功能對等理論在字幕翻譯中的運用——以《羅馬假日》為例iChapterOneIntroductionThisarticlechoosessubtitletranslationofmoviesastheresearchobject,becausefilmisbecomingmoreandmoreimportantasanimportantwayofculturalcommunication,andsubtitletranslationofmovieshasbecomeanimportantresearchprojectinthetranslationfield.Inthischapter,Iamgoingtodiscussthebackgroundandimportanceoftheresearch,themethodologyusedinthewholeessayandtheframeworkofthisessay.BackgroundoftheResearchAstimewentby,movieshavebecomenotonlyawayofentertainmentinpeople’sdailylife,butalsoanimportantwaytounderstandandlearnregionalculture.Subtitletranslationoffilmshasaccordinglybeenattachedgreaterimportance.InChina,withtherapiddevelopmentofthefilmindustry,filmsubtitletranslationisshowingarapiddevelopmenttrendaswell.Withthecontinuousevolutionofeconomicglobalizationandculturaldiversity,cross-culturalcommunicationhasbecomemoreextensiveandprofound,andalargenumberoffilmsandtelevisionworksfromvariouscountrieshavebeenpouringintoChina.Withtherapiddevelopmentofthefilmindustry,filmsubtitletranslationisshowingarapiddevelopmenttrendaswell.ImportanceoftheResearchBecauseofthefastgrowthoftheinformationageandtheaccelerationoftherhythmofmodernlife,subtitledfilmworkscanbettersatisfytheaudience’sdemandforinformationinashorttime,andalsoenablethemtoenjoytheoriginalfilmworks.Subtitletranslationrequiresthetranslatorstotransformtheobscuresourcelanguageintoatextthatcanbewellunderstoodbythetargetaudience,whichisquiteinneedofscientifictheoryasasupport.Inpracticalapplication,Nida'sfunctionalequivalencetheoryemphasizesnotonlytheliteralmeaningofthesourcelanguage,butalsotheaudience'sreaction.Therefore,accordingtothetheoryoffunctionalequivalence,translatorsshouldchoosetheexpressionsthatcanbestbeunderstoodbyChineseaudiences,sothataudiencescanbetterunderstandandappreciatethefilm.Ofcourse,filmsubtitletranslationisnotaneasything,itislimitedbytimeandspaceinthatit’simpossibleforatranslatortotranslateaversionthatisexactlythesameinformandcontentastheoriginalone.“WhenwewatchafilmorTVdrama,it’simpossibletowatchthesamescenetwiceatthesametimebecausethereisgenerallynochanceforsecondhearing.Thus,itrequirestranslatorstousesimplewordsexplainingcomplicatedsituationsinorderthatthetargetaudiencecanunderstandsource-languagefilmeffortlessly.”[6]Therefore,thisessayaimstofindoutbettermethodstogiveawell-understoodsubtitlefortheaudiencefromtheperspectiveofNida’sfunctionalequivalencetheory.MethodologyoftheResearchInthispaper,Imainlyusethemethodofdescriptiveinterpretationtoexplaintheorigin,maincontentsandprinciplesofNida'sfunctionalequivalencetheorythroughalargenumberofliteraturesearchandreading.Inaddition,thecoreresearchprojectofthisthesisistodemonstratetheimportantroleoffunctionalequivalencetheoryinsubtitletranslationbyanalyzingthecaseofsubtitletranslationofRomanHoliday.FrameworkofthisEssayThisessaycanbedividedintofivechapters,andeachchapterfunctionsasfollow:Inthefirstchapter,somerelatedinformationhavebeenprovided,suchasthebackground,importanceandmethodologyoftheresearch.Thus,thereaderscangrasptheoverviewofthisessayandgettoknowthearticleassoonaspossible.Asforthesecondchapter,thatis,literaturereview,mainlytalksaboutthedefinition,significanceandconstraintsofthesubtitletranslation.What’smore,thecurrentsituationofsubtitletranslationathomehasbeenprobedintoaswell.ChapterThreeisabouttheoreticalframework.Theorigin,contents,fouraspectsoffunctionalequivalencetheoryhavebeendescribed.Additionally,thefeasibilityandapplicabilityofNida’sfunctionalequivalencetheoryingeneralsubtitletranslationhavebeenwellsummarized.Thefourthchapteristhecoreofwholeessay,i.e.,casestudyonthesubtitletranslationofRomanHolidayfromtheperspectiveofNida’sfunctionalequivalencetheory.Thecaseanalysisofthesubtitletranslationisconductedfromthreeaspects,thatis,lexical,syntaxandtext.Andatlast,Iwillgiveasummaryaboutthispart,concerningtheconclusionofsubtitletranslationmethodswiththeguidanceofNida’sfunctionalequivalencetheory.

ChapterTwoLiteratureReview2.1BriefIntroductiontoSubtitleTranslationFilmandtelevisionworksareapopularart,fortherecipientsdonotneedtoomanyliterarythoughts.Filmandtelevisionworksemphasizepopularityandfashion.Thelanguageoffilmandtelevisionworksisgenerallyeasytounderstand,livelyandcloselyrelatedtopeople'sdailylife.Thelanguageoffilmandtelevisionworkscannotbeseparatedfromlife,cannotbeover-modified,tooelegantorobscurefilmandtelevisionlanguagewillonlymaketheaudienceunabletounderstandtheoriginalmeaningoffilmandtelevisionworks,affectingtheexpressionoftheconnotationoffilmandtelevisionworks.Intheprocessofsubtitletranslation,thetrendoffilmlanguageshouldbefullyconsidered.Makeitaseasyaspossibletounderstandintheprocessoftranslation.2.1.1TheDefinitionofSubtitleTranslationAudiovisualtranslation(AVT)referstothetranslationofmanydifferenttypesoffilmandtelevisiontexts.ItusuallyremindspeopleofsubtitletranslationanddubbingtranslationofTVandmovies.Infact,thedefinitionoffilmandtelevisiontranslationisbroader,includingthetranslationofTVprograms,movies,videos,CD-ROMs,DVDs,operasanddramas.Subtitletranslationcanbedividedintotwotypes:intralingualsubtitlingandinterlingualsubtitling.Intra-languagesubtitlesareforthesamelanguage.Forexample,weoftenseeChinesesubtitlesonthebottomofourChineseprograms.Interlingualsubtitlesbroadcastsoundasthesourcelanguage,whilesubtitlesarethetargetlanguage.2.1.2TheSignificanceofSubtitleTranslationForeignmoviesandTVworkshavebecomeoneofthepopularpursuitsoftheyoungergenerationinChina.Peoplecanregardthemasentertainment,asinterest,tolearntheexpressionsofforeignlanguages,andtounderstandthelocalcultureandcustoms.Therefore,subtitletranslationhasbecomeparticularlyimportant,anditscharacteristicsshouldalsobegivenfullattention,sothatthemeaningconveyedbythescriptcanbebetterandmorefullyunderstoodbytheaudience.Modernsocietyisamulti-culturalsociety,inwhichallkindsofculturesblendandcollide.Asakindofculturalmedia,filmandtelevisionfunctionasabridge.Thebridgetoachievecross-culturalcommunicationintranslationisdirectlyrelatedtothedisseminationofculturalexchangesamongcountries.Sincethereformandopeningup,filmandtelevisionworksfromallovertheworldhavebeenintroducedintoChina,especiallyJapaneseanimation,Koreanidoldramas,Americanblockbustersandsoon.ThesefilmsandTVworkscanbesuccessfullydisseminatedbecauseoftheirproperandaccuratesubtitletranslation.Seeingafilm,thepictureisbeautifulandtheactionisvigorous,butthesubtitlesanddialoguearenotatallright,orthelanguageisobscureanddifficulttounderstand,whichisagreatpollutiontothevisualandauditorysense,andthedestructionofafilmandtelevisionwork.Inordertoachievethesameorsimilarviewingeffectofthesamelanguageaudience,wehavetoadmittheimportanceoffilmandtelevisionsubtitletranslation.2.1.3TheCharacteristicsandConstraintsofSubtitleTranslationThelinesoffilmandtelevisionplaysarealmostthedialoguesbetweencharacters,whichdeterminetheverbalizationofsubtitlesandshouldbedisplayedastextonthescreenintheformofsubtitles.Besides,subtitletranslationshouldbesynchronizedwiththesoundoftheimage,andthescreenspacealsolimitsthenumberofsubtitles,notmorethantwolinesatmost.One-linesubtitlesonthescreenmayonlyhavetwosecondsortwolinesofsubtitlesforaboutsevenseconds.Ingeneralfilmandtelevisionmediaworks,becausesubtitlesstayforonlyafewseconds,passingbyquickly,itisimpossibletoreadthemrepeatedlylikepaper-basedtext,soitisnecessarytoexpressthekeypointsconciselyandconcisely.Accordingly,subtitletranslationmustconveythemostbasicandappropriateinformationtotheaudienceinlimitedtimeandscreenspace.2.2TheCurrentSituationofSubtitleTranslationatHomeAtpresent,China'ssubtitlegroupisdevelopingrapidly,butitlackstheoreticalguidanceandunifiedstandards.Thequalityoftranslatedworksvariesalot,whichaffectstheaudience'sunderstandingofforeignculturesandthecorrectinterpretationoffilmandtelevisionworks.Duetotheparticularityoflanguagepattern,subtitletranslationtheoryinChinahasbeendevelopedrelativelylate,laggingbehindandlackingofacknowledgednorms,thusresultingthatthequalityofsubtitletranslationinChinaisunevenandneedstobestandardized.Asanewlyemergenceoftranslationresearch,therearefewreferencesavailable,buttherearestillmanyoutstandingscholarswhohavecontributedtheirownresearchresults.ProfessorQianShaochangclearlypointedouttheimportanceoffilmandtelevisiontranslationinhispaper“FilmandTVTranslation:AnIncreasinglyImportantFieldintheGardenofTranslation”publishedin2000.Hehimselfhasalsobeenengagedinfilmandtelevisiontranslationforalongtime.HisfilmandtelevisiontranslationworksincludeAmericanTVseries“GrowingTroubles”,“GrandHotel”,“ThornBirds”andsoon.In1997,ProfessorMaZhengqipublishedhispaper“OntheBasicPrinciplesofFilmandTelevisionTranslation”,andinJune2005,hepublished“AnIntroductiontoFilmandTelevisionTranslation”.Hemainlystudiesthefieldoftranslationandcross-culturalcommunication.Hehasnearly30years'experienceinfilmandtelevisiontranslation.HistranslationofTheMysteryofMissingandMadameCuriehasalsowontheNationalAwardforExcellentTranslatedFilms.Hisresearchprojectsinclude“filmandtelevisiontranslationresearch”and“mediaandcross-culturalcommunication”.Inaddition,becauseAmericandramaisbecomingmoreandmorepopularamongcollegestudents,someEnglishmajorsalsochoosesubtitletranslationastheirresearchobjectwhentheyfinishtheirgraduationthesis.Insomejournalsandmaster'sthesis,thenumberofacademicachievementsonsubtitletranslationisalsoincreasing.

ChapterThreeTheoryOverviewFunctionalequivalencetheorywasdeliveredbyNida,whichiswidelyacceptedbymajorityofscholarsconcerningtranslation.Agoodsubtitletranslationnotonlyneedstoconveythebasicmeaning,butalsoembodythesubtletyofthelanguage.Inpracticalapplication,Nida'sfunctionalequivalencetheoryfocusesnotonlytheliteralmeaningofthesourcelanguage,butalsotheaudience'sresponse.Moreover,Nida'stheoryisapplicabletosubtitletranslation,whichaimstobringentertainmenttotheaudienceinanaturalway.3.1TheOriginofFunctionalEquivalenceTheoryThetheoryoffunctionalequivalencewasproposedbyEugeneNida,anAmericanlinguist.Nidaused“functionalequivalence”toreplace“dynamicequivalence”inFromOneLanguagetoAnother.[3]ThecoreconceptofNida’stheoryis“functionalequivalence”,whichmeansthattranslationdoesnotrequirerigidcorrespondenceonthesurfaceofthetext,butachievesfunctionalequivalencebetweenthetwolanguages.“Thenewfocushas,however,hasshiftedfromtheformofthemessagetotheresponseofthereceptor.”[1]Furthermore,Nida’sdefinitionoftranslationindicatesthattranslationisnotonlyequivalenceinlexicalsense,butalsoequivalenceinsemanticsandstyle,thatis,theinformationconveyedbytranslationshouldincludebothsuperficiallexicalinformationanddeepculturalinformation.3.2TheContentofFunctionalEquivalenceTheoryFunctionalequivalencetheorymainlyincludesthreeaspects:meaning,styleandreaderresponse.Comparedwithprevioustranslationtheories,functionalequivalencetheoryisdifferentinthatitincorporatestranslationintothefieldoflinguistics,whileitalsoincorporatescultureandreaderresponsesintothefieldoftranslationstudies.Functionalequivalencetheoryisbasedontheequivalenceofmeaningandstyle,whichemphasizestheconsistenceofreaders'responsetothesourcetext.Thereaders'objectiveresponseisthecriteriontomeasurethequalityofthetranslationwork.Nida'sfunctionalequivalencetranslationhasfourcriteria:(1)conveyinginformation;(2)conveyingthespiritandstyleoftheoriginalwork;(3)completelyfluent,fullyinlinewiththehabitsandrulesofthetargetlanguage;(4)similarreaderresponses.(1)and(2)aimtoanalyzethepurposeandmeaningoftheoriginaltext,whilecriteria(3)and(4)emphasizethetranslator.Tosumup,thefunctionalequivalencetheoryrequiresthetranslatortoreproducethelanguageform,meaning,styleandculturalconnotationoftheoriginaltexttothegreatestextentinanotherlanguage,sothatthereadersofthetranslatedtextcangetthesamefeelingsandreactionsasthereadersoftheoriginaltext.3.3FourAspectsofFunctionalEquivalenceTheoryFunctionalequivalencetheoryincludesfouraspects:lexicalequivalence,syntacticequivalence,textualequivalenceandstylisticequivalence.Amongthesefouraspects,Nidabelievesthat“meaningisthemostimportantandformisthesecond”.[7]3.3.1LexicalEquivalenceLexicalequivalencemeansnotonlysimpleequivalenceinmeaning,butalsofindingwordsequivalenttotheculturalconnotationofthesourcelanguagetoreplacethesourcelanguagevocabularyintranslation,sothatthetargetlanguageaudiencecanproducesimilarresponsestothesourcelanguageaudience.3.3.2SyntacticEquivalenceAsforsyntacticequivalence,syntaxisthestudyoftheconstituentpartsofsentencesandtheirorder.Syntacticequivalencereferstothebasicone-to-onecorrespondencebetweenthesentencecomponents(suchassubject,predicate,object)andthewordorderofthesourcelanguageandthetargetlanguage.3.3.3TextualEquivalenceTextualequivalence,alsoknownasdiscourseequivalence,fromtheperspectiveofsystemicfunctionalgrammar,shouldbediscussedthescopeofdiscourseanalysisfrombothculturalandsituationalperspectives.Whentranslating,thetranslatorshouldnotonlyanalyzethelanguageitself,butalsoseehowthelanguageembodiesitsmeaningandfunctioninaspecificcontext.3.3.4StylisticEquivalenceStylisticEquivalence,whichreferstotheequivalencebetweenthetoneofthetext,suchasthesubtitletranslation,itrequirestranslatorstotranslatethedialoguesfromtheperspectiveofverbalizationasmuchaspossible.Functionalequivalencetheoryrequirestranslatorstograsptheprocessofartisticcreationoftheoriginaltextanddeeplyunderstandthespiritoftheoriginaltext,andthenpresentthecontent,formandstyleoftheoriginaltothegreatestextentsoastomakethetranslationaccurateandsmooth.TheFeasibilityandApplicabilityofFunctionalEquivalenceTheoryinGeneralSubtitleTranslation“Subtitletranslation,unlikeliterarytranslation,isaprocessfromverballanguageintowrittentext,andhighlydependentonsubtitlingequipmenttopresentortransferinformationtoitsviewers.”[5]Asweallknow,filmisanartthatcombinespicturesandsounds,whichmeansacombinationoffascinatingplots,actor’sperformances,language,clothing,music,sceneryandscripts.Thedirectorbringseverythingtogetherandpresentsittotheaudience.Theaudiencewillenjoythepleasantmomentandunderstandtheoriginalintentionfromthesoundandvisualeffects.Becauseofthelimitationoftimeandspaceinsubtitletranslation,subtitletranslationmaynotbecomprehensivesometimes,butbecauseofitscomplementaryessencewithimagesandsounds,eveninthecaseofuncleartextexpression,theaudiencecanunderstandthegeneralsituationthroughtheexpressionandactionofthecharactersinthepicture.Furthermore,Nidaoncesaid“translationmeanstranslatingthemeaning.”[7]Itshowsthatwhenformandcontentconflict,priorityshouldbegiventocontent,orevengiveupform.Infact,translationisakindofcommunicationbetweendifferentcultureswiththeaimofunderstandingandlearningfromeachother.Thepurposeofculturalexchangeinmoviescanonlybeachievedwhenbothaudienceshaveacommonunderstanding.Eachlanguagehastheirownculturalstyle,soitisimpossibletocommunicateabsolutelybetweenthem.Asafilmtranslator,therewillbeadilemma.Filmsubtitletranslationrequirescompleteequivalence,butabsoluteequivalenceisdifficulttoachieve.Accordingtothecharacteristicsofcommunicationtheoryandfilmart,Nida’sfunctionalequivalencetheoryhelpstosolvethecontradictionbetweenthem.Filmsubtitletranslationpursuesthetargetlanguageaudience’sunderstandingandappreciationofthefilm,andtheirfeelingsandreactionsafterwatchingthefilmareconsistentwiththeaudienceoftheoriginalfilm.Thetheoryoffunctionalequivalenceemphasizesthatthereaders’understanding,appreciationandresponseareconsistentwiththoseofthesourcereaders,whichisinlinewiththerequirementsofsubtitletranslation.Functionalequivalencetheoryisapplicabletothestudyoffilmsubtitletranslation,soitisnecessarytoapplythistheoryinfilmsubtitletranslation.Nida'sfunctionalequivalencetheoryadvocatesthatthestyleandspiritofthesourcelanguageshouldbereproducedfromlinguisticformtoculturalconnotation,whichhaspracticalguidingsignificanceforsubtitletranslation.

ChapterFourCaseStudyontheSubtitleTranslationofRomanHolidayFilmismainlyaboutrecordingandnarratingthedevelopmentofthings.Itcomesfromlifeandishigherthanlife.Therefore,ithasthecharacteristicsofcolloquialism.Inunderstandingthesourcelanguage,thetranslatorshouldconsiderthespokenlanguage.Similarly,aftertranslation,thetranslatorshouldconsiderthespokenlanguageofthetargetlanguage,thatistosay,thetranslationcanachievecommunicativefunction.4.1IntroductiontoRomanHolidayRomanHolidayisaromancefilmcreatedbyParamountCompanyin1953.IttellsaromanticstorybetweenaEuropeanPrincessandanAmericanjournalistinRome,withinoneday.Thefilm,co-starringGregoryParkerandAudreyHepburn,hasachievedgreatsuccessandhasbecomeaclassicHollywoodblack-and-whitefilm.RomanHolidayisoneofthemostpopularAmericanromancemovies.Ithasgainedgreatpopularityallovertheworldandhasmadequiteafewfans.ApartfromconsideringitausefulandpracticaltooltomasterEnglish,thisfilmisalsoappealingbyitsexcellenthumandialoguesanddelicateshotofeveryscene.Theplotofthewholefilmissimple,butitwinsbyportrayingpersonalizedcharacters.Formorethan50years,“RomanHoliday”isstilltherepresentativeofromanticlovemovies.Therefore,itisrecommendedthatsubtitletranslationshouldembodythecharacters’personalityasmuchaspossiblesothatthetargetaudiencehasequivalentexperienceasthesourceaudience.Themoviecontainsalotofhumor,romance,funnyjokesanddialogue,sothetranslatorsshouldpaymoreattentiontotheapplicationofsubtitletranslationtheory,thusmakingfullpresentationoftheactors’moodandmindintheflash-likesubtitleswitchingtime.4.2FunctionalEquivalencetotheSubtitleTranslationofRomanHolidayatDifferentAspectsAsthesubtitlesofmoviesandTV,essentiallyshowsdialogueorpost-processedtextintheformoftext,thestyleisbasicallyfixed.Thus,IchoosetheofficialCCTVversionofRomanHolidayasanexampletoanalyzethefunctionalequivalencetheoryusedinthetranslationfromthreeaspects:lexical,syntacticandtextualequivalence.ItookseveralpartsofthedialoguesinRomanHolidaytoillustratethattheNida’sfunctionalequivalenceiswidelyusedinmostofthesubtitletranslation,andinhopeofgeneralizethistheoryintocommonsubtitletranslation.4.2.1FunctionalEquivalenceatLexicalAspectSmallestunitaswordisinasentence,wordequivalenceistheprimaryprincipleforlexicalequivalence.Lexicalequivalencerefersnotonlytosimpleequivalenceinmeaning,butalsotothesearchforwordsequivalenttotheculturalconnotationofthesourcelanguagetoreplacethesourcelanguagevocabularyintheprocessoftranslation,sothatthetargetlanguageaudiencewillhavesimilarreactionstothesourcelanguageaudience.ChinesevocabularydoesnotcorrespondtoEnglishvocabularyonebyone.Tomaximizelexicalequivalenceinsubtitletranslation,itisnecessarytofindwordswiththesameculturalconnotationofthetargetlanguageandthesourcelanguagetoreplacethesourcelanguagevocabulary,sothatthetargetlanguagereaderscanhavethesamereactionasthesourcelanguagereaders.It’sworthmentioningthatinordertoensurethematchingofsubtitleswithcontentandspeechspeed,literaltranslationisthemosteffectivetranslationmethod.ExampleOnePrincess:“Ihateallmynightgowns,andIhateallmyunderwear,too.”Maid:“Mydear,youhavelovelythings”Translatedtext:公主：“我討厭我所有的睡袍和內(nèi)衣”。女仆：“公主，你的衣服很漂亮”。It’sunderstandablethateverywordhastobeequivalent.It’squitesimpletousethetranslationstrategyofliteraltranslation.Andit’sworthmentioningthat,wenowneedtoconsiderfromthecontext,“things”shouldberealizedas“nightgownsandunderwear”.Additionally,foreigners,especiallyforthenativespeakertendtouseslangsasmuchaspossible.Ithappensthatthereisasimilarcasethatalargeamountoffour-characterwordsexistinChinese.ExampleTwoMaid:“Shewasinhystericsthreeminutesago,Doctor.”Translatedtext:女仆：“剛才她還歇斯底里呢，醫(yī)生”。ThemaidtoldthedoctorabouttheformersituationofthePrincess.Thefour-characterwordcannotonlymakethesubtitlemoreunderstandablefortheChineseaudience,butalsomakethesubtitlerobustandbrief.ExampleThreePrincess:“ButI’mnottwohundredyearsold.”Translatedtext:公主：“可我不是老太婆”。Inthissituation,theAnnePrincesscomplainedtoherMaidaboutthebaldnightgown,iftranslatethissentencecompletelywordbywordwouldseemtobesluggish.Itisobviousthattheexampleaboveusethetranslationstrategyoffreetranslation.Nidapointsoutthat“equivalenceisalwaysrelative.Inordertoreproducetheinformationofthesourcelanguagewiththeclosestandmostnaturalequivalencefromsemanticstostyleinthetargetlanguage,thecontentandconnotativemeaningoftheoriginaltextmustbemaintainedsothatthetargettextcanbeunderstoodbythereaders.”[1]Itisnecessaryfortranslatorstomaketheinformationcontentofsubtitleswithintheacceptablerangeoftheaudience,whichrequirestheconcentrationoftranslationlanguagetomakesentencessuccinctandproper.ThereisnodenyingthefactthatNida’sequivalencetheoryispracticalandrational,foritdoesnotpursueeverywordtobeidentical,butthemeaning.4.2.2FunctionalEquivalenceatSyntacticAspectSyntacticequivalencereferstoreproducingthestyleandcharacteristicsofthesourcelanguageasmuchaspossible,keepingthesemanticunchangedandallowingthelinguisticstructureofthetargetlanguagetobeconsistentwiththesyntacticformofthesourcelanguage.However,whentheformandcontentofthetargetlanguagearequitedifferentfromthesourcelanguage,wecandrawonNida'sideathat“formshouldgivewaytocontent”.Nidabelievesthatifformalequivalencefailstoconveyaccuratesourcelanguageinformation,theformalequivalenceshouldbeabandonedandthemeaningofthesourcelanguageshouldbeconveyedtothetargetaudiencetothemaximumextent,sothattheycanhavesimilarfeelingswiththesourceaudienceafterreading.Toachievesyntacticequivalence,itisoftennecessarytochangetheformofthesourcelanguage,supplementoromitsomecontent.JusttaketheconversationbetweenthePrincessandherMaid.ExampleOneMaid:“Now,mydear,ifyoudon’tmind,tomorrow’sschedule,or‘schedule,’whicheveryouprefer.Botharecorrect.”(公主，現(xiàn)在說一下明天的時間表或是行程表，兩者都是一樣。)Maid:“8:30,breakfastherewiththeembassystaff.”（八點半，跟大使館人員吃早餐）Maid:“9:00,weleaveforthePolinariautomotiveworks,whereyou’llbepresentedwithasmallcar.”（九點，參觀寶蓮萊尼車廠,他們會送一輛小汽車）Princess:Thankyou.（謝謝）Maid:Whichyouwillnotaccept.（你不會收禮物）Princess:No,thankyou.（不，謝了）Maid:10:35,inspectionoffoodandagriculturalorganization,willpresentyouwithanolivetree.（10點35分，視察農(nóng)業(yè)組織他們會送橄欖樹）Princess:No,thankyou.（不，謝了）Maid:Whichyouwillaccept.（你會收下這禮物）Princess:Thankyou.（謝謝）Inthispart,thesentencestructureisquitesimple,wecallitimperativesentence,andthetranslationtextisequivalencetotheimperativemood,makingitclearandpreciseasEnglish.4.2.3FunctionalEquivalenceatTextualAspectTextualequivalence,i.e.,istomakesuretheEnglishcontextbeequivalentwithChinesecontext.Textualequivalenceisalsocalleddiscourseequivalence.Textisaunitoflanguageuse.Therefore,whenwedodiscourseanalysis,weshouldnotonlyanalyzethelanguageitself,butalsoseehowthelanguageembodiesitsmeaningandfunctioninaspecificcontext.Textualequivalenceconsistsofthreelevels:contextualcontext,situationalcontextandculturalcontext.Duetothesubtitletranslationdoesnotcontaincontext,Iamintendedtoanalyzethetextualequivalencefromthesituationalandculturallevel.4.2.3.1TextualAspectatSituationLevelSituationalcontextreferstospecificpeopleandthingsinvolvedincommunication.Whenpeoplecommunicatewitheachother,somelinguisticphenomenacannotbeclearlyunderstoodbythecontext.Themeaningsofsomelinguisticphenomenacanonlybedeterminedbyreferringtotheevents,participantsandwaysofcommunicationintheuseoflanguage.Thetranslatorsarerequiredtohaveaninsightintothechangeofcharacter,grasptheroleofsituationalcontext,reproducethedifferentfacesofcharactersindifferentscenes,faithfullyconveythemeaningoftheoriginaltext.E