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With regard to the translation strategies of the film titles, scholars have put forward the following principles. Li Hongliang (2006) has come up with the “three beauties” principles, and Liu Baiyu (2007) has proposed the transliteration, literal translation, and paraphrases and expands translation principles. From the perspective of aesthetics, Wang Jing (2010) suggests that the film titles should show the natural, image and symbolic beauty of the films. There are also some other principles, for example, the kiss principle: keep it sound and song (Li Xue, Lu Haiyu, Cheng Longyue: 2008:178).
3. Cognitive Schemata Theory
3.1 The Origin and Definition of Cognitive Schemata Theory
The notion “schemata” was first raised by Immanuel Kant in 1781. He argued that no concept can provide inpiduals with any meaning unless it is related to their already known facts. In his book Critique of Pure Reason, Kant described that “the schema is in itself always a product of imagination… this presentation of a universal procedure of imagination is providing an image for a concept (Kant, 1999:182).” In 1932, the British cognitive psychologist Sir Frederic Bartlett first put the schemata concept into the field of psychology. In his most significant and influential work Remembering: a Study in Experimental and Social Psychology, he proposed that “our memory for discourse was not based on straight reproduction, but was constructive. This constructive process used information from the encountered discourse, together with knowledge from past experience related to the discourse at hand to build a mental representation (Bartlett, 1932:197).” In the 1980s, Rumelhart further developed and completed the theory. He viewed schemata as “stereotypes of concepts” (Schank, 1977:201), which indicates that it is a series of structures that represent the generic concepts, events and actions.
Besides the definitions proposed by the above scholars, many viewpoints are also put forward by many Chinese scholars. Zhao Yanfang (2001:189) believes that schema is an information system composed of interrelated knowledge, a form of knowledge representation, which is organically organized by new knowledge and experience, helping the human brain to store and process information. Gui Shichun (1991:3-9) holds the view that schema is a semantic structure with past experiences, which can adjust the expectant and general planning of a group of information.
Though the above definitions vary in wording, they focus on a common viewpoint. It can be concluded that a schema is an organized unit of knowledge, which reflects or reconstructs past events or experiences. The schema theory shows that when people understand new things and predict the events in the world, the existing schemata stored in our brain comes out. That is to say, in the process of understanding new information, a group of incoming events is interconnected with the already known background knowledge in people's memory structure, and then the existing schemata is activated for comprehension.
3.2 Classification of Schemata
In the process of translation, schemata can be classified into four categories: language schema, text schema, content schema and culture schema (Wang Yuxin, 2008:15-20). Only when we give full play to the roles of the four schemas can we achieve higher quality of translation.
Language schema means the language features of vocabularies and syntax, including vocabulary schema and syntax schema. In the process of translating, two language schema systems should be stimulated—original and target language schema. Text schema means the knowledge concerned with literary styles. Content schema refers to all the background information concerned with the paper. The more ample the content schema is, the clearer the analysis is, then the translation would be more accurate and smoothly. Culture schema refers to the culture background knowledge of the language object.