【摘要】： 隨著全球經(jīng)濟(jì)一體化,各國(guó)聯(lián)系越來越緊密,如何翻譯源語廣告中的修辭,并在譯語中保留原文廣告中所蘊(yùn)含的美感和語用效果,增添廣告魅力,從而實(shí)現(xiàn)廣告的最終目的—?jiǎng)裾f譯語讀者購買產(chǎn)品或服務(wù),越來越具有現(xiàn)實(shí)意義。然而,由于英漢兩種語言屬于不同的語系,其音,形,意以及所承載的文化歷史均完全不同,所以,在翻譯廣告修辭的過程中,譯者很難在譯語中找到和源語在音,形,意上都對(duì)等的修辭。廣告修辭翻譯面臨巨大困難,出現(xiàn)死譯,誤譯等現(xiàn)象。有時(shí),即便譯者能夠正確的表達(dá)意義,但是源語廣告修辭中所蘊(yùn)含的美感都喪失殆盡。 以姚斯和尹瑟爾為代表的接受美學(xué)理論,打碎了傳統(tǒng)的以作者或是文本為中心的翻譯理論的枷鎖,帶來了以讀者為中心的翻譯理論新視角。接受美學(xué)注重語言的美感,認(rèn)為文本本身即是某種“召喚結(jié)構(gòu)”,其中富含大量的語意“空白”,需要讀者自己去發(fā)掘,感知。而修辭是語言采用的藝術(shù)手段之一,其形式簡(jiǎn)潔,語意內(nèi)涵豐富,具有特殊美感。譯者在某種程度上可以說是源語廣告的第一讀者,肩負(fù)著傳遞源語廣告者意圖的重任。本文論證了接受美學(xué)的“語義空白”理論同廣告修辭有著不可分割的內(nèi)在聯(lián)系,而“期待視野”和“召喚結(jié)構(gòu)”則賦予了譯者充分的自由。譯者要想得到為譯語讀者所接受和欣賞的譯本,就必須在接受美學(xué)的指導(dǎo)下,充分發(fā)揮自身的主動(dòng)性,從而在譯文中實(shí)現(xiàn)源語廣告修辭所承載的審美情趣,美感和語義效果。
[Abstract]:With the integration of the global economy, countries become more and more closely connected. How to translate the rhetoric in the source advertisement, and to retain the aesthetic and pragmatic effects contained in the original advertisement in the target language, so as to increase the charm of the advertisement? In order to achieve the ultimate purpose of advertising-persuading the target readers to buy products or services, it is more and more meaningful. However, because the English and Chinese languages belong to different languages, their pronunciation, form, meaning and cultural history are completely different. Therefore, in the process of translating advertising rhetoric, it is very difficult for the translator to find the source language in the target language and the source language in the pronunciation and form, so it is very difficult for the translator to find the source language in the pronunciation and form in the process of translating advertising rhetoric. Rhetoric meant to be equal. Advertising rhetoric translation faces great difficulties, such as dead translation, mistranslation and so on. Sometimes, even if the translator can express the meaning correctly, the aesthetic feeling contained in the rhetoric of the source advertisement is lost. The theory of reception aesthetics, represented by Joss and Inther, breaks the shackles of the traditional translation theories centered on author or text, and brings a new perspective of translation theory with readers as the center. Receptive aesthetics emphasizes the aesthetic sense of language and thinks that the text itself is a kind of "calling structure", which is rich in a great deal of semantic "blank" and requires readers to discover and perceive it themselves. Rhetoric is one of the artistic means used in language, its form is concise, its meaning is rich, and it has special aesthetic feeling. To some extent, the translator is the first reader of the source advertisement, shouldering the important task of transmitting the intention of the source advertisement. This paper argues that the theory of "semantic blanks" in reception aesthetics is inextricably related to advertising rhetoric, while the "horizon of expectation" and "summon structure" give the translator full freedom. If the translator wants to get the translation which is accepted and appreciated by the target language reader, he must give full play to his own initiative under the guidance of reception aesthetics, so as to realize the aesthetic interest, aesthetic feeling and semantic effect carried by the rhetoric of the source language advertisement in the translation.
【學(xué)位授予單位】：合肥工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：H315.9

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