目的论视角下《破产姐妹》字幕翻译研究

AstudyonsubtitletranslationofBankruptsistersfromtheperspectiveofteleologyAbstractTheprovisionofsubtitlesissynchronizedwiththeflowoffilmandtelevisiondramas,inaddition,thefilmandtelevisionplaysalsocommunicatewiththeaudiencethroughdialogues,sounds,imagesandtextmessages.Accordingtotheskopostheoryoftranslation,differentfilmandtelevisiondramasshouldhavedifferentmaintranslationstrategiestoachievethevarioustranslationpurposes.Theaudience'sculturalknowledgebackgroundandexpectationdeterminethefunctionandpurposeofthetargetlanguage.Americandrama"BankruptSister2"inChina,mostoftheaudienceforacertainlevelofEnglish,theWesternsocialandculturalunderstandingofcollegestudentsandwhite-collarworkers,theyhaveafewhousewivesintheplayontheoutlookonlifeisquiteagreeable,therefore,subtitletranslationmustfullyreflecttheperformanceofthesourcelanguagesubtitlesandappealfunction,Sothattheaudiencebetterunderstandtheinnerworldofthecharactersandenjoytheoriginalhumorouscomedyeffect.However,noteveryaudience'sEnglishlevelisveryhigh,thesubtitleofanotherfunctionisfortheimageandchannelinformationfortheaudiencetounderstandtheplot,andbythecharacteristicsofthesubtitletranslationlimitations,thesubtitlesmustbeshortandconcise.Onlywhenthesubtitlerealizestheinformationfunction,theexpressivepowerandtheappealfunctioncanberealized.Wehopetoexplorehowtranslatorscanrealizetheinformationfunction,expressivefunctionandappealfunctionofthesourcelanguagedialoguethroughtheadoptionofrelevanttranslationstrategies.TakingtheSkopostheoryasthetheoreticalbasis,thispaperexplorestheproblemsandstrategiesofsubtitletranslationbyusingthe"bankruptSister2"asacasestudyobject,andexpoundsindetailhowtranslatorscanguidetheselectionoftranslationstrategiesinthebasicprinciplesofthefunctionandpurposeofthetranslation.Keywords:skopostheory;BankruptSister2;subtitletranslation;translationtheory摘要字幕的提供与影视剧的画面流动同步进行，此外，影视剧还通过对话、声音、图像和文本信息等途径和观众交流。根据翻译目的论的观点，不同的影视剧应有各异的主要翻译策略来达成不同的翻译目的。观众的文化知识背景和期望决定着目的语文本的功能及目的。美剧《破产姐妹2》在中国的观众大多为有一定英语水平，对西方社会文化有所了解的高校学生和白领阶层，他们对剧中几位主妇的人生观颇为认同，因此，字幕翻译必须充分体现源语字幕的表现力以及感染力功能，使得观众更好的领悟人物的内心世界并领略到原文充满黑色幽默的喜剧效果。然而，并非每个观众的英语程度都很高，字幕的另一个功能就是为图像和声道补充信息以便观众理解剧情，并且受字幕翻译自身特点的限制，字幕必须短小精简。只有在字幕实现信息功能的基础上，表现力和感染力功能才能得以实现。我们希望能探究发现译者如何通过相关翻译策略的采用来实现源语对话的信息功能，表现力功能及感染力功能。本文以翻译目的论为理论基础，将美剧《破产姐妹2》作为个案研究对象，探讨字幕翻译的相关问题以及策略，详细阐述了译者如何以译本功能及目的为根本原则来指导翻译策略的选取。关键词：目的论；《破产姐妹2》；字幕翻译；英译汉 ContentTOC\o"1-5"\h\z\uIntroduction 11.1ResearchBackground 11.2ResearchSignificance 31.3StructureofthePaper 42.LiteratureReview 42.1AnOverviewofSubtitleTranslation 42.1.1Definition 42.1.2Features 52.1.3Constraints 62.2StudiesonSubtitleTranslation 72.2.1ForeignStudiesonSubtitleTranslation 72.2.2DomesticStudiesonSubtitleTranslation 82.3Studieson2BrokeGirls 83.TheoreticalBackground:SkoposTheoey 83.1TheDevelopmentofSkoposTheory 83.2ThreeKeyRulesofSkoposTheory 93.3FeasibilityofSkoposTheorytoSubtitleTranslation 104.AnExemplificationofSubtitleTranslationfromthePerspectiveofSkoposTheory:ACaseStudyof2BrokeGirls 104.1ABriefIntroductionto2BrokeGirls 104.1.1CharactersandPlots 104.1.2ReceptionandPopularity 104.2CommonStrategiesfortheSubtitleTranslationin2BrokeGirlsandProblems 114.3SuggestedTranslationStrategiesinTermsofSkoposTheory 124.3.1LiteralTranslation 124.3.2FreeTranslation 124.3.3Domestication 134.3.4Paraphrase 134.4MajorMethodsintheSubtitleTranslation 134.4.1Reduction 134.4.2Explication 135.Conclusion 14Acknowledgements 15Reference 16Introduction1.1ResearchBackgroundOne,filmandtelevisiontranslationactivitiesinthecontextofglobalizationasoneofthemostremarkablefeaturesofthemodernsocietyofthe21stcentury,globalizationnotonlyaffectseconomicdevelopment,butalsopromotessocialandculturalprogress,andinsuchanenvironment,theculturesofdifferentcountriesandnationalitiesareboundtobeabletocommunicateandintegratewidely.Languagepractice,especiallythoserelatedtolanguagetransfer,hasshownitsimportanceinrecentyearsandhasconstantlyinfluencedthedevelopmentofknowledgecyclingandculturalidentity.Withtherapidriseofmassmedia,today'sfilmsandTVdramasplayanindispensableroleintheprocessofdisseminatingdifferentcultures.Intoday'sworld,moviesandTVplayshavebecomethemostpopularformofpopularcultureandentertainment,andattractsmostoftheworld'saudienceswithitsuniqueartisticcharmandrichculturalelements.Withthedevelopmentofmassmedia,moreandmorefilmandtelevisionworksspreadamongmanycountries,whichnotonlycreatehugeprofitsforfilmandTVindustry,butalsopromotethesharingoftheachievementsofcivilizationamongcountries.Filmandtelevisionplaysakeyroleinconveyinginformation,expressingfeelingsanddisseminatingculture,andisabridgetopromoteculturalexchangesbetweendifferentcountries.Atthesametime,weshouldpayattentiontothefactthatinthereceptionoftelevision,audio-visualproducts,computertexts,CD-ROMs,theaudience'slanguageabilityhasplayedanincreasinglyimportantrole,asthecarrierofculture,languagehasagreatimpactonculture,languageisanintrinsiccomponentofculture,Culturaldifferencescanalsobeembodiedinlanguage,whenthefilmandtelevisionworksfromonecountrytoanother,anunavoidabletaskistocompletefromalanguagetoBlanguagetransformation.Asaspecialactivityofhumansociety,translationisthemediumofinformationtransmissionandculturalcommunication.Intheglobalizationenvironment,filmandtelevisiontranslationhasbecomethemediaoffilmandtelevisionworks,andthespreadoffilmandtelevisionworkshaspromotedthecommunicationandintegrationofmovieandTVcultureallovertheworld.Second,thesubtitlefilmintheadvantagesofthedubbingSinahaslaunchedasurveyofpeople'spreferenceforfilmandtelevisiontranslation,amongthe1178votingnetizens,271prefertoseeChinesedubbingdubbedfilm,thetotalnumberofvotes23.01%,andthetotalnumberofvotes70.37%Ofthe829netizenswhothinkthefilmwithsubtitlesmoreexciting,6.62%remainneutral.Thefindingshavehadahugeimpactinthefilmandtelevisioncommunityandhavesparkedheateddiscussions.Ofcourse,wecannotonlyfromanetworksurveyofallChineseviewersontheformoffilmtranslationpreferences,butitshowsusatleastthefilmtranslationprofile,wecanalsosummarizethetwoformsoffilmandtelevisiontranslation,dubbingandsubtitles.Inrecentyears,subtitletranslationofforeignLanguageFilmandTVworkshasbecomeageneraltrendcomparedtodubbingandotherformsoflanguagetransformation.InChina,subtitletranslationhasbecomeamorepopularformoflanguagetransferforseveralreasons.First,subtitletranslationtakeslesstime.Georg,authorofthelanguagebarrieracrosstelevision,Michaelluyken(1991:891108)saidthatitusuallytakesfourworkingdaystomatcha1-hourTVplaywithsubtitles,andthatittakes12workingdaystotranslateandadapt.Ittakes5toaweekdaytogiveaone-hourTVshowinastudio,andtheentiredubbingprocessrequiresatranslator(oranadaptation),avoicedirector,anumberofdubbingactors,andamixed-musicdivisiontobeabletocomplete,whiletheactualproductiontimefora1-hourTVshowwithsubtitlesisonaverage36hours,aperson(sometimesatechnician)tocompleteallthesubtitletranslationworkisenough.Second,comparedwithsubtitletranslation,dubbedfilmsaremoredemandingandcostmoreexpensive.Intheprocessofsubtitletranslation,asubtitletranslatorisusuallyrequiredtotranslatethedialoguesandwritesubtitles.However,thevoiceofthecounterpartisverydifferent.Intheprocessofdubbing,thetranslatorfirstgivesaverbatimtranslation,andthentheauthorwritesthesynchronizeddubbingtext.Aftertheadaptedtextiscompleted,thecounterpartdubbingbegins.Intheprocess,thedubbingdirectorgivesprofessionalvoiceperformersanaudition,markingthemassoundaandsoundB.Finally,withthehelpoftherecordingDivision,thedubbingdirectormixesandeditstherecording.Fromthiswecanseethatthedubbingprocesstakeslonger,usesmorelabor,andpaysalotofmoneytoprofessionalvoicedirectorsandactors.InEuropeancountries,theone-hourcounterpartdubbingiscostinganaverageofabout11000euros,whileittakesanaverageof€740tomatchthesamelengthofTVdramas.Thirdly,withthepopularizationofEnglish,moreandmorepeoplehaveshowngreatinterestintheforeignfilmdramaswhichkeeptheoriginalandsubtitle.ZhouTiedong,generalmanagerofChinaFilmOverseaspromotion,saidinasouthernweekendinterviewthatalargeaudiencehasbeentiredofdubbedfilms.Inrecentyears,thedomesticemergenceofalargenumberofpopularBritishandAmericanTVdramas,movies,etc.,allretaintheoriginal,withChinesecharacters...1.2ResearchSignificanceInthisthesis,theauthorhopestocombinethesubtitletranslationpracticeandtranslationtheoryoffilmandtelevisionworksintoexploratoryresearch.ThroughtheinterpretationofTeleology,theauthortriestofindabettertranslationstrategytodealwithsubtitletranslation,andthenenhanceourcurrentunderstandingofsubtitletranslationontheteleologicallevel.Throughthesystematicexplanationofteleologyandtakingthesubtitletranslationof"bankruptsistersecondseason"asanexample,thispaperstudieshowthetranslatordealswiththeEnglish-Chinesesubtitletranslationintheplay.Weknowteleology.Thistranslationtheorypaysspecialattentiontothefollowingpoints:theintentionoftheoriginalauthor,theneedsandexpectationsofthetargetaudience,thefunctionoftheintendedlanguage,thepurposeoftheTranslationAct,andthetranslationstrategyfortherealizationofthespecificfunctionandpurposetranslator.Inthispaper,theauthortriestofindouttheanswerstothefollowingtwoquestionsinthecaseanalysis:Whatisthepurposeofinstructingthetranslatorinthesubtitletranslationofthesecondseasonofthebankruptsister?Intheprocessofanalyzingsometranslationstrategiestakenbythesubtitletranslation,thispaperexploreshowthetranslatorisguidedbyaspecificpurpose.1.3StructureofthePaperThefirstchapterintroducesthebackgroundandsignificanceofthestudy,thesecondchapteristheliteraturereview,reviewofthepastonfilmsubtitletranslationresearchresults.ThethirdchapterelaboratestheSkopostheoryofGermanfunctionalschoolindetailandputsforwardtheadvantageofapplyingteleologytosubtitletranslation.Inthefourthchapter,theauthordiscussesthepurposeofthesubtitletranslationandthefunctionofthetargetlanguageinthesecondseasonofthebankruptsisterthroughtheanalysisoftheintentionofthesourcetextandthedemandanalysis.Thefinalchaptersummarizesthewholearticleandprovidessuggestionsforfutureresearch.2.LiteratureReview2.1AnOverviewofSubtitleTranslation2.1.1DefinitionSubtitlesisthetranslationofthesourcelanguageofthefilmdramaintoawrittenformofthetargetlanguage.Itusuallytakestexttopresentadialogue,narration,orotherinformationaboutthestoryinamovieoraTVplay,includingvoiceandnonsoundclasses.Voiceclassinformationincludesphoneringtones,backgroundmusic,andothersoundsinthevideotrack;non-soundclassinformationreferstothelanguageclassinformationinthemovie.Subtitlesusuallyconsistofoneortwolines,withnomorethan15wordsperline.Subtitlesarecreatedtohelpaudienceswithhearingimpairmentandthosewhodonotunderstandthesourcelanguageofthemovie.Now,theaudiencemainlythroughthereadingofsubtitlestounderstandthedevelopmentofthestorylineinthefilm,sothesubtitlesalsohavethecharacteristicsofthewrittentext.Gottlieb(1992:162)Thespecificsummaryofsubtitletranslationis:1.Intheformoftext;2.Theadditive,i.e.,thesubtitleisbasedontheoriginaltextandretainstheoriginallanguagestyle;3.immediacy;4.Synchronization,thatis,thetranslationtobesynchronizedwiththeoriginaldialogue;5.Multi-mediatranslation(i.e.atleasttwomediums).2.1.2FeaturesSomescholarsintranslationcirclesalwaysinsistthat:strictlyspeaking,subtitletranslationisnotarealtranslation,andshouldberemovedfromthefieldoftranslation.Infact,thedifferencebetweenthetranslationofthefilmandtelevisionworksandthetranslationofthetextisclearandworthyoffurtherexploration.Subtitletranslation,likeanyothertypeoftranslation,isaformoftranslationwithitsownobviouscharacteristics.Subtitletranslationisintersemiotictranslation,whichconvertsface-to-facedialoguebetweencharactersintowrittenlanguagetexts,whichinvolvestheparticipationofvariouschannels,thecodingoflanguageandNon-verbalsymbols.Thesubtitletranslationprocessincludesthefollowingelements:(i)changesinthemedia:fromlanguageandmovement(visible,listening)totext;(ii)changesintransmissionchannels:fromauditorytovisual;(iii)Changesinsignalform,fromsoundformtopictureform;(iv)Codingchanges:Fromverbalandnonverballanguagetowrittenverballanguage.Theaimofsubtitletranslationistogivefullplaytotheroleoftranslationinthecontextofmultiplesymbols.Languageandvisualchannelsintheprocessofconveyinginformation,andsubtitletranslationcoordinationwitheachother,isalsoaveryimportantpartofthemulti-symbolenvironment.Inadditiontocontrollingsubtitles,speechchannelsandtransmittinginformationtotheaudience,thesubtitletranslatoralsocomplementstheaudioandvisualchannelsasauditoryandpictureinformationtoperfectsubtitletranslations.Inaddition,weshouldkeepinmindthatgoodsubtitletranslationmustbeconcise,clearandappropriatefeatures.Therefore,translatorsmustwritemorecoherentandfluentsubtitlesintheprincipleofpragmatism.Subtitlesappearonthescreenforaveryshortperiodoftimemustbereadandunderstoodbytheaudience,itspurposeistohelptargetaudienceasmuchaspossibletounderstandthehabitatandenjoythefilmorTVdramaoftheartisticeffect.Inadditiontovisualandsourcelanguageauditoryinformation,viewersmustalsoreceivealargeamountoftextinformationthatisconstantlyappearingonthescreen.Insuchcases,theaudience'sattentionisforcedtospreadbetweenthesubtitlesatthebottomofthescreenandtherestofthescreen.Iftoomuchdetailisloadedatthebottomofthescreen,theaudiencemaybedistractedfromthemainpartofthescreentoomitsomeimportantinformation.Therefore,averycompleteanddetailedtranslationisnotnecessarilyawisechoiceinsubtitletranslation.2.1.3ConstraintsAsatextualtype,subtitleshasitsownspeciallimitations,whichcreatessomespecificdifficultiesanddeterminesthestrategiesappliedtotranslation.Subtitletranslationisasymbolicconversioninthecontextofthemultipleinformationdisseminationoffilmandtelevisionworks,whichislimitedbytime,spaceandculturaldifferences.First,thetimelimit.Subtitlesmustbesynchronizedwiththefilmscreen(mainlyforcharacteraction)andsound(mainlyforcharacterdialogue),oncethescreenanddialoguechanges,subtitlesalsoneedtochangeimmediately,subtitlesonthescreentostayonthetimeisbasicallyShine.Second,spaceconstraints.Unliketraditionaltexttranslation,subtitletranslationcanbelimitedbyspace.Becausesubtitlesusuallyappearbelowthescreen,andtypicallyoneortwolines.Thisrequiresthatsubtitlesshouldnotbetoomanywords,mustbeconciseandfullyeffectiveexpressionoftheoriginalmessagedialogue.Third,theinstantaneousnatureofthesubtitlebringsrestrictions.Inreadingtexttranslation,forsomeobscuretext,thereadercanstop,ortracebacktotheprevioustext,ordosomeresearchtoassistunderstanding.However,viewerscannotstoporgobacktothepreviousplotwhilewatchingthefilmandtelevisionworks.Thisgreatlylimitsthedegreeoffreedomofsubtitletranslation,inwhichthetranslatormusttakeintoaccounttheaudience'sperceptionoftheviewer,nottousetoocomplexlanguagestructureortooobscurewording,butshouldtrytousesimpleandunderstandablelanguage,BecauseviewerswatchmoviesorTVdramas,theyhavetotakeintoaccountthepicture,thesound,andonlylessthantwoorthreesecondstounderstandthesubtitles.Thelimitationsbroughtaboutbyculturaldifferences.Subtitletranslationisgenerallyaconversionbetweentwolanguages,whichmeansthatsubtitletranslationisnecessarilyatrans-regional,cross-culturalandcross-culturalcommunication.Thetraditionaltexttranslationcanusetheremarkmethodtodealwiththeculturalobstacles,andsubtitletranslationduetotimeandspaceconstraints,cannotusetheremarkmethodtosolvethisproblem.Therefore,indealingwiththeculturalobstaclesintranslation,translatorsmustbenaturalized,reducedorevendeletedfromthesourcetexttoavoidtheobstaclestounderstandingtheaudience.2.2StudiesonSubtitleTranslation2.2.1ForeignStudiesonSubtitleTranslationInrecentyears,moreandmoreattentionhasbeenpaidtotheresearchoffilmandtelevisiontranslationinEuropeancountries,mainlyinthefollowingaspects:first,theacademicconferenceonfilmtranslationresearchisbecomingmorefrequent:InFebruary2004,theInternationalSymposiumon"Languageconversiononscreen"washeldinLondon,England,whichattractedtheactiveparticipationofhundredsManyacademicviewpointswerepresentedanddiscussedatthemeeting;TheInternationalConferenceonLanguageandMedia,whichisheldeverytwoyearsintheWest,attractstheattentionofmanyscholars,expertsandrelevantpeopleinthefieldoftranslation.Second,filmtranslationresearchinstitutions,organizationsflourish:suchastheinternationaltranslation,theEuropeanFilmandtelevisiontranslationofthemostinfluentialorganizations-EuropeanfilmandtelevisionTranslationAssociation.Iii.EUsupport:In1995,theEuropeanCouncilopenedaspecialforumtoexplorethestudyoflanguageconversionandaudiovisualcommunicationinordertocommemoratethe100anniversaryofthebirthofthefilminFrance.Theimportanceoffilmandtelevisiontranslationresearchinacademiahasbeenstrengthenedsincethen,andeveryyear,theInternationalconferenceheldinEuropewillhavethelatestresearchresultsexchangelecturesinthefieldoffilmandtelevisiontranslation.2.2.2DomesticStudiesonSubtitleTranslationThedomesticresearchperspectiveisnarrowerandthetheoreticalsupportisinsufficient.AsProfessorChanshaochangsaid,"thetranslationindustryattachesmuchlessimportancetofilmtranslationthanliterarytranslation."Atpresent,mostofthejournalsinChinaFocusonthetranslationoffilmtitles,thecurrentsituationoffilmtranslationathomeandabroad,andmostofthearticlesinvolvedinsubtitletranslationareexamples,lackoftheoreticalsupportandin-depth,systematicexposition.Theresearchoffilmandtelevisiontranslationcanbecombinedwithotherrelatedtheories,suchascombiningpragmatics,textanalysis,relevancetheoryandreceptiontheorytoexplorethebasicmethodsofsubtitleanddubbingtranslation,subtitletranslationanddubbing,andtheprocessingofculturalwordsinsubtitletranslation.2.3Studieson2BrokeGirlsThemostimportantfeatureoftheAmericansitcomisthatthereisatleastonelaughingPointineachline，whichisalsowhyitissopopularamongtheaudiences.TomakesureitsChineseaudiencesgetthesameenjoymentasthesourceaudiences，itisnecessarytostudythesubtitlingofitshumorouslanguage.Thisthesisintendstoseehowthesubtitlersdotheirsubtitling.Hence，itmakesthesubtitlingofthehumorouslanguageof2BrokeGirlsasacaseinthestudy.ThisAmericansitcomislargelywelcomedbytheChineseyoungpeople.3.TheoreticalBackground:SkoposTheoey3.1TheDevelopmentofSkoposTheoryIntheteleologicalframeworkofVermeer,oneofthemostimportantfactorsindeterminingthepurposeoftranslationistheaudience-therecipientsofthetarget,whohavetheirownculturalbackgroundknowledge,theexpectationofthetranslationandthecommunicativeneeds.Eachtranslationpointstoacertainaudience,sothetranslationisatextproducedinthecontextofthetargetlanguageforaparticularpurposeandtargetedaudience.Vermeerthattheoriginaltextisonlyasourceofsomeoralloftheinformationforthetargetaudience.Thestatusoftheoriginaltextinteleologyisobviouslylowerthanitspositioninthetheoryofequivalence.3.2ThreeKeyRulesofSkoposTheoryCoherenceprinciplecoherence(coherencerule)thetranslationmustconformtothestandardofintra-verbalcoherence(intra-textualcoherence),thatis,thereadabilityandacceptabilityofthetranslation,whichenablestherecipienttounderstandandmakesenseinthecommunicativecontextoflanguagetranslationanduseofthetranslation.TheFidelityprinciple(fidelityrule)referstotheexistenceofinterlingualcoherence(inter-textualcoherence)betweentheoriginaltextandthetranslation.ThisisequivalenttowhatothertranslationtheoriesarecalledFaithfultotheoriginaltext,butthedegreeandformoffidelitytotheoriginaltextdependsonthepurposeofthetranslationandthetranslator'sunderstandingoftheoriginal.Theprincipleofloyalty(loyaltyprinciple)ThiswasproposedbyNord.Shefoundtwomajorflawsinteleology:firstly,becauseofthedifferencesofculturalpatterns,peoplefromdifferentculturalbackgroundshavedifferentviewsongoodtranslations,andifthecommunicativepurposeofthetranslationrequiredbytheobjectiveprincipleiscontrarytotheintentionoftheoriginalauthor,thenwewillabidebytheprincipleofpurposeandviolatetheprincipleoffidelity.Therefore,heproposedtheprincipleofloyaltytoaddressculturaldifferencesandtherelationshipbetweentheparticipantsintranslationactivities.Inhisview,thetranslatorhasamoralresponsibilitytotherecipientofthetranslationandmustexplaintothemwhattheyhavedoneandwhy.Thisisoneaspectoftheprincipleofloyalty.Theotheraspectoftheprincipleistorequirethetranslatortobefaithfultotheoriginalauthor.Thetranslatorshouldrespecttheoriginalauthorandharmonizethetargetlanguageandtheauthor'sintention.(nord:2001)Therefore,theprincipleofloyaltyfocusesontherelationshipbetweenthetranslatorandtheoriginalauthor,theclientandtherecipientofthetranslation.Hesuggestedthatthetranslatorshouldfollowtheguidingprinciplesof"functionplusloyalty",thusperfectingthetheory.3.3FeasibilityofSkoposTheorytoSubtitleTranslationAsforthestandardoftranslation,Teleologyusessufficiency(adequacy)ratherthanequivalence(equivalence)asthecriterionforevaluatingthetarget.Intheframeworkofteleologytheory,adequacyreferstotherequirementoftranslationpurpose,"intheprocessoftranslation,wechoosetoachievethegoaloftranslation."Thisisadynamicconceptrelatedtotranslationbehavior.Thelanguageofequivalencereferstothesourcelanguage,whichisdifferentfromtheculturalcontextbutrealizesthesimilarcommunicativefunction.Equivalenceisonlyamanifestationofsufficiency,astaticconceptthatdescribestheresultoftranslation.Fromtheaboveanalysis,weunderstandthattheprincipleofcoherenceandtheprincipleoffidelityarenotuniversallyapplicable,intheprocessoftranslation,weshouldusetheprincipleofpurposeandtheprinciplesofloyaltyastheguidance,andappropriateasthecriteriaforevaluatingthetranslation.4.AnExemplificationofSubtitleTranslationfromthePerspectiveofSkoposTheory:ACaseStudyof2BrokeGirls4.1ABriefIntroductionto2BrokeGirls4.1.1CharactersandPlotsThesecondseasonoftheBankruptsistersisasitcomFledeSavitchdirectedbyKateDarleneandBesseBieux.Theepisodetellsthestoryoftwogirlsfromdifferentbackgroundswhohavebuiltupseeminglyunlikelyfriendshipsfortheircommonsuccess.4.1.2ReceptionandPopularityTwoofgirlswithdifferentbackgroundsbuildaseeminglyunlikelyfriendshipfortheircommonsuccess,andtheirimmediatepriorityistomakemoney.It'sgoingtohappen.Maxworkedtwojobsforaliving,oneofwhichwasworkingnightshiftsattheFortWilliamsrestaurant;Caroline,agoodfamily,wasaprincesslivingoutsidethecity,butshehadtobitethebulletwhenbadluckcame.Atfirst,MaxsawCarolinethoughtshewasaclumsyfellowwhohadtotakecareofherself,butthenshefoundCarolinehadtwobrushes.4.2CommonStrategiesfortheSubtitleTranslationin2BrokeGirlsandProblemsSubtitletranslationisdifferentfromordinarytranslationorinterpretation,alsodifferentfromtheearlyfilmdubbingtranslation,filmdubbingtranslationmainlyappearedintheearlyforeignfilmandtelevisionintroduction,translatorsshouldnotonlyconveythemeaningoftheoriginallanguage,butalsotakeintoaccountthespeaker'smouthtone,etc.,toavoidtheemergenceofShongsense.Butthisdubbingtranslationintheintroductionofforeignfilmandtelevisionworksinthepresentmoreandmoreless,theoriginalfilmandtelevisionworksofthevoiceoftheaudiencecanbringbetteraudio-visualeffects,coupledwiththeyoungpeopleasthemainaudienceforforeigntelevisionviewinggroups,moreandmoreEnglish,nowmainlyusedistheformofbilingualsubtitles.Chinesesubtitlesandforeignlanguagesubtitlesappearatthebottomofthescreen,bothtomeettheneedsofthemajorityoftheaudienceforChinesetranslation,butalsotosomeforeignlanguage-literateaudiencetoprovideachoice.Subtitlesappearinthebottomofthescreen,andthe