肖申克的救赎中语言顺应论指导下的字幕翻译

IChapterOneIntroduction1.1ResearchBackgroundandSignificanceForeignfilmsandTVworkshavebecomeincreasinglypopularwithdomesticaudiencesinrecentyears.ApartfromthemarvelousplotsofthemoviesandTVshowsthemselves,thereisnodoubt

as

to

thefunctionofsubtitletranslation.SubtitlesarenotonlyacarrieroflanguageinformationinfilmsandTV,butalsoabridgeforculturalexchangebetweenforeigncountries.Excellentsubtitletranslationcanenableviewersofdifferentlanguagestocrosstheculturalbarrierandenjoytheoriginalwork.Theauthorfindsthathowtoexpressthewordsoffilmcharactersintheappropriateandfluentlanguageandmakethetargetlanguageaudiencereactsimilarlytothesourcelanguageaudiencewhenenjoyingthefilmisverymuchinlinewiththe“dynamicadaptation”inthetheoryofadaptation.Therefore,thispaperusescontextualadaptationtheorytoanalyzethephenomenonofsubtitletranslationinTheShawshankRedemptionanddiscussesitsstrategiesandmethodstoprovidemoreideasandreferencesforsubtitletranslationresearchundertheguidanceoflinguisticadaptationtheory,aswellastohelpaudiencesbetterunderstandthecharacterandculturalconnotationscontainedinthefilm’slines.1.2StructureofthePaperThis

thesis

can

be

divided

into

five

chapters.Chapter

One

introduces

the

present

research,

including

the

background

and

the

significance

of

the

research,

and

the

structure

of

the

thesis.Chapter

Two

presentsindetailthetheoreticalframeworkoflinguisticadaptationtheory,includingthefeaturesoflanguageuseprocesses,theinterplayoflinguisticstructuralobjectsandcontextualrelationsindynamicadaptation.Chapter

Three

presentsthetranslationofdynamiclinguisticstructuraladaptationinthesubtitlesofthefilmTheShawshankRedemption,whichwillbedevelopedintermsofcharacters’languagestylesadaptation,VocabularyadaptationandSyntaxadaptation.Chapter

Four

presentsthetranslationofdynamiccontextualrelationaladaptationinthesubtitlesofthefilmTheShawshankRedemption,whichwillbedevelopedintermsofboththesocialworldandthementalworld.Chapter

Five

draws

a

conclusion

about

the

findings

and

limitations

of

the

research.ChapterTwoVerschueren’sFrameworkfortheStudyofAdaptationIn1987,JefVerschuerenproposedthetheoryofadaptioninhisbookentitledPragmaticsasaTheoryofLinguisticAdaptation,whichillustratedtheunderstandingoflanguageuse.In1999,hefurtherimprovedandcomplementedthetheoryinthearticleUnderstandingPragmatics.Itisa

sort

of

pragmatic

perspective

on

language,

aiming

to

explore

each

respect

of

language

from

a

macroscopical

and

new

perspective.AccordingtoVerschueren,thetraditionalpragmaticsthattakesintentionasthesoledeterminantofmeaningisinappropriate.Becauseinverbalcommunication,expressingintentionisonlyamatterforthespeaker,butitisequallyimportantforthespeakertoexpressmeaningandthehearertounderstandit;andsincecommunicationitselfisanextremelycomplexprocess,meaningcannotbegeneratedbyintentionalone,andtherearetoomanyfactorsinvolved.Therefore,weshouldstudylinguisticmeaningfromcognitive,social,andculturalperspectivesatthesametime.2.1TheProcessofContinuousSelectioninLanguageUseAccordingtoVerschueren’sview,tousealanguageistochooseit,andlanguageisaprocessthatiscontinuouslyselected.Inotherwords,whentranslating,weneedtomakechangesinresponsetothelinguisticcontextofthemoment.Thisprocessofchangeisaprocessoflinguisticselection,whetherforinternalorexternalreasons.Adaptationtheoryisnotonlyapowerfulexplanationoftranslation,butalsoaguidetotranslationpractice,aswillbeseeninthefollowinganalysis.In

short,

the

process

of

language

use

actually

means

that

the

speakers

continuously

make

choicesbetween

the

language

structure

and

the

context

in

order

to

meet

the

communicative

needs.

When

using

and

comprehending

the

language,

people

should

pay

close

attention

to

the

dynamic

adaptation

between

the

language

structure

and

the

context.2.2FeaturesintheLanguageSelectionProcessTousealanguageistochoosealanguage.Theuseoflanguageis,intheendis“acontinuousprocessoflanguagechoice,whetherthischoicewhetheritisconsciousorunconscious,andwhetheritismadeinternalorexternalreasons.”[1]Languagechoiceisdrivenbyreasonsinternaltothelanguage(structural)orexternaltothelanguage;choicecanoccursimultaneouslyatanylinguisticlevel,includingphonology,intonation,vocabulary,syntax,partsofspeech,etc.;choicefromphonologyandintonationtogrammaticalstructure,fromcodetopartofspeech,etc.;speakerschoosenotonlytheformofthelanguagebutalsothestrategyofuse.Onceauserusesalanguage,heorsheisconstantlymakingchoicesaboutitbasedonthethreecharacteristicsthatthelanguageitselfhas.2.2.1TheThreeCharacteristicsofLanguageInAdaptationtheory,languageusersareabletomakeappropriatechoicesbecauseofthreecharacteristics:Variability,NegotiabilityandAdaptability.“Linguisticvariabilityreferstothefactthatitmakeslinguisticchoicespossibleandstipulatesthattheymustbeconfinedtoacertainrangeandcannotbechangedatwill.Thedeliberativenatureoflanguagemeansthatlanguagechoicesarenotmadeinarigidorstrictlyformalway,butofbasedonahighdegreeofflexibility,whichmakeslanguageflexiblebecauseitdoesawaywithmechanicalexpressions.Adaptability,ontheotherhand,buildsonthevariabilityandnegotiabilityoflanguage,allowingthespeakertomakeflexiblechangesfromtheoptionsavailabletomeettheneedsofthecommunicator,dependingonthespecificcommunicativepurpose.”.[2]Thesethreecharacteristicsareinterrelatedandaremainlycharacterizedbyatheoryofadaptation,wherevariabilityandnegotiationaretheconditionsandfoundationsandadaptationisthecentralandfundamentalpurpose.2.2.2FourPerspectivesontheStudyofLanguageItisprecisebecauseofthecharacteristicsofadaptationinlanguageusethatwecancompletepragmaticdescriptionandpragmaticinterpretationfromthefollowingfouraspects.Specifically,theyincludeContextualCorrelates,StructuralObjectsDynamicsandSalienceoftheAdaptionProcess.Amongthem,thecoreoflanguageadaptationtheoryisadynamicadaptation,thatis,thedynamicgenerationofmeaning,whichincludesthevariablescopeofspeechtypesandlanguageusestrategies,whichcanbereflectedfromthetimedimensionandspacedimensionintranslation.Inaddition,thedynamicnatureofadaptationiscloselyrelatedtocontext-relatedpeople,suchasthepsychologicalworld,thesocialworld,andthephysicalworld.Itmeansthatcommunicationparticipantsmustchoosethecontent,occasion,andwayofspeakingaccordingtotheirspecificcontext.Thispaperwillmainlytakedynamicadaptationasabreakthroughtoanalyzetheadaptationphenomenoninfilmsubtitlesfromthetwoaspectsoflanguagestructureandcontextualrelationship.2.3TheInterplayofLinguisticStructuralObjectandContextualRelationsinDynamicAdaptationTheobjectofVerschueren’sadaptationtheoryislanguage.Inthefinalanalysis,languageusersneedtoachievebetterinterpersonalcommunicationthroughlanguageadaptation.Toachievecommunicativepurposes,languagemustachievecontextualadaptation,structuraladaptation,anddynamicadaptation.Context,asthenamesuggests,istheenvironmentinwhichlanguageisused.Contextualadaptationmeansthatthechoiceoflanguageintheprocessoflanguageusemustconformtothecommunicativecontext;Structuraladaptationoflanguageallowstranslatorstomakelanguagechoicesfromaspectssuchaspronunciation,vocabulary,andsentencetothemaximumextent;Dynamicadaptationreferstothecontinuousadjustmentsandchangesmadebylanguagetoadapttovariouscontextsandlanguagestructures,achievingmutualadaptationbetweenlanguagechoicesandcommunicativecontexts.Atthesametime,itisalsotheperfectcombinationofthecommunicator’sadaptationtovariouslanguagelevelsinthestructuralobjectasthecontextchanges,therebydynamicallyexplainingtheadaptiveroleofthecommunicatorintheprocessofselectingalanguage.Whilethesecontentsareaimedatachievingdynamicadaptationinthespecificadaptationprocess,dynamicadaptationisthecoreofadaptationtheory.Inshort,dynamicadaptationistheperfectcombinationofstructuralobjectsandcontextualrelationships.Therearethreemainaspectsofthedynamicadaptationofthelanguageselectionprocess:thetemporaldimension,thecommunicativecontext,andthelinguisticstructure.Adaptationtostructuralobjectsreferstoprinciplesofstructureandcompositionatavarietyoflevelsoflanguage.Thatis,thelanguagestructurementionedaboveincludescontentatthephonetic,grammatical,lexical,syntactic,andtextuallevels.Dynamicadaptationofcontextualrelationscomprisesthreeaspectsofadaptationtothemental,social,andphysicalworldsofbothcommunicators.Verschuerenbelievesthatintheprocessoflanguageusebetweenthetwosidesofcommunicationproducesthecontext,whichisconstantlychangingandupdatingwiththedevelopmentofthecommunicativeprocess,ratherthaninthecommunicativeoccurrenceisgiven,weshouldfocusontheprocessofproperuseandhandling.ChapterThreeDynamicLinguisticStructuralAdaptationintheTranslationofTheShawshankRedemption3.1AdaptationofCharacters’LanguageStylesThelanguagestyleoftenreflectsthepersonalitycharacteristicsofthecharactersinthefilm.Intheprocessoftranslation,itisnecessarytoadapttothecharacteristicsofthecharacters’languageandtranslateaccordingly.Intheprocessoftranslation,weoftenencountertheproblemofthelanguagestyleofcharactersinfilms.Whenwetranslatethelanguagestyleofafilmcharacter,wemustfirstunderstandthelanguagecharacteristicsofthatcharacter,thenanalyzeandunderstandthecharacter’slanguagecharacteristics,andtranslateonthisbasisinordertomakethetranslationmoreaccurate,fluentandsmooth.Linguisticadaptationtheorysuggeststhatlanguageuseisaprocessofcontinuousselection,sointhetranslationprocess,thetranslatorhastotranslateagainstthedifferentcharacteristicsofdifferentcharacters.Thismeansthatthetranslatorneedstotranslateagainstthelinguisticcharacteristicsofthecharacterstoensureadapttothecharacters.3.1.1Brooks’CharacterTraitsBrooks:Ihavetroublesleepingatnight．IhavebaddreamslikeI'mfalling．Iwakeupscared．SometimesittakesmeawhiletorememberwhereIam．MaybeIshouldgetagunandrobtheFood－Way，sothey’dsendmehome…I’mtiredofbeingafraidallthetime．I’vedecidednottostay．译文：布鲁克斯:晚上我睡不好，常做噩梦，梦见跌落无底深渊，惊醒过来，有时半天才想起自己身在何处，也许我该弄把枪去抢劫超市，好让他们送我回家……我不喜欢这里，我厌倦了成天担惊受怕，我决定离开。Brookshasspentmostofhislifeinprison,andthislineisBrooks’lastwords.Afterhisreleasefromprison,hesimplycouldnotintegrateintotherapidlydevelopingandchangingsociety,sohefinallychosetoendhislifebyhanging.Inmyopinion,thetranslationhereisveryconsistentwithBrooks’charactertraits.Comparedtootherprisoners,BrooksisaculturedmanwhomanagesShawshank’slibrary,soitisnecessarytomakeadistinctionbetweenhisspeakingstyleandotherswhentranslating.The

translatorof

“I'm

falling”,

for

example,

didnot

select

aliteraltranslation,but

rather

translateditas

“falling

intothebottomlessabyss”whichfullyreflected

Brooks’

feelings

of

hopelessness

aboutlife.Thetranslatorof“I’mfalling”,forexample,didmotselectaliteraltranslation,butrathertranslateditas“fallingintothebottomlessabyss”whichfullyreflectedBrooks’feelingsofhopelessnessaboutlife.“Beingafraid”

istranslatedbythetranslatoras“担惊受怕”,Thetranslationofthewholeparagraphachievestheadaptationofcharacterizationandlanguagestyle.3.1.2Wardens’CharacterTraitsTheWarden:Ibelieveintwothings，discipline,andtheBible．Hereyou’llreceiveboth．Putyourtrustinthelord．Yourassbelongstome.译文：典狱长：我只相信两件事，纪律和《圣经》。在这里你们两样都少不了。把你们的信仰寄托于主，把你们的贱命交给我。Thewardenisasymbolofpower,andhissubordinatesareall“extremelyguilty”people.Therefore,hisspeechmusthaveasenseofauthorityandoppressiontomaketheprisonerscomply.ThewardenequateshimselfwiththeBible,sowhentranslating,itisimportanttoreflecthisaloofstanceandbegenerouswithoffensivevocabulary.“You’llreceiveboth.”Ifwetranslateliterallyfromwordtoword,itseemstooprosaic,andthetranslationherecanestablishtheimageoftheprisonwardenasarrogant,givingasenseofgenerosityfromtoptobottom.“把你们的贱命交给我”thisphraseisextremelyinsulting,andthetranslationmadeherefitsthecharacterofthewardenperfectlyimage.Inafewseconds,thetranslationofthesetwosentencesdepictstheimageofthecaretaker,settingthestageforthesubsequentplot.3.2VocabularyAdaptationAdaptationtheorypointsoutthatwhenwetranslatesubtitles,thetranslatordoesnotneedtosticktotheformatandcross-translatewordbyword,butneedstofindwordsinthetargetlanguagethatareclosetoitssemanticsandmakesynonymoussubstitutionsforit,sothatthetargetlanguagebecomestheaudiencelanguage.Thetargetlanguageaudiencecanmaketheaudienceunderstandthemeaningofthemoviedialogueanddynamicallyadaptthewordsaccordingtothespecificsituation.VocabularyAdaptationreferstotheadjustmentofsubtitlesduetowordgapsinthetranslationprocesscausedbytheinequalitybetweenEnglishandChineseatthelexicallevel.Toachievevocabularyadaptationmeansthatthetranslatormustchoosetherightlanguage,andsincethereisoftenadisparitybetweenthemeaningsofwordsinEnglishandChinese,itisworthwhileforthetranslatortoconsiderhowtochoosethewordsinthesubtitletranslation.3.2.1DoubleEntendreAndy:There’ssomethinginsidethattheycan’tgetto，thattheycan’ttouch．It’syours．译文：安迪：有些东西，在你心里，他们无法夺走，他们无法触碰。那是属于你自己的。AndywasclosedforaweekafterheplayedItalianoperainviolationofregulations,buthestillenjoyedafewminutesbeforehehadbeenfree.Sohiswordswerefulloflongingandhope,butRedwascompletelytheoppositeofhim.HehaskindlypersuadedAndy,butitjustprovedthathehadbeencompletelyassimilatedbythesystem.Inthisdialogue,thewords“inside”appearedinthelinesofAndyandRed.ThetranslatortranslatedAndy's"inside"as“心里”andtranslatedRed’s“inside”as“这里”(Referstoprison),thetranslationhereseemstobepoor.Accordingtothefrontandbackscenesandpicturesofthemovie,Red’s“inside”hereisadoubleentendre,whichreferstoboththeprison.Hebelievesthathehopesthatnomatterwhereitisuseless.Everywhereisuseless.“It’sgotnouseontheinside”shouldbetranslatedas“它在心里没有用，更何况在监狱中”。3.2.2SynonymousSubstitutionTheShawshankRedemptionisa

crime-themedAmericanfilm.Whileretainingthemiddle-classAmericanculture,weshouldhighlighttheoppressiveatmosphereofprisonsandtheexpressionofpeople’sspeakingstylesfromthebackgroundmusictotheactor’smonologues.Sir:Weseeyou’veserved20yearsofalifesentence.Sir:Youfeelyou’vebeenrehabilitated?译文：狱警：你因被判终身监禁已在此二十年了吗？狱警：你改过自新了吗？Theabovedialogueoccursatthebeginningofthemovie,buthisbailisrejectedtoday,20yearslater.“Rehabilitate”alsosettledRed’ssituation.Thelastsentence“ILearnedMyLesson”wastranslatedas“我吸取了教训”,butthetranslatorreplaceditwithsynonymsaccordingtotheneedsoftheplot.Sucharewriteisveryattractivetotheaudience,whichcanmakethemfeelRed’sdeephelplessnessandregret.Atthesametime,suchatranslationretainsthesourcestyleofthefilm,andtheplotistightandinfectious.Ouraudiencescanunderstandtheemotionsthattheactorisexpressedinaveryshorttime.3.2.3AmplificationAdditionalmethod

of

translation

involves

replacing

or

supplementing

partsthatexistinthetargetlanguagebutarenotclearlyexpressedor

are

unable

to

findcorrespondingblood

components

inthetargetlanguage.

The

culturaldifferencesbetweenChinaandtheWest

mean

that

theChineseaudiencedoesnotknowenoughaboutmanyWesternphenomenaor

noun

phrases,sowhentranslatingthemthey

need

to

addsomeinformation

in

order

for

theaudience

to

fullyabsorbtheconnotationoftheoriginaltext.

Rather

than

lookingatwhat

we

don’t

knowfor

much

longer.It’sBrooks.译文:布鲁克斯出事了。HeywoodwasveryhappytohearthatBrooks’parolepassed,andherantosaygoodbyetohim,buttohissurpriseBrookswasnotveryhappyaboutit,insteadheactedsosadthathehadtoputaknifeonHeywood’sneck,inavainattempttostayinthelibrarybydoingso.Thereisnoverbintheoriginalline,ifdirectlytranslatedas“是布鲁克斯”,thenthisdoesnotconveythemeaningofthefilmtoexpress,butalsoconfusetheChineseaudience.Therefore,thetranslatoraddedaverb“somethinghappened”,sothattheaudienceinstantlyunderstoodthemeaningandhadafurtherunderstandingoftheplot.OmissionOmission,alsoknownassubtractionorellipsis,referstotheomissionofsomeinsignificantwordsorwordswithrepetitivemeaningsfromtheoriginaltext.Thismethodcanbeusedfortonewordsappearinginsubtitlesorinformationunrelatedtotheplot.SubtitlesaretextthatflashesatthebottomofthescreenandIsaisisaspecialformoftexttranslation.[6]Thespaceitoccupiescannotaffecttheaudience’sappreciationofthefilm.Therefore,ingeneral,subtitleshaveonlyoneline,andthenumberofwordsperlinecannotexceedtheallowablerangeofscreenspace.Therefore,thetranslatormustconveythefilminformationtotheaudienceinalimitedspacewithoutaffectingtheaudience’sunderstandingofthefilm.Thistranslationmethodusuallyomitsunnecessarypunctuation,repetitivewords,andinformationirrelevanttothetargetlanguageaudienceinsubtitles,therebyachievingeffectivetransmissionofinformationandenablingtheaudiencetobetterunderstandtheplot.Red:Thattalldrinkofwaterwiththesilverspoonuphisass.原译文：那个面带富贵相的大个子。Thedirecttranslationisasfollows:“他屁股上沾着银勺的那杯高高的水”.Whyistherewaterhangingontheirbuttocks?Therefore,accordingtothelinesoftheplot,thetranslatoradoptsthedeletionmethodtodirectlydeletetheuselessparts,namely:drinkingwater.Thecorepart“tall,silverspoon”isdirectlyretained.“Silverspoon”heremeans银汤匙.InChina,thewordisendowedwithculturalconnotations,symbolizingwealthandhonor.Therefore,herethetranslatorcaterstoChinesecultureandtranslatesitas富贵.Thisexampleembodiestheculturaladaptationofadaptationtheoryinlanguagestructure.3.3SyntaxAdaptation3.3.1LiteralTranslationInTheShawshankRedemption,apopularfilm,someofitslanguagesareeasytounderstand,andmostofthedialogueinthefilmtakesplaceinprisons.Duetoclasslimitations,mostofthecharactershavenotreceivedagoodeducation,somanydialoguesareconciseandsimple.Inthiscase,theliteraltranslationisthemostappropriatetranslationmethod.Hopeisagoodthing,maybethebestofthings,andnogoodthingeverdies.译文：希望是美好的，也许是人间至善，而美好的事物永不消逝。Letmetellyousomethingmyfriend:Hopeisadangerousthing.Hopecandriveamaninsane.译文：听我说，朋友，希望是件危险的事。希望能叫人发疯。InthetranslationofTheShawshank’sRedemption,mostoftheliteraltranslationisthedialogueofthecharacters,whichissimpleinwordsandsimpleingrammar,sothereisnoneedtochangetheformofthetranslationandthemeaningoftheoriginalcanbetranslated.Inthisway,thetranslationnotonlyretainstheshapeoftheoriginaltextbutalsoconveysthemeaningoftheoriginaltext,soliteraltranslationisthemostappropriatetranslationmethod.3.3.2FreeTranslationFreetranslationallowstranslatorsgreaterfreedomtobypasstheconstraintsofsubtitleformsandadoptformsthataremoreinlinewithaudiencehabitstoconveycontent.Therefore,theadvantageoffreetranslationisthatitcanfacilitatetheaudienceandmakeiteasierfortheaudiencetounderstandtheoriginalcontent.Wesatanddrankwiththesunonourshouldersandfeltlikefreemen.译文：阳光洒肩头，仿佛自由人。Thissentenceadoptsfreetranslation,whicherasesthesubjectinEnglishandturnsitintoasentencewithoutasubjectinmodernChinese.Althoughtheformoftheoriginaltextisdiscardedinthetranslation,thesituationoutlinedbyafewsimplewordsisnodifferentfromthatoftheoriginaltext.Thistranslationmethodofsimplifyingandsimplifyinghighlightsthetranslator’sChineseknowledgemorethanthecorrespondingfreetranslationofonewordandonesentence,andatthesametimenarrowsthedistancebetweenreadersandthetext.3.3.3NegationOnthenegativeside,somepositiveexpressionsinEnglishmaybetranslatedintoChinese,orthenegativeaspectinEnglish,andthepositiveaspectinChinese.Inadoptingbothpositiveandnegativetranslation,theultimategoalistomakethetranslationmoreintunewiththetargetlanguage’shabitsofexpression.ItoldherIwouldnotgrantone.译文：我拒绝离婚。Thissentenceistranslatedinnegation,insteadofdirectlytranslating“notgrant”into“不同意”,itistreatedasasynonymous“拒绝”.EventhoughAndywasveryangryatthetime,hisangerwasrestrained,inlinewithhischaracterization.Suchtranslationtreatmentisinlinewiththebackgroundofthetime.ChapterFourDynamicContextualRelationAdaptationintheTranslationofTheShawshankRedemptionSocialWorldAdaptationThe

social

world,

according

toadaptationtheory,referstotheprinciplesandnorms

according

to

which

socialsituationsandthesocialenvironmentregulatethespeechactsofcommunicators.

Thelanguagechoicesofcommunicatorsmustconformtothecommunicationnormsofsocialsituations,socialenvironments,andlanguagecommunities.

Thus,whendiscussingcontextualadaptation,oneshouldnaturallyincludeculture.Thetranslationstrategiesweoftenemployinfilmsubtitletranslationareforeignizationanddomesticationstrategies,whichbothattempttoremoveculturaldifferencesbetweenthesourcelanguageandthetargetlanguageaudienceindifferentcontextstoachieveagreateradaptiveeffect.Suchadaptationsaredynamicandever-changing.4.1.1ForeignizationForeignizationreferstotheprocessoftranslationinwhichthetranslatortriestoapproachtheoriginalauthorascloseaspossible,retainingthestyleoftheworkitself,andallowingthetargetlanguagereadertoexperiencethecharmofforeignculture.UncleSamputshishandinyourshirtandsqueezesyourtittillit’spurple．Alwaysgettheshortend．That’safact．译文：“山姆大叔把手伸进你的衬衫，直到把你掏得一干二净!这就是事实!”Whentherearesignificantdifferencesinlanguageandculturethatmaketheinformationinthesourcelanguageincomprehensibletothetargetlanguagereader,considerationshouldbegiventoreplacingitwiththecultureofthetargetlanguage.Theexportoffilmshasboththepurposeofearningboxofficeandtheconsiderationofculturaldissemination.Audiencesappreciateforeignmoviesnotonlytoappreciatetheplotandcontentbutalsotogainanunderstandingofforeignlanguagesandcultures.Forthispurpose,ifthecultureinthesourcelanguagehasbeenwidelycirculatedandcanbeunderstoodandacceptedbythetargetlanguage'sreaders,thentheoriginalculturalinformationshouldberetainedduringtranslation.Asmentionedabove,UncleSamisanicknameoftheUnitedStates,especiallytheUnitedStatesgovernment.Withthisinformationalreadyknowntous,ifwetranslatethisinto“theUnitedStatesgovernmentreachesintoyourshirt,”itnotonlylosesitsoriginalcolorbutalsolosesthesenseofhumorintheoriginaltext.Therefore,adoptingthemethodofalienationmeetstherequirementsofadaptationtheory.4.1.2DomesticationGiventhedifferentculturalbackgroundsbetweenChinaandtheUnitedStates,forChineseaudiencestobetterunderstandthefilm,itisoftennecessarytoadoptanaturalizationapproach,adapttothethinkinghabitsandexpressionsofChineseaudiences,andincorporatesomeChineseelementswhennecessary.DomesticationtranslationDomestication,byimplication,stipulatesthatthetranslatorneedstospeaktoeachotherandthereaderofthetargetlanguageandthatthetranslatormustspeaklikeanativespeaker.Thecontentofthemovieisreproducedusingexpressionsthatarerelativelyclosetowhatthetargetlanguageisusedto.Thepurposeofthisistohelpthereaderbetterunderstandthemoviecharacters.Terriblefuckingluck?huh.Cryingshame.译文：过路财神，真够倒霉的！Andyandseveralofhisprisonfriendsweresenttoworkwhentheyoverheardseveralprisonofficialsdiscussingthepaymentoftaxes.Thechiefguardreceivedagenerousinheritance,butaccordingtoAmericanlaw,hewasrequiredtopayalargeamountoftaxes.Insuchascenario,translatingitinto“PassingGodofWealth”canmoreresonatewiththeChineseaudienceandbevividandprecise.PutyourtrustintheLord.Yourassbelongstome.译文：把信仰交给神，把贱命交给我。ThisisWardenNorton’smottofornewprisoners.Theword“ass”herereferstothewholebody.Ifitisvulgarandindecenttotranslateitdirectly,itisbettertochangetheconceptandtranslateitinto“despicablelife”tobetterreflectthewarden’shypocriticalface.4.2MentalWorldAdaptationTheso-calledpsychologicalworldincludescommunicationonbothsidesofthepersonality,mood,andcognitiveandemotionalfactorssuchasdesireandintention.4.2.1TranslationoftheFilmTitleTheShawshankRedemption译文：肖申克的救赎“Shawshank”isthenameoftheprisoninthismovie,andistheplacewhereAndywasdetained,mainlyincluding“肖申克”and“鲨堡”.SuchatranslationismostlikelytoconfuseChineseviewers,who,withlittleknowledgeofforeigncultures,willthinkofnamesorsimplynotunderstandtheword“Shawshank”whentheyfirsthearit.Infact,“鲨堡”isnotjustphysicalprison,alsoreferstotheintangible“prison”,namelytheinstitutionalizationoftheinnerworld.Intheprocessoftranslatingfilmtitles,wecandirectlytranslatetheminsteadofchoosingthefreetranslationmethod,firstly,toavoidmisunderstanding,andsecondly,dire