In the 50’s of the last century,American sitcom, has become a popular one of the world of entertainment not only in the united states,but also in other countries,。two broke girls is a series TV show broadcasting in CBS in September 2011。 This American sitcom, mainly tells a story of two American girls Max and Caroline in the process of entrepreneurship through a series of stories, It has been broadcast six season。 2 Broke Girls is fueling its popularity among the world, but compared with its popularity all over the world, the research of 2 broke girls in China is too rare。 Therefore the Chinese translation becomes the subject of the research。 Furthermore, it can add new data to the application of Skopos Theory to the Chinese translation。 In light of Skopos Theory, the author attempts to make a study of the translation of the American sitcom 2 Broke Girls in this thesis。

2。 Literature Review

2。1 Previous studies on subtitle translation

     With the rapid development of advanced technologies which contributed to the "popularization of TV set, Western scholars were the first ones to pay attention to the studies on subtitle translation。 Shuttle worth and Cowie, authors of dictionary of translation studies, defined subtitle translation as “the process of providing synchronized dialogue for the film and TV show。” which covers intralingual and interlingual translation。 And subtitle translation is what we usually say——interlingual subtitling translation。论文网

Subtitle translation was not established as an independent research branch until in 1995 and the number of researchers home and abroad is relatively small。 The earliest western studies on film subtitle translation date back to the first piece of academic article published in Babel in the early 1960s, which drew the curtain of studies on film subtitle translation。 Later in 1974 On Subtitle in Television Programmes written by Cay Dollerup, was published in Babel, in which studies on film subtitle translation was discussed, and several kinds of mistakes made in translation of some English TV programs from English into Danish were analyzed at length。 For the first time the general improvement and expansionary effect brought to foreign language teaching by subtitles was proposed。 Istavan Fodor explored the dubbing and subtitle translation from different perspectives such as phonetics, semiotics, aesthetics, psychology and so on and proposed that the perfect match and equivalence in all aspects was impossible and can not be achieved in subtitle translation of films and television programs due to uniqueness and specification of different language and culture of different countries in his Film Dubbing: phonetic, semiotic, aesthetic and psychological aspects which was published in 1976。 Also in this year, adopting the conception of restricted translation in his Subtitle, Christopher Titford proposed that restrictions on subtitle translation mainly come from the coordination and cooperation when it comes to time and space among images, sounds and subtitles。 In 1991, a book called Overcoming Language Barriers in Television: Dubbing and Subtitling for the European Audience written by Luyken in collaboration with other experts on subtitle translation of films and televisions programs was published and they analyzed different kinds of translation patterns of language conventions in the subtitle translation of European films and television programs。 Next year, Jan Ivarsson published his Subtitling for the media: a handbook of an Art, the first book on subtitle translation in the round in Europe。 The second edition rewritten in collaboration with one of Europe’s most experienced subtitlers and subtitling teachers, Mary Carroll was published in 1998。 In this edition, there are chapters on the history of subtitling and its future applications, on translation, readability and layout, on subtitling for the hard of hearing, on subtitling equipment, multilingual subtitling and DVD but the main part deals with the practical aspects of subtitler’s work: the do’s and don’t of subtitling, how to time and edit subtitles to achieve optimal quality and maximum viewer acceptance。(He 134)