归化与异化视角下动漫字幕中文化负载词的英译研究——以《浪浪山小妖怪》为例

A Study on the English Translation of Culture-Bound Terms in Animation Subtitles from the Perspective of Domestication and Foreignization—A Case Study of Nobody

摘要: 国产国风动画是中华神话与民间民俗对外传播的重要载体，字幕翻译直接决定海外受众对东方志怪文化的理解程度。《浪浪山小妖怪》作为《中国奇谭》系列衍生院线动画，含有大量文化负载词，且配套完整的官方中英对照字幕，为归化与异化策略的对比研究提供了充足语料。本文以韦努蒂的归化与异化理论为框架，结合影片中英对照字幕，将文化负载词划分为志怪妖类称谓、西游宗教典故、民间民俗俗语、传统器物与修行词汇四大类别，逐类剖析译者的策略选择及其优势与不足。研究发现，影片字幕易产生语义偏差的隐喻俗语优先归化，具备画面视觉支撑的妖怪与法器词汇适度异化，深层宗教与修行概念则折中融合两种手段。整体译文以归化策略保障观影流畅性，以适度异化保留东方文化标识，但存在同类词汇译法不统一、部分本土文化意象因过度归化而流失等问题。基于案例分析，本文提出国漫字幕文化负载词应该在字幕时空约束下平衡可读性与文化保真度，进一步帮助中国国漫走出世界。

Abstract: Chinese-style domestic animations serve as a vital carrier for the international communication of Chinese myths and folk customs. Subtitle translation directly determines how well overseas audiences understand oriental ghost and monster culture. As a derivative theatrical animation of the Yao-Chinese Folktales, Nobody contains abundant culture-loaded terms and is equipped with complete official Chinese-English bilingual subtitles, which provides sufficient corpus for a comparative study of domestication and foreignization strategies. Taking Lawrence Venuti’s domestication-foreignization theory as the theoretical framework and drawing on the film’s Chinese-English subtitles, this paper classifies culture-loaded terms into four categories: monster-related appellations, religious allusions from Journey to the West, folk sayings and metaphors, as well as traditional artifacts and cultivation-related vocabulary. It analyzes translators’ strategic choices together with their strengths and limitations category by category. The study reveals that domestication is prioritized for metaphorical sayings prone to semantic deviation; moderate foreignization is adopted for monster and ritual artifact-related terms supported by visual images; and a combination of both strategies is applied to profound religious and cultivation concepts. Overall, domestication guarantees viewing fluency while moderate foreignization preserves distinctive oriental cultural markers. Nevertheless, problems remain, including inconsistent renderings of the same terms and the loss of certain indigenous cultural images caused by excessive domestication. Based on case analyses, this paper proposes that culture-loaded terms in Chinese animation subtitles should balance readability and cultural authenticity under the temporal-spatial constraints of subtitling, so as to further facilitate Chinese animations going global.