从接受美学视角解读《神州集》中诗歌意象的再造  

Interpreting the Image Reproduction in Cathay from the Perspective of Reception Aesthetics

作　　者：戴毓庭[1] 

机构地区：[1]常熟理工学院外国语学院,江苏常熟215500

出　　处：《常熟理工学院学报》2014年第5期72-76,共5页Journal of Changshu Institute of Technology

基　　金：常熟理工学院校级项目"庞德和艾略特诗学思想比较研究"(QT1309)

摘　　要：接受美学根植于西方的阐释学传统,认为理解是读者视野对象化的过程,是个体期待视野和历史视野的融合。当读者期待视野和作品之间的审美距离过大时又会制约视野融合,读者也无法实现文本召唤结构的具体化。从接受美学角度来看,翻译都是基于前理解的再创作。《神州集》是体现庞德诗学思想和审美体验的翻译试验,他通过移植和重构两种方式最大程度上保留了中国诗的灵魂——意象。《神州集》的翻译实现了诠释的循环,本质上体现了接受美学的旨归。Rooted in the tradition of western Hermeneutics, Reception Aesthetics regards readers＇ comprehension as the substantialization of diverse horizons, the fusion of horizons of individual expectation and history. However, the aesthetic distance between the work and readers＇ horizon of expectation, if unacceptably wide, may block the fusion of horizons, and prevent its readers from concretizing the inviting structure of the work. From the perspective of Reception Aesthetics, translation is a sort of recreation based on preunderstanding. Cathay, therefore,is a translation experiment that tells Pound＇s poetics and aesthetic experience. In Cathay, Pound, by means of transplanting and reproducing, endeavors to reserve the soul of Chinese poetry--image, which embodies the hermeneutic circulation and reflects principles of Reception Aesthetics.

关 键 词：接受美学 《神州集》 意象 移植 重构 

分 类 号：H059[语言文字—语言学]