隨著視聽文化日益普及，影視字幕的翻譯也愈來愈受重視，在字數及時間的限制下，如何達到有效的溝通效果，是譯者的一大挑戰，而喜劇電影的幽默諷刺更是譯者的棘手任務。本論文以英國喜劇團體蒙帝巨蟒 (Monty Python) 的電影作品《脫線一籮筐》(Monty Python’s The Meaning of Life) 為研究對象，藉由哈蒂姆 (Basil Hatim) 與梅森 (Ian Mason) 話語分析理論架構，來探討影視字幕翻譯的因應策略。蒙帝巨蟒為英國六〇年代晚期崛起的英國喜劇劇團，其電影作品《脫線一籮筐》以該劇團知名的戲仿 (parody) 風格和短劇形式詮釋人一生中生老病死等不同階段，透過豐富的角色、多元的對話，以及他們最擅長的反差效果，來諷刺宗教、教育、體制、人性等，其獨特的幽默戲仿風格具有強烈的英國文化色彩。本研究以哈蒂姆與梅森提出語域分析在翻譯上的應用，從語場 (Field of Discourse)、語式 (Mode of Discourse) 和語旨 (Tenor of Discourse) 來分析此電影話語文本的戲仿效果，在轉換為中文字幕時如何構成各種翻譯上的挑戰，研究者進而檢視本片中文字幕是否能貼切傳達其中笑點及諷刺意涵。論文歸結出運用這套語域分析理論，能夠幫助譯者在話語翻譯轉換時，更加充分掌握語場、語式、語旨的不同所造成的語意差異，進而提出因應翻譯策略，以達到最好的溝通效果，凸顯出其獨特的戲仿風格，帶出欲傳達的寓意。

Film Subtitling has grown increasingly prominent as visual/acoustic entertainment has become a part of our daily life. It is a major challenge for the translator as to how to best deliver the effects of the film under the limits to time and word space; very often, the challenge becomes greater when the film is a comedy whose humour and sarcasm are the highlights. Using the discourse analysis framework from Basil Hatim and Ian Mason, this thesis discusses the translation strategies for the subtitling of Monty Python’s The Meaning of life, a film by the British comedy troupe Monty Python. The troupe became popular in late 60s and has been well-known for its parodies and skits, which make up the film, The Meaning of Life. With diverse roles, wide-ranging subjects and stark contrasts, one signature style of the troupe, the film tells the story of different stages in a human being’s life. It contains direct and indirect sarcasm towards themes such as religion, education, the military, and human nature. Its unique humour of parody also reflects distinct English culture. In this thesis, the troupe’s parody is analysed from the perspectives of “Field of Discourse”, “Mode of Discourse”, and “Tenor of Discourse”, brought up by Hatim and Mason on the application of discourse analysis to translation. From the above three perspectives, this thesis looks at how parody poses a challenge to subtitle translation and further discusses if the humour and underlying meaning can be properly delivered through subtitles translation. Deriving from its discussions, the thesis suggests some translation principles and strategies in conclusion that could help the translator to more closely discern the meanings of discourse based on the concepts of Field of Discourse, Mode of Discourse and Tenor of Discourse, and to help the translator more properly deliver the effect of parody to facilitate the communication between the film and its subtitle-reading audience.

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