从接受美学的角度看《沁园春·长沙》的翻译研究

《沁园春·长沙》是我国伟大的政治家、思想家和卓越诗人毛泽东的经典诗作，以其独树一帜的风格和美学特征成为毛泽东山水诗词的代表作。本文以《沁园春·长沙》的四大经典译本为例，结合接受美学理论，强调译者的主体性和创造性，着重讨论原作者和目标读者的期待视野对译者的影响，及译者对文中通过音韵，意象和情感三方面体现的意义未定点的理解和诠释，以达到与原文和目标读者的二重视域融合。在翻译《沁园春·长沙》的过程中,要想让译文能带给目标读者如原文带给其读者的相似体验, 译者应有其自身独特的未定点具体化方式，确保译作不仅能再现原作精髓及美学特征且保留一定空间留待读者发挥想象。

    关键词：接受美学;《沁园春·长沙》；期待视野；视域融合；未定点
Abstract

Qin Yuan Chun: Changsha, boasting unique style and aesthetic features, is regarded as the representative landscape poetry of Mao Zedong, a great statesman, thinker and also an eminent poet in Chinese history. With the help of Reception Aesthetics, this thesis, based on the four classical English translations of Qin Yuan Chun: Changsha, highlights the subjectivity and creativity of the translators. It analyzes the influences of the horizon of expectation of both the original and the target readers on the translators. Besides, it also discusses the translators’ understandings and interpretations of the indeterminacies in rhymes, images and emotions with the aim of reaching the double fusion of horizons. In the process of translating the Qin Yuan Chun: Changsha, to give the target readers the similar aesthetic feelings with that of the source text readers, translators should have their own ways of concretizing the indeterminacies. They should not only deliver the essence and the aesthetic features of the original but leave certain space for readers’ imagination.

    Key words: Reception Aesthetics; Qin Yuan Chun: Changsha; horizon of expectation; fusion of horizon; indeterminacy

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