摘要
精心构筑意象,是毛泽东诗词的一大特色。本文运用接受美学的期待视野理论和意义不确定性理论,研究不同译者翻译毛泽东诗词中意象所采用的不同策略。由于诗词作品中的诸多未定性的点和意义空白召唤读者展开联想,而读者期待视野的差异性又使这些联想各不相同,译者首先作为读者,亦不例外。本文以《蝶恋花.答李淑一》中意象的处理为例,说明同一意象可能唤起不同译者的不同联想,因而不同译者采用不同的策略去传译相同的意象。
Image constitutes the core of Mao Zedong＇s Poems.This paper first briefly introduces two concepts of reception aesthetics,meaning indeterminacy and horizon of expectation.It then applies these two concepts to analyze the various strategies of translating images in Mao Zedong＇s poems.The poems＇ indeterminacy and the difference in expectation horizon lead to readers＇ various imaginations.Therefore,translators,as privileged readers,can produce different versions.With special reference to the image translation in REPLY TO LI SHUYI —to the tune of Butterflies Love Flowers,this paper attempts to shed light on translators＇ different translating strategies of the same image from the perspective of reception aesthetics.
出处
《河北理工大学学报（社会科学版）》
2011年第4期170-172,180,共4页
Journal of Hebei Polytechnic University:Social Science Edition
关键词
接受美学
毛泽东诗词
意象
翻译
reception aesthetics
Mao Zedong＇s Poems
image
translation
