The Use of Domestication and Foreignization in Chinese Subtitles

魏樂儀

摘要：中國近年來開放程度越來越高，與世界的聯(lián)系愈加密切，中國文化也在世界廣泛傳播，其中就包括中國的電影，因此，電影字幕的翻譯十分重要。在字幕翻譯中，歸化和異化是處理文化差異十分常用的兩種方式，使來自不同文化背景的觀眾能夠理解電影的內(nèi)容。鑒于對中國電影的字幕翻譯研究較少，本文會對此進行論述。本文選取了兩部在中國廣受歡迎的電影《哪吒之魔童降世》及《哪吒之魔童降世》并對其字幕英文翻譯中歸化與異化的應(yīng)用進行研究。希望此研究能為中國電影字幕英文翻譯中歸化與異化的運用提供新的思路，從而提高字幕翻譯的可看性，促進中國電影的傳播。

關(guān)鍵詞：字幕翻譯；歸化；異化；《哪吒之魔童降世》；《哪吒之魔童降世》

Abstract：With Chinas increasing degree of opening and more links to the world, Chinese cultures, including Chinese films, have been widely spread. Therefore, the translation of subtitles of the films are of great significance. In subtitle translation, domestication and foreignization are two frequently-used ways to deal with cultural difference [2], enabling it to be understandable to people from other background. Due to the lack of researches on subtitle translation of Chinese films, this essay will focus on this field. Two popular Chinese films, Nezha and The Ghouls, are selected and the English translation of their subtitles will be analyzed from the aspects of domestication and foreignization. It is hoped that the analysis can give some insights on ways to apply these two methods in Chinese subtitle translation, so as to improve its comprehensibility and facilitate spreading of the films.

Key Words: subtitle translation; domestication; foreignization; Nezha; The Ghouls

1. Introduction

With the development of the filmdom and globalization, increasingly more films have been produced and spread all over the world observed by different people, which result in the importance of subtitle translation. Only when the subtitle is translated properly can the audience under different background understand and appreciate the film. In recent years, Chinese filmdom has become more prosperous, with not only many foreign films being introduced in our nation [1], but also the domestic ones spreading to the world. This raises heated discussions on how to make subtitle translation be of high-quality, many of which focus on the application of domestication and foreignization, two common ways in translation especially when different cultural features are dealt with [2]. However, while a number of researches attend to the use of the two ways in Chinese translation of the subtitles in foreign films, there are relatively few pay attention to translation of subtitles in Chinese films, which are actually essential for international spreading and development of our films. Therefore, this paper will focus on conditions of applying domestication and foreignization in two popular Chinese films, Nezha and The Ghouls by analysis of their subtitle translation to English. It is hoped that the case study can provide some insights into subtitle translation in Chinese films especially from the ways of domestication and foreignization, thus benefiting their spreading and development.

2. Domestication and Foreignization

Domestication and foreignization are common concepts in the field of translation. They can be regarded as an expansion of literal and free translation but discussed more from the aspect of culture rather than the linguistic form [2]. In Venutis The Translators Invisibility [3], he proposed the two terms, saying domestication is a method “bringing the author back home” and foreignization “sending the reader abroad (p.15)”. In other words, the former aims to adjust the features of source language with the goal to make it understandable and familiar to target audience but may be at the cost of the unique cultural features of the source language, while the latter tends to keep the original features as much as possible, even sometimes the audience may have alien experience of the translation [4] [5]. Due to their features, they are used in subtitle translation under different conditions for various purpose and functions. In the following sections, different conditions in which domestication and foreignization are used in the two films Nezha and The Ghouls are summarized, which are expected to offer helpful guidance for subtitle translation.

3. Application of Domestication and Foreignization in Nezha and The Ghouls

3.1 Application of Domestication

3.1.1 Names, Titles and Appellations

In Nezha and The Ghouls, there are many titles and appellations with strong local cultural colors that are difficult for audience from another cultural background to understand. In terms of these, domestication is commonly applied to make them more understandable.

1.? “這可是我們清朝慈禧太后老佛爺?shù)呐阍帷！?(The Ghouls)

Translation: “These are treasures from the tomb of Empress Dowager Cixi.”

“太后” “老佛爺” are titles in Qing Dynasty in ancient China referring to mother of the present emperor whose father, the previous emperor, already passed away. The foreign audience is likely to be confused about the titles if the special elements are not dealt with properly, especially for “老佛爺”, which is originally from Manchu language and is unrelated to Buddhism or grandfather. Translation in subtitle should have popularity since the audience is the general public, who is likely to lack technical and professional background to comprehend special cultural elements [5] [6]. In this case, domestication assist in understandability through the use of Empress Dowager.

Apart from these, there are other cases for applying domestication in titles and appellations. For example, in The Ghouls, the main character is called “凱爺”. “爺”, in some cases is used to show respect in China instead of blood relationship as in many other cultures. Therefore, the translation is “Mr. Wang”.

Apart from appellations of people, domestication is also seen in translation of names with strong cultural loads. One example is “Bridge of death” for “奈何橋” in The Ghouls, which are more accessible for foreign audience.

3.1.2 Cyber Words

With the development of Internet, nowadays more and more cyber words, which are used based on the unique local language and cultural background, appear in subtitle of films [5]. Their uniqueness gives rise to the constant use of domestication, which could facilitate comprehension of the meaning. For example,

2.? “哥都憋出病了！” (Nezha)

Translation: “I am going mad!”

3.? “有錢牛逼啊” (The Ghouls)

Translation: “You think you are something?”

3.1.3 Dialects and Vulgarisms

China is a multinational country with vast territory and diverse cultures. There are various dialects and vulgarisms in different areas, which are also unique in Chinese language. In the two films, most of them are translated through domestication.

4.? “巴適！” (Nezha)

Translation: “good stuff!”

5.? “腦殼兒昏！” (Nezha)

Translation: “I cant think clearly!”

6.? “虹大師啊，求你救救我這仨鐵磁啊。” (The Ghouls)

Translation: “Master Hong, I beg you to save my three best friends.”

7.? “別在這掰扯。” (The Ghouls)

Translation: “Period.”

The first two examples are from Sichuan dialect and the last two are from Beijing, which are full of local cultural features difficult to be understood by outsiders. Therefore, domestication is used for better comprehension to the audience.

8.? “丟人丟到家了。” (Nezha)

Translation: “Thats so embarrassing.”

9.? “妖就是妖，狗改不了吃屎.” (Nezha)

Translation: “Demons are demons. They cant change their nature.”

10.? “你還被蒙在鼓里呢.” (Nezha)

Translation: “You have been kept in the dark.”

11.? “這煮熟的鴨子咱不能又讓它這么飛了.” (The Ghouls)

Translation: “We cant let this treasure slip!”

There are also various vulgarisms used in the two films representing specific meanings that may not be accessed easily. In 11, “煮熟的鴨子” means “the boiled duck”, but the literal translation is likely to cause confusion and not suitable to be used alone since it does not refer to the real duck but objects that should have been easily acquired, and in the film, it refers to treasures. In terms of this, there is another proposal that annotation can be amplificated for explanations, which could result in maintenance of both original cultural elements and understandable expressions [7]. However, one of the features for film subtitle is that it is limited by time and space because it can merely be showed on screen within certain time. Therefore, long sentences such as “We cant let the boiled duck fly (this is a Chinese vulgarism means the treasure cannot be let slipped here)” could produce negative viewing experience for audience. Therefore, despite the cost of original cultural features, free translation is applied. In J, similarly, domestication is used but through corresponding translation. “be kept in the dark” is an existing expression in English with similar meaning as the Chinese one in the subtitle. In the films, corresponding translation can also be seen as a common way for domestication (see 12,13,14). Apart from the effect of meaning delivery, it could make the language more vivid.

12. “閉嘴知不知道什么叫細節(jié)決定成敗.” (Nezha)

Translation: “Shut up! Dont you know the devil is in the details?”

13. “不，你敞開了玩！” (Nezha)

Translation: “No, give it your all!”

14. “墓主為防盜設(shè)下的致命機關(guān),對他們來說，都不費吹灰之力.” (The Ghouls)

Translation: “To escape the deadly traps is no more than a piece of cake for the Mojins.”

3.1.4 Verses, Classical Forms, Formulas and Curses

In the two films which are mythological, formulas and curses are frequently seen. For example,

15.? “日月同生，千靈重元，天地?zé)o量乾坤圈，急急如律令.” (Nezha)

Translation: “Power of the cosmos, weight of a thousand souls, boundless span of the earth, qiankun hoop, obey my order.”

16. “天王蓋地虎，寶塔鎮(zhèn)河妖.” (The Ghouls)

Translation: “The heavenly god overpowers the tiger on the ground. The holy tower suffocates the ghost on the river.”

17. “尋龍分金看纏山，一重纏是一重關(guān).” (The Ghouls)

Translation: “To seek the Dragon through obstacles, each obstacle is a gate.”

The formulas and curses presented are mysterious with unique Chinese elements, full of contractions, symbols and rhyming. These characteristics make comprehension difficult to be achieved under literal translation, thus domestication is necessary to lead to direct and clear meanings, though sacrificing the beauty of forms.

18.? “唯有犧牲多壯志，敢叫日月?lián)Q新天.” (The Ghouls)

Translation: “Only the greatest ambitions and sacrifice can take us a brand-new world.”

19.? “雄關(guān)漫道真如鐵，而今邁步從頭越.” (The Ghouls)

Translation: “The long journey Ive been through is still here, and now I am coming back to the start.”

20.? “徒兒, 事到如今，如之奈何.” (Nezha)

Translation: “Aobing, now that things have come to thus, nothing more can be done.”

21.? “殺人不眨眼，吃人不放鹽.” (Nezha)

Translation: “I kill without blinking; I eat without thinking.”

The common use of domestication on verses and classical forms has similar functions. Despite the lack of rhymes, antithesis and classical forms which are typical features of verses in 18, 19 and 20, meanings are expressed more clearly and easily.

Compared with 18 and 19, 21 is different to some extents since the source text is not a traditional verse but a ragged one created by the main character himself with self-irony. In its translation, “without thinking” is used for“不吃鹽”, which in the verse means eating people cruelly. This domestication not only facilitates audiences understanding but also maintains the antithesis and rhymes, thus expressing the intention of self-irony.

3.1.5 Others

Apart from the above cases, there are other subtitle in the film using domestication for translation. Examples like:

22. 胡八一： “你們先走，我斷后.”

王凱旋： “再不走就絕后了.” (The Ghouls)

Translation: Hu Bayi: “you guys go first! I take care of the rest.”

Wang Kaixuan: “The rest? Youd better take care of yourself.”

23. “胡八一這孫子已經(jīng)徹底叛變革命了!” (The Ghouls)

Translation: “Hu Bayi son of a bitch has betrayed us!”

The words in the subtitle are of strong Chinese cultural features. “絕后” means that one cannot have heirs for special reasons. In China, especially in ancient times, it was considerably serious. In the film, Wang Kaixuan uses this to express the seriousness of staying. However, there may be no such concepts in other cultures, thus audience being difficult to realize the influence of not running away from the hunt. In addition, there is the same pronunciation in the last words of“斷后” and “絕后”, which forms a rhyme for humorous effect. Though the end rhyme is hard to achieve, “take care of” is repeated, not only to express the meaning but also serve as compensation for the rhyme. Similarly, in 23, “叛變革命” originated during 1920s-1960s in China when there was a series of revolutions and betrayals. Nowadays it is commonly used for betrayals of all kind. Without accumulation of the history, audience may have misunderstanding and confusion about the expression. Therefore, domestication in the translation in which the special word “革命” is omitted for better understanding of the meaning.

24. “今天，戊辰年丙辰月，辛丑土危開日，西北，危月燕兇，六曜先負，辛不合醬丑不觀帶，忌交易入倉，相親結(jié)婚.” (The Ghouls)

Translation: “According to Fengshui, today is not a good day for trade, or marriage.”

The subtitle is complicated with words from Fengshui, a special way for divination in China. The words are likely to be complex and of little meaning for audience who do not master the field. Besides, if they were all translated, the subtitle would be too long. Therefore, for better comprehension and simplicity, words like “戊辰”? “丙辰” is omitted and replaced by “according to Fengshui”.

4. Foreignization

Compared with domestication, foreignization is less used. Due to maintenance of the original cultural features of the source language, comprehension, which is an important characteristic of subtitle translation [4] [6], may be unattainable. However, in some cases its application is necessary.

4.1.1 Names of characters and places

There are many names of characters and places appearing in the films which use foreignization for translation because they are too unusual to have replacement and can be understandable by their properties. For example, in 24 and 26, transliteration is used to translate “太乙真人“ and “哪吒”. Even though they are new concepts for the audience with special cultural elements, the comprehension is not affected with audience knowing that they are names of the master and the main character in the film respectively.

25.? “萬人景仰的太乙真人”? (Nezha)

Translation: “the revered taiyi zhenren.”

26.? “哪吒”? (Nezha)

Translation: “Nezha”

27.? “昆侖” (Nezha)

Translation: “Kunlun”

28.? “吾乃乾元山金光洞….”? (Nezha)

Translation: “I hail from the cave of golden light on mount qianyuan…”

4.1.2 New concepts

New concepts are unlikely to be avoided in films, especially for the non-realistic ones characterized by creativity. For example,

29.? “摸金校尉” (The Ghouls)

Translation: “mojin xiaowei”

30.? “虛空之門” (Nezha)

Translation: “The void portal”

31? “魔丸” (Nezha)

Translation: “demon pill”

The ways of foreignization applied present the creation originally, enabling the audience to experience the culture. Besides, the meaning is not sacrificed. In 29, “摸金校尉” is the name of the three-people group, which is already explained, while literal translation of 30 and 31 is also understandable.

4.1.3 Others

32.? “我和老王響應(yīng)上山下鄉(xiāng)號召到內(nèi)蒙草原插隊.” (The Ghouls)

Translation: “Wang and I relocated ourselves in Inner Mongolia for “Up to the Mountain and Down to the Countryside.”

33.? “現(xiàn)在世道不一樣啦, 婦女能頂半邊天吶.” (The Ghouls)

Translation: “This world has changed now – ‘woman hold up half the sky.

With globalization and culture spreading, more Chinese elements are known to the world, under which foreignization places no obstacle for comprehension. In 32, “上山下鄉(xiāng)” is a policy in 1950s-1960s calling for the urban educated working in remoted mountains and countryside to assist the development. This policy originated from the Soviet Union and has become well-known to the world. Therefore, the foreignization used is comprehensible and also can show the audience unique cultural elements. Similarly, most audience are familiar with the expression “婦女能頂半邊天” and the corresponding translation exist in their cultures.

5. Conclusion

The paper aims to research the use of domestication and foreignization in two films Nezha and The Ghouls, which are two commonly used ways to deal with cultural differences in subtitle translation. It can be observed that domestication is more frequently applied and can be seen in translation of various aspects including appellations, cyber words, dialects and vulgarisms, verses, formulas and curses mainly for better comprehension and simplicity, while foreignization is mainly applied in names of characters and places, new concepts created and other widely-spread elements. The case study is expected to give insights to subtitle translation of films which are likely to be spread around the world in terms of use of domestication and foreignization.

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