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y the fact that some CSIs do not have dynamic equivalents (Nida, 1969) in the Chinese<br />
language and the reproduction of these CSIs might pose a barrier to the audience‟s<br />
understanding of the subtitles. In order to help the audience understand the lines without<br />
difficulties, CSIs can be eliminated from time to time. As distinct from the strategy of<br />
repetition, the strategy of creation or deletion may be said to put the audience‟s<br />
understanding of the text as the priority and hence may be said to be Target Audience<br />
centred.<br />
7.5 Significance of the study<br />
One important contribution of the research to the existing literature could be said to<br />
be the fact that it attempted to look at cross-cultural differences in the way politeness is<br />
handled in subtitle translation as a side issue. This was somewhat successful, but was<br />
somewhat hampered by the fact that Friends is a sitcom where characters may<br />
sometimes be seen to behave in a matter that is perceived to be outrageous by the<br />
American audience in order to create humourous situation and to raise a laugh. Future<br />
studies may wish to use other types of television series such as news interviews or<br />
documentaries for this purpose. This study also added a new dimension to cross-cultural<br />
translation studies in weaving Hofstede‟s four cultural benchmarks (1973) into the<br />
subtitle analysis. The study showed that television series can in principle provide<br />
valuable data for the analysis of how cross-cultural differences are handled by subtitle<br />
translators.<br />
Another contribution of the research is that it has presented new insights into whether<br />
particular translation strategies in fact offer satisfactory outcomes when the subtitle in<br />
question involves CSIs. The study showed that some subtitle translation strategies (e.g.<br />
repetition) did not prove as effective in achieving dynamic equivalence as other<br />
strategies such as creation or deletion. Up until the present, many academic studies in<br />
this field have basically outlined a number of strategies that can be used by subtitle<br />
producers, without attempting to identify which strategies can be more useful than<br />
others in dealing with CSIs.<br />
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