Eco-translatology is a relatively new theory first put forward by Professor Hu Gengshen in his book An Approach to Translation as Adaption and Selection。 In this theory, if the translator wants to achieve a good translation, he must adapts himself to the ecological environment, which means that the translation is defined as the translator’s adaption and selection in the ecological environment。 The selecting process includes three aspects —linguistic dimension, cultural dimension and communicative dimension, which is called three dimensions。 This thesis intends to analyze the subtitle translation of film I Am Not Madame Bovary under the guidance of three-dimensional transformation in Eco-translatology。

2。 Literature Review

2。1 Review on Eco-translatology来自优W尔Y论W文C网WWw.YoueRw.com 加QQ7520,18766

Up until now, lots of researches are conducted by many domestic and international scholars and experts from the perspective of Eco-translatology。

 In 1967, a French philosopher Derrida(Derrida, 1967) put forward that the the philosophy has turned from epistemology to ontology and turned from anthropology to ecological holism。 Arne Naess(Arne Naess, 1973) was a famous Norwegian philosopher who first coined the term “deep ecology” in 1973。 Deep ecology is an ecological and environmental philosophy promoting the inherent worth of living beings regardless of their instrumental utility to human needs, plus a radical restructuring of modern human societies in accordance with such ideas。 The first of five categories in cultural intervention of translation proposed by Newmark was the ecological features(Newmark, 1988)。 And he also put forward “Cultural words” which the readership was unlikely to understand and the translation strategies for this kind of concept lied in the particular text-type, the requirements of the readership and the cultural word in the text。 Details of the categories of the ecological culture were explained by Katan in his book Translating Cultures(Katan, 1999), such as the climate, physical environment, space, political environment and the temporary scenario and so on。 Andre Lefevere stressed the relationship between any society and culture existed in the literary system environment and the whole system in Translation, History and Culture(Bassnet&Lefevere,1990)。

A professor in Tsinghua University named Hu Gengshen first put forward the concept “Eco-translatology” in 2001, and then the study of inter-discipline were further developed, and he brought it to translation。 In Interpreting Translation Process from the Perspective of Adaption and Selection, Hu Gengshen explained the translating process of adapting and selecting(Hu，2006)。 Eco-translatology: Research Foci and Theoretical Tenets mentioned the main focus of Eco-translatology, and the concept has already been widely accepted by many experts and scholars who also have been studying Eco-translatology since then。 Jiao liangxin pointed out that global ecological trend is represented in Eco-translatology(Jiao 376-388)。 It is suggested by Mu Wenzhu and Cheng Li that all the translation methods chosen by the translators are connected with ecological environment(Mu, Cheng 115-118)。 Some experts also began to apply the theory to do translation and prove the feasibility of Eco-translatology。 Tong Xiaomei and Huo Yuehong pointed out that compared with the gradually worse natural environment, Eco-translatology is developing hopefully and harmoniously(Tong, Huo 79-82)。论文网

2。2 Review on the subtitle translation

Known as practical translation, subtitle translation is a non-literary translation。 Subtitle can be seen as a carrier of cultural communication, and its language and plots are distinguished with national cultural brand, such as slang, proverbs, puns and so on。 

As one of the means of people living and entertainment, film is a key way to communicate with the world by reflecting a national core culture。 With the help of subtitles, audiences can understand the different cultures of people in other countries, including folk customs, ideology, etc。 But because of the different customs, film gives the audience different dialogue or story, which affects the audience's overall appreciation。 The subtitle translation was studied for the first time by Dollerup(Dollerup, 1974)。 In his article On Subtitles in Television Programmes, he analyzed the different types of mistakes that occurred when English TV programs were translated into Danish。 He was the first to point out the importance of subtitle in teaching, which means subtitle can be of great help to learn foreign languages。 Western film and television translation research began its "golden age" in the early 1990s, and two important works have been published。 The book Overcoming Language Barriers in Television: Dubbing and Subtitling for the European Audience was published in 1991 by Luyken and four other scholars with the help of the European Media Institute。 In this book, he analyzed the language conversion model of European films and televisions。 He also systematically discussed the number and spending of European films in detail, and preferences of audiences were also included for the first time(Lukyen, 1991)。 Europe’s first comprehensive study of subtitle translation Subtitling for the Media: A Handbook of an Art is published by the Swedish subtitle translator Ivarsson(Ivarsson, 1992)。 This book introduced the development of subtitle translation skills in detail。 He said that because subtitle is constrained with time and space, the translator must take into account the characters of the language, action and expression, and use simple and short words, phrases to convey the meaning of the film so that the audience can obtain the maximum information with minimal effort。 It can be said that these two books laid the foundation for the future development of film and television translation study in Europe。