中文摘要 幽默是人类生活、交际中不可或缺的调味品。如今,具有浓厚本土色彩的美式幽默通过大批网络热播的美剧风靡全球。剧集中口语化的幽默常引经据典,妙语连珠。字幕翻译作为影视翻译的主流,是当今美剧在中国的主要译介形式。通过字幕翻译工作者的努力,异语文化观者常常能够和原语文化观者一样发出会心的微笑,美式幽默的魅力通过美剧的字幕翻译这种译介形式得到了部分程度的深化和放大。 字幕翻译属于文学翻译,但是有其区别于其它文学翻译的显著特点。字幕翻译有四个显著的特点,即多层信道、综合性、即时性和语言的通俗性。由于字幕翻译受到时空的双重限制,所以就必然需要多层信道。字幕翻译还是一种声画结合的艺术,这就使它具有了综合性这一特征。一般说来,字幕在屏幕上不可能长时间停留,往往转瞬即逝,这是字幕翻译的最突出的一个特点。另外,影视翻译的目标群体是观看影片的大众,所以,语言的通俗易懂是非常重要的。 再者,字幕翻译作为一种传播美式幽默的媒介,不仅涉及到语言的转换,更涉及到文化信息的传递。同一词语意义在不同文化下由于历史背景、社会体制、民俗传统不同,惯用谚语、俚语不同,加之其他各种因素,就构成了幽默元素的文化缺省。为了弥补某些文化真空,字幕翻译者就要运用补偿或转换的翻译策略,保证观者对字幕和情节的理解能够同步,好笑之处能够借助字幕马上得以反馈。如何将原文幽默中的文化信息传达到位,是摆在字幕翻译工作者面前一道不可回避的难题。 传统的幽默理论主要探讨幽默的本质,形成了三种常见的理论：乖讹论、优越论以及慰藉论。而传统的幽默理论往往从幽默的本质出发,探讨幽默的一般产生规律,缺乏系统分析言语幽默文本相似性的根据。鉴于字幕语言的限制性及特点,本文试从美剧字幕这一言语幽默文本的特点入手,依照Salvatore Attardo的普通言语幽默理论(General Theory of Verbal Humor)及其六个知识资源(Knowledge Resources)的层级排列规律,结合翻译实例对比研究,深入分析美式幽默在字幕翻译过程中的损益状况,归纳当今字幕组翻译实践中独特的幽默手法及利弊得失,以期引起社会和学术界对活跃在互联网上的字幕组翻译给予更多的关注。 普通言语幽默理论对幽默文本的系统分析提供了依据,它揭示了幽默认知系统的六个知识资源,按照由低到高的顺序分别是：语言(Language)、叙事策略(Narrative Strategy)、目标(Target)、情景(Situation)、逻辑机制(Logical Mechanism)和脚本对立(Script Opposition)。在层级中越处于低层的知识资源越具体,幽默生成能力越弱,其表征的幽默相似度越高；在层级中越处于高层的知识资源越抽象,幽默生成能力越强,而其表征的幽默相似度越低。普通言语幽默理论及其六个知识资源构成的幽默机制,提供了一个分析言语幽默文本相似性的工具,这对言语幽默对比具有一定的启示意义；但鉴于幽默的产生与理解离不开交流双方的文化环境,普通言语幽默理论难以提供具体的翻译策略以保留与原文幽默相似的知识资源,这也是其局限性所在。  
英文摘要 Humor is something common and necessary in our daily life. Nowadays, American TV play online is a hot favorite prevailing over the entire world as it is densely characterized by its local color of American humor. Verbal humor is the most striking feature of American TV plays and the canned laughter marks the witty words in each episode. Subtitle translation, as a prevailing form of audiovisual translation now, is the principal form of introduction of American TV plays in China. Thanks to Chinese fansubbers' endeavors in subtitle translation, the target viewers are able to take as much delight as the source language viewers. The glamour of American humor has been deepened and enlarged in the form of subtitle translation of American TV plays. Subtitle translation distinguishes itself from other types of literary translation for four distinctive features although it belongs to the latter, i.e. diasemiotic, integrated, instantaneous and informal. Constrained by time and space, subtitle translation needs to use more than one channel. Subtitle translation is also a multiplex art of sound and image, which makes it a comprehensive activity. Generally speaking, subtitles appearing on the screen don't stay long. Thus irreversibility is the most striking feature of subtitle translation. In addition, the target viewers of subtitle translation are the mass public who watch TV plays for entertainment, so it's rather important to use simple and colloquial language. Moreover, subtitle translation of verbal humor not only functions as a communication medium of linguistic conversion, but also involves transmission of cultural information. Words with the same semantic meaning in different cultures constitute a culture default in humorous elements as a result of differences in terms of historical backgrounds, social systems, ethnic traditions, customary proverbs and slang, etc. In order to fulfill some cultural vacuums in subtitling, a subtitler has to adopt compensation or conversion strategy, to ensure that target viewers have a synchronized understanding of English speeches and plots. How to adequately transmit the cultural information embedded in the original humor is an unavoidable challenge to any subtitler at work. Traditional humor theories mainly probe into the nature of humor, among which, the three classical ones are:incongruity theory, superiority theory and relief theory (Morreall,1983:4). Nevertheless, traditional theories of humor chiefly explore a regular pattern of humor generation with a beginning of the nature of humor. Therefore, they lack a basis on systematic analysis of similarity of verbal humor in different texts. In view of the distinctive features and restrictions of subtitle translation, starting from the text features of verbal humor in American TV plays, this thesis probes into the issue of verbal humor translation in the light of General Theory of Verbal Humor (hereafter referred to as GTVH) and linear hierarchy pattern of six Knowledge Resources proposed by Salvatore Attardo. Through a comparative study on examples of subtitle translation, this thesis attempts to summarize some distinctive skills adopted by fansubbers and analyze their gains and loss in humor reproduction, appealing to the society and academia for more concern over the active online fansubbing. GTVH as a linguistic theory of humor can benefit humor translation by providing an analytic framework of six Knowledge Resources, namely, Language (LA), Narrative Strategy(NS), Target(TA), Situation(SI), Logical Mechanism(LM), and Script Opposition(SO).The hierarchy of the KRs is used to analyze the internal structure of verbal humor texts and their translation:"the degree of perceived difference between jokes increases linearly with the height of the Knowledge Resources in which the two jokes differ."(Attardo,2002:183) GTVH and six KRs can be used as a formal tool of judging how different or similar two humorous texts can be. Attardo's theory gives a fresh insight in comparative studies on English and Chinese verbal humor. Yet considering the fact that humor is culture-specific, it's obviously inadequate to formulate operational guidelines on how to maintain similarities in these KRs and humorous effects in another culture. This is also one of its limitations.  
喜剧小品是中国大众喜闻乐见的一种文艺形式,言语幽默是喜剧小品的核心艺术手法.本文从顺应论的角度来分析喜剧小品中的言语幽默的产生基础、运行机制和语用效果.

关键词：喜剧小品   顺应论   言语幽默

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