèn)輸”,toexpressthebeggingformercyand“acknowledgingthecornoffailure”,whichfullydemonstratesthemartialartscultureinthefilm.3.3.2UseofClassicalChineseSentencePatternsInChina,therearesentencepatternsinvernacularChineseandclassicalChinese,andthereareOldEnglishandModernEnglishinEnglish.InthecasethatthefilmissetinancientChina,theappropriateuseofclassicalChinesesentencepatternswillmaketheaudiencefeelasiftheyareinthemartialartsofancientChina,soastobetterfeeltheresonancewiththefilm.ThefollowingaresomeexamplesofthemoreobviousclassicalChinesesentencepatterns.Example1-Oneoftenmeetshisdestinyontheroadhetakestoavoidit.--古語(yǔ)有云，子欲避之，反促遇之。ThisisMasterOogwaytalkingtohismasterabouttheillusionthatTaiLungwillescapefromhiscage.First,itomits“There’sanoldsayingthat”andgoesstraighttotheproverbitself.Inthefollowingwords“子遇避之，反促遇之”,“子”referstoacertainperson,correspondingto“One”inthesentence;“避”meanstostayclearfromorkeepawayfromsomething,whichcorrespondstothesentence“avoid”;Theword“遇”afterthisrepresentsthemeetingorencounter,whichisequivalenttothe“meet”inthesentence.“destiny”inthesentencegenerallyreferstosomeone’sdestinyorsomethingthatwillhappen.Insteadoftranslating“destiny”,thetranslatortranslatedittogetherwiththepronoun“it”to“之”,whichisalsousedasapronouninclassicalChinese,meaningsomethingorsomething.Theomittedtranslationof“destiny”herealsoshowstheimplicitexpressionofthesentenceinancientclassicalChinese.Example2-Yourmindislikethiswater,myfriend.Whenitisagitated,itbecomesdifficulttosee.--你心如此水，我的朋友。亂則不明。-Butifyouallowittosettle,theanswerbecomesclear.--但若心如止水，答案便盡現(xiàn)眼前。HereisthescenewhereMasterOogwayimplicitlyindicatestheneedtoselect“DragonWarrior”.MasterOogwayfirstledthepicturetothepoolwaterinthecenterofthehall.Withtheripplesinthepoolwater,MasterOogwaysaidthefirstsentence.Here“mind”means“thought”or“mood”,whichrepresentstheMasterShifu’sinnerthoughtsinthecurrentsituation;“water”referstothepoolwaterinthecenterofthepalace,whichalsorepresentstheinnerthoughtsoftheMasterShifu.Theword“agitated”notonlyrefersto“stirringwater”,butalsorepresentstheinnerconfusionofMasterShifuatthattime.The“difficulttosee”inthesentenceisnottranslatedinto“invisible”,buttranslatedinto“不明”,meaning“undefined”or“ambiguous”,whichbetterindicatesthedegreeofconfusionintheMasterShifu’sheart.Inthesecondsentence,thetranslationof“allowtosettle”inthefirsthalfofthesentenceisgenerallybiasedtowards“allowtosolvetheproblem”,butaccordingtothecontext,itisstillvaguelyexpressedas“hopetomakethewatersurfacecalm”.Atthesametime,thetranslationof“clear”into“盡現(xiàn)眼前”notonlyexpressesits“cleartothesight”.Italsoexpresses“cleartoShifu’smind”.Withthepicture,theanswer“DragonScroll”ispresentedtotheaudience,showingthewisdomofMasterOogway.ThisparagraphcomparestheconfusionofMasterShifu’shearttothecalmnessofthewater.Thetranslatornotonlypaysattentiontothemeaningofthesentenceitself,butalsorevealsitsdeepmeaningimplicitly.Atthesametime,combinedwiththefilmpictureatthattime,itsuccessfullygivestheaudienceanexcellentviewingstyle.

ChapterFourFeasibilityandNecessity4.1FeasibilityofFunctionalEquivalenceTheoryinSubtitleTranslationFilmandtelevisionisanartfullofpicturesandsounds.Thelanguagehasthecharacteristicsoftimelinessandpopularity.Therefore,thetranslationoffilmandtelevisionneedstobecarriedoutflexiblyaccordingtoitscharacteristics,soastoconveytheinformation,charmandsituationoftheoriginalfilmtothegreatestextentandachievethebestequivalenceoffunctions.Theaccuracyoffilmsubtitletranslationwilldirectlyaffectthetargetaudience’sunderstandingofthefilm.ItisexpectedbyNida’sfunctionalequivalencetheorythattheresponseeffectofthetargetedfilmwillresemblethesourceaudiencetothemostextent.Whenundertakingsubtitletranslation,thetranslatormustconsiderthelanguagehabitsandculturaldisparitiesthatexistbetweenthetargetandsourcelanguages.So,thetargetaudienceisgivenprioritybythetranslator,whomustemployavarietyoftranslationmethodstoachievethehighestlevelofequivalenceinformandmeaningwiththeoriginaltext.Thisisdonetoensurethatthetranslatedtextisascloseaspossibletotheoriginal.Inotherwords,wetakeNida’s“functionalequivalence”asthepracticalguidanceoffilmandtelevisiontranslation,becausethistheorynotonlypaysattentiontothereproducibilityofinformation,theportabilityofemotionandthepopularityoflanguage,butalsotakesthereader’sresponseasthefinalevaluationstandardofthetranslation,sothatthetargetlanguageaudiencecanbettercombinesubtitleswithfilmpictures.Inthisway,wecanbetterunderstandtheconnotationofthefilm,soastogetamorecompleteaudio-visuale