- 學位論文
新加坡與台灣當代閩南語電影字幕對比分析
Comparative Analysis of Southern Min Subtitling Practices in Contemporary Singaporean and Taiwanese Films
摘要
新加坡與台灣的中文電影，除了華語/國語對白之外，也經常出現兩地的閩南語(即福建話與台語)。雖然閩南語和華語同屬中文語系，兩者的詞彙有明顯的差異，部分閩南語詞彙沒有標準中文的對應詞彙，有些甚至沒有書面文字，因此譯者在翻譯電影閩南語對白的過程，往往碰到許多困難之處，如當地的文化特有詞彙、幽默與語域的表現等等。翻譯學學者指出，譯者在翻譯方言時，通常會把原文裡的非標準字詞改為譯入語的標準字詞。來自不同國家的譯者處理這些問題的方式有相同之處，也有差異。經分析，本研究發現新加坡電影《大世界》的字幕符合此策略，大部分以標準華語為主，相較之下，台灣電影《大稻埕》的字幕，出現較多非標準詞彙和漢字。兩部電影的譯者利用的翻譯策略雖有相似點，但也有不同。翻譯策略的差異，可歸因於閩南語在兩地的不同背景、環境與現狀(閩南語在台灣是強勢語言，在新加坡則是於過去幾十年失勢的語言)，也可歸因於兩個地區電影不同的目標觀眾群。《大稻埕》的目標觀眾群是諳台語的觀眾，而《大世界》的字幕得照顧到不熟悉福建話詞彙的人。為探討初步的研究發現是否限於以上兩部電影，此研究也另外分析了六部新加坡和台灣電影的字幕，發現了一些例外。然而，台灣電影字幕的非標準詞彙比新加坡電影字幕多，這個趨勢依然可以在大部分的電影中觀察到。
並列摘要
Chinese language movies from Singapore and Taiwan often feature dialogue in their respective Southern Min ‘dialects,’ Hokkien and Taigi, in addition to spoken Mandarin, on which Modern Standard Chinese is based. The vocabularies of Southern Min and Mandarin differ significantly, despite the fact that both are classified as Chinese languages. Many Southern Min words do not have corresponding words in Mandarin; and some words do not have written characters. As a result, subtitlers translating Southern Min dialogue into Modern Standard Chinese face a range of challenges. These challenges include culture-specific references, humour and register. Some scholars in translation studies state that the norm for translating non-standard, oral or low-register forms of language, including dialectal particularities, is to adopt a standardising strategy by replacing these non-standard forms in the source language with standard forms typical of the written language. This is termed the ‘homogenising convention.’ However, the linguistic contexts of Southern Min are different in Singapore and Taiwan, therefore subtitlers from these two countries may or may not adopt the ‘homogenising convention.’ The subtitlers of the Singaporean movie It’s a Great Great World adopted it much more than their counterparts for the Taiwanese movie Twa-Tiu-Tiann. It’s a Great Great World used mainly Modern Standard Chinese terms, in line with the homogenising norm, while the subtitles in Twa-Tiu-Tiann took a more liberal approach in using non-standard forms. The two different approaches can be attributed to the fact that Southern Min is a living topolect that plays a significant role in the lives of Taiwanese people - and matters to Taiwanese identity - while it has declined in status in Singapore over the decades, and where it is not as widely-spoken, let alone read. The subtitles of Twa-Tiu-Tiann were targeted at a local audience relatively proficient in spoken and written Taigi, while the subtitles of It’s a Great Great World take into account audiences who may have grown unfamiliar with Hokkien by avoiding Hokkien lexicon in the written subtitles. The subtitles of 6 other movies from Singapore and Taiwan were briefly analysed to see if my findings can be generalised. Some exceptions were found, but the general trend can still be observed in the other movies.