文学的召唤结构和其翻译中的再创造——以《红楼梦》的两英译本为例
The Appealing Structure and its Recreation
In Literary Translation----Taking the Two English Versions of Hong Lou Meng for Illustration
学科专业：外国语言学与应用语言学
研究方向：翻译理论与实践
ABSTRACT
Reception aesthetics with fresh viewpoints exerts a unique influence upon literature as well as literary translation circle. The striking feature of this theory is that it is a study focusing on reader. As a leading scholar of this theory, Wolfgang Ir builds all his theories on the interaction between reader and text. He places greater stress on the reader’s creative participation in reading text. His many articles about appealing structure and reader’s aesthetic respon made nsations throughout the theoretic circles among scholars and st
udents as soon as they were born. His appealing structure holds that there are “gaps” and“indeterminacies ” in the meaning of text，which will stimulate reader to fill in the gaps, and decode the indeterminacy with his creativity and imagination. The basic structure compod of gaps and indeterminacy in a text is called an appealing structure，能力是指>列方程which expos an ultimately open scope and attracts every reader to explore and create the deep meaning of a text according to his personal experiences, knowledge and values. Coincidentally, the appealing structure has also been cherished by Chine authors in long literary history. Zhu Liyuan has made a thorough rearch on Ir’s appealing structure, and extended his theory. He takes the view that the appealing structure should cover a broader area. According to their opinion, this disrtation mainly deals with the recreation of appealing structure from the perspective of reception aesthetics.
Literature, an aesthetic reflection on real life, first and foremost must live up to the aesthetic standards. Literary translation as an art is in line with this standard, the ultimate aim of which is to satisfy readers’ aesthetic requirements. Literary translation entails a tra
nslator to cope with all kinds of questions arising from language, culture, author, text, reader, and so on. Literary translation is an actual recreation of aesthetic art, which is not only the wisdom of ancient translators, but also the common view of contemporary translators. Of cour, the recreation is a limited creation fettered by the faithfulness to text and reader. Recreation covers a variety of areas and concerns many factors. Here, this disrtation, taking the two versions of Hong Lou Meng打扫干净屋子再请客 for illustration, mainly discuss the recreation of the appealing structures in the language in literary writings and in the meaning of a literary text for the purpo of reader reception.
Firstly, the author deals with the recreation of the appealing structure in literary language. Undoubtedly, literary language is very significant, as it is the root of all the appealing structure such as meaning. Literary translation is an art of language, namely the art of reproduction and recreation in another language. When the original is translated, the appeal of source language will be lost to the target language reader. Only when target language appeal is reproduced, can it achieve the purpo of appealing the target language reader. In doing so, a translator should u the pure target language to substitu
te the pure source language, and strive to prerve the beauties of source language including its rhythm, fuzziness, indeterminacy and connotation. This doesn’t exclude foreignized language, for it owns its appealing traits by breaking reader’s habitual expectation horizon. Personally, in literary translation, domesticated language should be a main body, and the foreignized language, a supplement.
The emphasis of this disrtation is laid on the recreation of textual meaning’s appealing structure. Translation is to translate meaning; the whole process of translation is to treat meaning. Different from non-literary works, literary works are rich in gap, fuzziness, multi-meaning and indeterminacy. A translator is expected to recreate the original appealing structure in his translation. He, above all, should recreate the corresponding context and appealing open space in the chon words and expressions, and meanwhile guard against the over-loaded translation and under-loaded translation. However, owing to the limitation of language, culture and translator himlf, perhaps a translator can’t identify the original appealing structure, and therefore make it lost or distort in his translation. Moreover, as one of the readers, a translator is likely narrow the appealing open space of
化学与环境the original, who will translate the indirect into the direct, the implicit into the explicit, and so on. If so, the target language readers would not appreciate the beauty hidden in the original as the source language readers do.
In the recreation of the appealing structures in the literary language and textual meaning, a translator should bear the notion of reader need in mind, which would influence his adoption of words, and make his version different. The immediate aim of literary translation is to endow reader with aesthetic enjoyment by enabling him to decode the text through reading process. According to reception aesthetics, literary works are created by both author and reader. Comparatively, reader more than plays a crucial part in literary recreation; he is an actual pivot of the whole recreation. It is unimaginable for a literary work to survive without reader participation. So, when reader need clashes with the original, a translator should translate flexibly to cater to reader. It is no exaggeration that the importance of reader overrides other factors affecting translation. However, this doesn’t deny the fact that literary translation is a limited recreation on the condition that it should be faithful both to reader and author. Undoubtedly, reader reception is so importan
t that the focus of literary translation in 21佛经经典st 真情真爱century will be shifted to reader.
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