接受美学视阈下的译者主体性——雷克斯罗斯诗词英译评析  

Analysis of Translator's Subjectivity from the Perspective of Receptive Aesthetics: Taking Kenneth Rexroth's Translation of Chinese Classical Poetry as Examples

作　　者：李燕霞[1] LI Yanxia(School of Foreign Language Foreign and Trade,Guangzhou Panyu Polytechnic,Guangzhou Guangdong 511483,China)

机构地区：[1]广州番禺职业技术学院外语外贸学院,广东广州511483

出　　处：《北京航空航天大学学报（社会科学版）》2018年第6期99-104,共6页Journal of Beijing University of Aeronautics and Astronautics：Social Sciences edition Edition

基　　金：广东省哲学社会科学"十二五"规划2015年度学科共建项目(GD15XWW18);广东省高等职业教育"十三五"特色专业建设项目(粤教高函[2015]189号)

摘　　要：翻译研究的文化转向确定了译者主观能动性的地位,接受美学以读者为中心,关注读者及其期待视野和审美经验。接受美学视阈下的译者主体性受到"召唤结构""期待视野"和"文本历史性"等因素的制约,从而间接影响翻译效果。从译者主体性的角度,在评析李清照《一剪梅》雷克斯罗斯译本的基础上,指出:诗歌翻译中的译者主体性在诗歌形式、意象传达和意境营造上表现突出,雷克斯罗斯"创意英译"的翻译策略遵循了译者主体性的客观规律,是诗歌翻译创新的有效尝试。The cultural turn of translation studies makes the subjective initiatives of translators a hot topic recently.Reception aesthetics should be reader-centered and focus more on readers’ horizon of expectations and aesthetic experience. Based on the theories of reception aesthetics,the exertion of translator’s subjectivity relies heavily on the combined effect of the appeal structure,horizon of expectations and historicity of texts,which has an effect on the translation effects. The paper studies Rexroth’s translation of Li Qingzhao’s Poetry from the perspective of translator’s subjectivity and points out that translator’s subjectivity embodies in poetic forms,image presenting and artistic conception formation when translating. Rexroth’s creative translation of classical Chinese poems accords with the universal law of translator’s subjectivity,which proves to be a creative and effective translation strategy.

关 键 词：接受美学 译者主体性 雷克斯罗斯 创意英译 诗歌翻译 

分 类 号：D63[政治法律—政治学]