接受美学视阈下会展宣传资料的英译研究

发布时间：2018-05-07 10:59

本文选题：接受美学 + 会展宣传资料　；参考：《广西师范大学》2016年硕士论文

【摘要】：据中国新闻网报道,近几年我国会展业产值年均增速达20%,排名世界第一,预计到2015年底,将超过3000亿元,可见我国当前会展业强劲、迅猛的发展势头。毋庸置疑,这些成果的取得和会展主办方积极做好其宣传资料的英译是分不开的。然而,当前会展宣传资料的英译工作相对以往虽取得了一定进步,但是误译、漏译等问题仍层出不穷,给读者的理解造成了相当的困难。接受美学作为一种文学研究范式,发源于20世纪60年代西德的康斯坦茨学派,其代表人物是姚斯(Hans Jauss)和伊泽尔(Wolfgang ser)。前者认为“理解”是读者的偏见和文本相互作用的过程,以实现原文视野和读者期待视野的融合；后者认为文本存在空白和未定性,即“召唤结构”,需要读者发挥主观能动性将其具体化。然而无论是姚斯还是伊泽尔,他们都重视读者在文学创作中的作用。接受美学认为,作者在其创作过程中,应充分考虑到读者的认知能力、个人经历、审美倾向,如此才能使文本实现其预期目标。对于会展宣传资料的英译而言,接受美学同样具其指导作用。本文通过分析桂林国际旅游博览会、中国-东盟博览会、中国-东盟商务与投资峰会、中国-东盟博览会旅游展、2010年上海世博会、中国国际家居生产设备及原辅材料展览会、第十七次中国-东盟(10+1)领导人会议等大型博览会和会议的宣传资料,笔者发现其英译在语言、文化、审美诸方面仍存在不少问题,这和译者语言基础、文化意识审美能力的相对欠缺是分不开的。在接受美学视阈下,译者在进行会展宣传资料的英译过程中必须以读者为中心,突出原文的召唤结构、遵循缩小审美距离(符合其语言习惯、考虑其思维方式、满足其审美体验)和扩大审美距离(保留原文的形式美和文化内涵)的原则,以实现原文视野和读者期待视野的融合。而在具体的会展宣传资料的英译中,译者不应满足于和原文形式和内容的机械对应,而要适当采取解释、增加、省略、重组等策略,这样才能达到其翻译的目的,读者才能最大限度体会到原文的全部意义,会展也才能真正发挥其应有的价值。作为会展宣传资料英译的一个尝试性研究,希望本文能为做好当前的会展宣传尽些绵薄之力。瓦器微鸣,以待黄钟,希望会展宣传资料的英译研究今后能取得更丰硕的成果。
[Abstract]:According to China News Network, the annual output value of China's convention and exhibition industry has increased by 20 percent annually in recent years, ranking first in the world, and it is expected to exceed 300 billion yuan by the end of 2015. There is no doubt that the achievement of these achievements and exhibition organizers to actively do their publicity materials translation is inseparable. However, although some progress has been made in the translation of exhibition and exhibition materials, there are still many problems, such as false translation and missing translation, which make it difficult for readers to understand. As a literary research paradigm, reception aesthetics originated from the Constants School in West Germany in the 1960s. Its representative characters are Hans Jauss and Wolfgang sergang. The former holds that "understanding" is a process of interaction between the reader's prejudice and the text, in order to realize the fusion of the original visual field and the reader's expectation vision, while the latter holds that the text is blank and uncertain, that is, "call structure". It is necessary for readers to give full play to their subjective initiative. However, both Yeos and Izer attach importance to the role of readers in literary creation. Receptive aesthetics holds that the author should fully consider the reader's cognitive ability, personal experience and aesthetic tendency in the process of his creation, so that the text can achieve its expected goal. For the translation of exhibition publicity materials, reception aesthetics also has its guiding role. This paper analyzes Guilin International Tourism Expo, China-ASEAN Exposition, China-ASEAN Business and Investment Summit, China-ASEAN Exposition Tourism Exhibition, 2010 Shanghai World Expo, China International Household production equipment and Raw material Exhibition, The propaganda materials of the 17th China-ASEAN leaders' Conference and other large-scale expositions and conferences, the author finds that there are still many problems in English translation in language, culture, aesthetics and so on, and this and the translator's language basis. The relative lack of aesthetic ability of cultural consciousness is inseparable. From the perspective of reception aesthetics, in the process of translating exhibition and exhibition materials into English, the translator must focus on the reader, highlight the calling structure of the original text, and follow the principle of narrowing the aesthetic distance (in line with his language habit and considering his mode of thinking). The principles of satisfying its aesthetic experience and enlarging aesthetic distance (preserving the formal beauty and cultural connotation of the original text) are used to realize the fusion of the original visual field and the reader's expectation field of vision. In the specific translation of the exhibition materials, the translator should not be satisfied with the mechanical correspondence with the form and content of the original text, but should adopt the strategies of explanation, addition, ellipsis, reorganization and so on, so as to achieve the purpose of his translation. The reader can realize the meaning of the original text to the maximum extent, and the exhibition can give full play to its value. As a tentative study on the translation of exhibition materials into English, it is hoped that this paper can do a little for the present exhibition publicity. In order to wait for Huang Zhong, it is hoped that the translation of exhibition materials into English will achieve more fruitful results in the future.
【学位授予单位】：广西师范大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：H315.9

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