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1、硕 士 学 位 论 文论文题目： An Analysis of Different English Versions ofTao Yuanmings Pastoral Poetry from thePerspective of Reception Aesthetics从接受美学角度看陶渊明田园诗歌的不同英译本学科专业名称英语语言文学申请人姓名指 导 教 师 教授论文提交时间2017年12 月06 日An Analysis of Different English Versions of Tao Yuanmings Pastoral Poetry from the Perspective of

2、Reception AestheticsBy Xue HuiSupervisor: Prof. Zhang JingshengAPaperSubmitted toThe English DepartmentOf the Foreign Language SchoolIn Candidacy for the Masters Degree of ArtsShandong Normal UniversityJinan, Shandong, ChinaJune, 2012独创声明本人声明所呈交的学位论文是本人在导师指导下进行的研究工作及取得的研究成果。据我所知，除了文中特别加以标注和致谢的地方外，论文

3、中不包含其他人已经发表或撰写过的研究成果，也不包含为获得 （注：如没有其他需要特别声明的，本栏可空）或其他教育机构的学位或证书使用过的材料。与我一同工作的同志对本研究所做的任何贡献均已在论文中作了明确的说明并表示谢意。学位论文作者签名：学位论文版权使用授权书本学位论文作者完全了解 学校 有关保留、使用学位论文的规定，有权保留并向国家有关部门或机构送交论文的复印件和磁盘，允许论文被查阅和借阅。本人授权 学校 学位论文作者签名：导师签字：签字日期：20年月日签字日期：20年月日ContentsAbstract .i摘要.iiiIntroduction .1Chapter One Literatur

4、e Review .4Study of Chinese Pastoral Poetry .4Study of Western Pastoral Poetry .51.3 A Brief Introduction of Tao Yuanming .5Tao Yuanmings Pastoral Poetry .81.4.1 A Natural Depiction of the Idyllic Picture .81.4.2 A True Description of Farming Life .81.4.3 A Narrative of the Sincere and Honest Friend

5、ship .91.4.4 The Performance of Peasants Poverty .9Chapter Two Translation Standards and Theory Applied .10Translation Standards of Classical Poetry both at Home and Abroad .102.2 Application of Reception Aesthetics in Poetry Translation .102.3 A Brief Introduction About English Versions of Taos Poe

6、ms .12Chapter Three A General Introduction of Reception Aesthetics .13The Origin and Development of Reception Aesthetics .13Jauss and “Horizon of Expectation” .15Isers “Appealing Structure” and “Implied Reader” .17Chapter Four The Analysis of Tao Yuanmings Pastoral Poetry from the Perspective ofRece

7、ption Aesthetics .19Readers Role and Status .19An Introduction of Three Translation Versions Adopted in the Paper .19Three Translators Translation Standards from the Perspective of Reception Aesthetics.20Three Translators Translation Strategies from the Perspective of Reception Aesthetics224.4.1 An

8、Analysis of Wang Rongpeis Translation Strategies224.4.2 An Analysis of Yang Xianyi and Gladys Translation Strategies234.4.3 An Analysis of David Hintons Translation Strategies244.5 The Case Study of Taos Translation Versions from the Perspective of ReceptionAesthetics254.5.1 Translation Versions of

9、Back to Country Life () from the Perspective ofReception Aesthetics254.5.2 The Translation of the Special Language Points in Taos Pastoral Poems294.6 Summary40Chapter Five Conclusion415.1 Research Achievement415.2 Research Significance415.3 Limitations and Implications for Future Research425.3.1 Lim

10、itations425.3.2 Implications for Future Research43Bibliography44Appendix47Acknowledgments73Publication错误！未定义书签。山东师范大学硕士学位论文AbstractWei Jin vigor of style has always been the consistent theme that Chinese scholars concern and Tao Yuanming is the representative character and has made great contributio

11、ns for the creation of pastoral poems. Although the researches on his poems are abundant at present，most of them concentrate on the literature field. From this point we can find that Tao Yuanmings poetry translation lacks the corresponding theoretical support and research.How to transmit the culture

12、 which is expressed by the form of poetry effectively to foreign readers is a hot issue in translation field. Reception aesthetics is introduced to this field because of the sameness in searching objects and range. Based on the theory, the paper analyses Taos different translation versions of the pa

13、storal poem in detail. Reception aesthetics supports the theory that the work itself is an “appealing structure” which contains many “indeterminacies” and “gaps” and waits readers to complete the understanding and reconstruction of the work with their own “horizon of expectations”. Reception aesthet

14、ics turns the attention to the interaction between text and reader and emphasizes the subjective initiative of readers (including translators).In Taos pastoral poetries, the natural and pure styles, rich images, beautiful artistic realms, flexible verves, profound cultural connotations are all the “

15、indeterminacies”. How to translate the aesthetic effect to make the readers “horizon of expectations” interact with those of the original and finally achieve the fusion is the leading significance of reception aesthetics.This paper is divided into six parts. The first part briefly introduces the res

16、earch statement, background, objective, outline and theory applied. The second part is literature review, which includes a brief introduction of Chinese and western pastoral poems, and then discusses Tao Yuanming and his pastoral poems. The third part of the research is translation strategies and En

17、glish versions of Taos pastoral poetries. Chapter three is theoretical framework. This chapter elaborates on the reception aesthetics and discusses two important concepts which are “horizon of expectations” and “indeterminacies” (or “gaps”). Chapter four is the central part of the paper and is also

18、the specific process of research and analysis. It mainly selects Yang Xianyi, Wang Rongpei and David Hintons translation versions and discusses their translation standards, strategies and translation versions in detail from the perspective of reception aesthetics. Yangi山东师范大学硕士学位论文Xianyi translated

19、parts of Tao Yuanmings poems in Poetry and Prose of the Han, Wei and Jin Dynasty while the other two translators translated most of his poems in their works. The last part is the conclusion.Through the exploration of the relationship between translation versions of Tao Yuanmings pastoral poetry and

20、reception aesthetics, the paper gets the inspiration or enlightenment for the translation. First, readers role and status should be paid much attention to and meanwhile cannot be over-exaggerated during the translation process. The traditional translation standards should not be denied as well. Seco

21、nd, individual differences of “horizon of expectations” bring enough room of imagination for the translators. Appropriate creation should be encouraged and the flexible strategies should be adopted for the translation of Tao Yuanmings pastoral poetry, especially for the translation of reduplications

22、, images and culture-loaded words. Third, pay attention to the readers times and cultural background and takes readers reception into full consideration. It is necessary to meet the readers aesthetic needs and also to expand their “horizon of expectations”.Key words: Tao Yuanmings pastoral poetry; r

23、eception aesthetics; horizon of expectation; indeterminacies; translation strategiesCategory code: ii山东师范大学硕士学位论文摘要魏晋风骨一直是中国文人所关心的主题，而陶渊明则是代表人物，为田园诗歌创作做出了卓越贡献。目前关于陶渊明诗歌的研究不少，但大多集中于文学探究，从中可以看出对其诗歌翻译还缺乏相应的理论支撑和研究。如何把这种以诗歌形式所传达的文化有效地传递给外国读者一直是翻译界探寻的问题。接受美学因其研究对象和范围的交叉性被引入了这一领域。本论文以接受美学作为理论基础对陶渊明田园诗歌的不同

24、英译本进行了详细分析。接受美学是文学研究中一种新的范式和方法，接受理论认为作品本身是一个召唤结构，其中蕴藏着许多的不定点和意义空白等待读者以自己的期待视野与之进行积极的对话交流最终共同完成对作品的理解重构。接受理论把目光转向文本和读者的互动关系上，强调读者（包括译者）的主观能动性。陶渊明田园诗歌中自然纯美的诗风，丰富的意象，唯美的意境，灵动的神韵，深厚的文化底蕴便是作品本身的不定点。如何译出其中的审美效果，使读者的期待视野与原作积极互动形成视域融合，便是接受美学理论的指导意义之所在。本文共由六部分构成。第一部分为引言部分，简要概述本研究的研究现状，研究目的和背景以及本论文的整体框架和应用理论。

25、第二部分为文献综述，主要对中西方田园诗歌进行了简要概述，然后介绍了陶渊明及其田园诗歌的思想内涵。第三部分介绍了中西方翻译标准问题并列出了陶渊明田园诗歌的翻译版本。第三章为理论框架，本章对接受美学理论进行了详细阐述并对接受美学中两个重要术语即“期待视野”和“不定点”(或“意义空白”)展开论述。第四章为论文的中心部分，为具体的研究分析过程,主要选取杨宪益，汪榕培和戴维亨顿的陶渊明诗歌英译本从接受美学的角度对三位的翻译思想，翻译策略和翻译版本进行详细探讨。其中杨宪益的汉魏六朝诗文选为选译，汪榕培和戴维亨顿为全译本。第六章为结论。本论文对陶渊明田园诗歌翻译进行分析，探讨陶渊明田园诗歌的主要译本中采用的

26、翻译策略和接受美学理论之间的关系，并提出了自己对于翻译方法的建议。(1)要重视读者在翻译过程中的地位和作用，但是又不能过分夸大读者作用，不能够否定传统翻译标准。(2)期待视野个人差异性给翻译带来了发挥的想象空间，鼓励译者适当的创造性，鼓励译者运用灵活的翻译策略去翻译陶渊明田园诗歌，尤其是对叠词，意象和文化词语的翻译。(3)要注意读者的时代背景，充分考虑读者的接受程度，既要满足读者的审美需要，又要扩大其期待视野。iii山东师范大学硕士学位论文关键词：陶渊明田园诗歌, 接受美学, 期待视野, 不定点, 翻译策略分类号：iv山东师范大学硕士学位论文IntroductionStatement of t

27、he StudyThe study of Chinese poetry translation mainly focuses on objective textual analysis. The leading roles that the readers (including the translators) have played under the process of the poem translation have not been paid much attention to. Readers active reception is also rarely mentioned.

28、Reception aesthetics emphasizes the status of readers and encourages the translators to use their own “horizon of expectations” to concretize the original and also leave enough artistic distance for the target language readers to interpret the “indeterminacies” and “gaps” in the translation. However

29、, few researches combine reception theory with Chinese ancient poetry translation. Therefore, this paper attempts to study the English translations of Tao Yuanmings pastoral poems from the perspective of reception aesthetics.Research BackgroundPoetry is a great treasure in China. Robert Payne mentio

30、ned that “poetry is the most beautiful flower in Chinese culture” (Kong Huiyi, 1999: 91). Tao Yuanming, the founder of Chinese pastoral poetry, enjoys a great reputation both at home and abroad. The abundant images, natural style, beautiful artistic realm, profound cultural connotations in his pasto

31、ral poems have inspired numerous scholars to appreciate and translate the poems and also carry out the related research. However, the problem is that few people do research on Chinese ancient poetry translation from the angle of reception aesthetics, let alone the translation versions of Tao Yuanmin

32、gs pastoral poems.Therefore, this paper selects the well-known translation versions of Wang Rongpei, Yang Xianyi and David Hinton and illustrates their translation ideas and concrete strategies from the perspective of reception aesthetics. At the same time, the paper will attempt to give some sugges

33、tions on how to deal with the reduplications, images, style and cultural factors during the translation of Tao Yuanmings pastoral poems on the basis of reception theory.Theory AppliedReception aesthetics originates from the theory of post-structuralism translation study and the hermeneutics theory a

34、nd is one of the most influential literary theories which have a great impact on the development of translation studies. The representatives are Hans Robert Jauss,1山东师范大学硕士学位论文(1921 - ) and Wolfgang Iser (1926 - ). Jauss research thoughts mainly focus on the work of Toward an Aesthetic of Reception,

35、 Aesthetic Experience and Literary Hermeneutics, etc. He maintains that every reader has his “horizon of expectation” or “pre-understanding”. The work itself hides a lot of “indeterminacies” and “gaps” which need the readers to concretize or interpret them. Iser put forward the concept of “appealing

36、 structure”. This “appealing structure” which is made up of the “indeterminacies” will naturally make the readers give rise to different understandings for the same work because of the differences of readers knowledge structures and the ambiguities or uncertainties of the texts. Poetry, as the highe

37、st artistic form, inevitably contains a lot of “indeterminacies” and “gaps”. As for Tao Yuanmings pastoral poem, the “indeterminacies” and “gaps” refer to its style, images, artistic concepts, cultural connotations, etc. In addition, reception aesthetics is about the readers reception theory. Recept

38、ion aesthetics insists that literature is not the objective activity which aims at the material world, but the activity which deals with the interpersonal communication of thinking, feeling and understanding among people. Therefore, the essence of literature is its interpersonal nature. This nature

39、decides that literature can not exist without the observer independently.Literature creation and spreading should be seen as a “dialogue process”. The dialogue participants, both authors and readers, are equal partners. They are both equally important and indispensable. Creation and reception proces

40、s of literature include two basic aspects: the writers works and readers. The work is not finalized after the creative process. Only by the reception activities of readers can the work finish the process. Authors write works for people to read and the only object is reader. From this point of view,

41、reception aesthetics confirms that the literary and artistic works become the aesthetic objects only after the readers reception. When the works potential meaning and aesthetic awareness interact with each other and are perceived by the recipients and cause a reaction, this potential information is

42、finally transferred into the concrete images and meanings. It was also continuously improved by the change of time, place and reception awareness. That is also why there exist so many translation versions of Tao Yuanmings pastoral poems.All of the above concepts of reception theory make people study

43、 poetry translation from a completely new perspective. The reception theory is used into translation for improving the translation theory. Meanwhile, the theory make the translators pay much attention to the target2山东师范大学硕士学位论文readers status and roles and encourage them to use the flexible translati

44、on strategies with their own “horizon of expectations” to meet the readers artistic needs at different times.Research ObjectiveThe primary concern of this paper is to introduce the important concept of reception theory into translation study. Then this paper mainly interprets three different transla

45、tion versions of Taos pastoral poems under the theoretical support of the theory. By collecting English translation versions of Wang Rongpei, Yang Xianyi and David Hinton and using the comparative study, this paper does the utmost to analyze their translation ideas and put forward the suggestions on

46、 the translation methods of poetry.Outline of the PaperThis paper is divided into six parts. The first part briefly introduces the research statement, background, objective, outline and theory applied. The second part is literature review, which includes a brief introduction of Chinese and western p

47、astoral poems, and then discusses Tao Yuanming and his pastoral poems. The third part of the research is translation strategies and English versions of Taos pastoral poetries. The fourth part is theoretical framework. This chapter elaborates on the reception aesthetics and discusses two important co

48、ncepts which are “horizon of expectation” and “indeterminacies” (or “gaps”). Chapter four is the central part of the paper and is also the specific process of research and analysis. It mainly selects Yang Xianyi, Wang Rongpei and David Hintons translation versions and discusses their translation sta

49、ndards, strategies and translation versions themselves in detail from the perspective of reception aesthetics. Yang Xianyi translated parts of Tao Yuanmings poems in Poetry and Prose of the Han, Wei and Jin Dynasty while the other two translators translated all of his poems in their works. The last

50、part is the conclusion, pointing out the significance, suggestion, limitation, and further study in this field.3山东师范大学硕士学位论文Chapter One Literature Review1.1 Study of Chinese Pastoral PoetryPastoral poetry is closely related to the ancient folk songs. We can easily find the evidence from “Book of Son

51、gs” and the idyllic poetry of the Han dynasty. First, the formation of ancient poets pastoral complex and emotions are decided by socio-economic realities of the times. Agriculture (basically refers to crops) is the economic basis of the feudal society and determines the peace and prosperity of the

52、feudal ruling. Therefore, the feudal rulers of every dynasty value agriculture very much.Secondly, most of the intellectuals come from peasant families. Even many children of officials live in rural areas and also some intellectuals who ever live in the city deliberately hide in the countryside or t

53、he mountains when they meet the career barriers. Because of the natural connection between them, the intellectuals form a conscious concern to the Chinese rural areas.It is this complex of villages that make the ancient poets reflect the realities and emotions of peasant, praise the hard-working far

54、mers and describe the natural sceneries of the countryside. All of these promote the emergence and development of Chinas ancient pastoral poetry.Of course, the emergence and development of pastoral poetry have a close relationship with the extreme darkness of the officialdom in feudal society. The e

55、xclusion and nepotism of the feudal bureaucracy make part of the officials especially some upright feudal intellectuals can not stand the darkness and corruption of the officialdom and retreat to the rural areas or mountains as a recluse. In contrast with the flattery and intrigue, what they feel in

56、 the countryside are the kindness and sincerity of the peasants and the freshness and charming of nature. Chinas first-known ancient pastoral poet, Tao Yuanming, is the most typical representative.In terms of the subject or the content of Chinas traditional pastoral poetry, it mainly includes three aspects: the depiction of the rural pastoral landscape; the praise of their simple character and industrious working life; the lament and indignation to the exploitation, oppression and disaster.Realism has always been t