本文選題：接受美學(xué) + 會展宣傳資料　； 參考：《廣西師范大學(xué)》2016年碩士論文

【摘要】：據(jù)中國新聞網(wǎng)報道,近幾年我國會展業(yè)產(chǎn)值年均增速達(dá)20%,排名世界第一,預(yù)計到2015年底,將超過3000億元,可見我國當(dāng)前會展業(yè)強勁、迅猛的發(fā)展勢頭。毋庸置疑,這些成果的取得和會展主辦方積極做好其宣傳資料的英譯是分不開的。然而,當(dāng)前會展宣傳資料的英譯工作相對以往雖取得了一定進(jìn)步,但是誤譯、漏譯等問題仍層出不窮,給讀者的理解造成了相當(dāng)?shù)睦щy。接受美學(xué)作為一種文學(xué)研究范式,發(fā)源于20世紀(jì)60年代西德的康斯坦茨學(xué)派,其代表人物是姚斯(Hans Jauss)和伊澤爾(Wolfgang ser)。前者認(rèn)為“理解”是讀者的偏見和文本相互作用的過程,以實現(xiàn)原文視野和讀者期待視野的融合；后者認(rèn)為文本存在空白和未定性,即“召喚結(jié)構(gòu)”,需要讀者發(fā)揮主觀能動性將其具體化。然而無論是姚斯還是伊澤爾,他們都重視讀者在文學(xué)創(chuàng)作中的作用。接受美學(xué)認(rèn)為,作者在其創(chuàng)作過程中,應(yīng)充分考慮到讀者的認(rèn)知能力、個人經(jīng)歷、審美傾向,如此才能使文本實現(xiàn)其預(yù)期目標(biāo)。對于會展宣傳資料的英譯而言,接受美學(xué)同樣具其指導(dǎo)作用。本文通過分析桂林國際旅游博覽會、中國-東盟博覽會、中國-東盟商務(wù)與投資峰會、中國-東盟博覽會旅游展、2010年上海世博會、中國國際家居生產(chǎn)設(shè)備及原輔材料展覽會、第十七次中國-東盟(10+1)領(lǐng)導(dǎo)人會議等大型博覽會和會議的宣傳資料,筆者發(fā)現(xiàn)其英譯在語言、文化、審美諸方面仍存在不少問題,這和譯者語言基礎(chǔ)、文化意識審美能力的相對欠缺是分不開的。在接受美學(xué)視閾下,譯者在進(jìn)行會展宣傳資料的英譯過程中必須以讀者為中心,突出原文的召喚結(jié)構(gòu)、遵循縮小審美距離(符合其語言習(xí)慣、考慮其思維方式、滿足其審美體驗)和擴(kuò)大審美距離(保留原文的形式美和文化內(nèi)涵)的原則,以實現(xiàn)原文視野和讀者期待視野的融合。而在具體的會展宣傳資料的英譯中,譯者不應(yīng)滿足于和原文形式和內(nèi)容的機(jī)械對應(yīng),而要適當(dāng)采取解釋、增加、省略、重組等策略,這樣才能達(dá)到其翻譯的目的,讀者才能最大限度體會到原文的全部意義,會展也才能真正發(fā)揮其應(yīng)有的價值。作為會展宣傳資料英譯的一個嘗試性研究,希望本文能為做好當(dāng)前的會展宣傳盡些綿薄之力。瓦器微鳴,以待黃鐘,希望會展宣傳資料的英譯研究今后能取得更豐碩的成果。
[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.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：H315.9

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