摘要

接受美学打破了传统的以文本为导向的思想，突出了读者的主体地位。将接受美学运用到文化负载词翻译中来，可以提高译文质量，从而推动文化的传播，但也有可能使译者拥有过度自由。如何将接受美学正确地运用于翻译实践和翻译评价值得进一步探讨。本文以《青衣》中文化负载词为例，在书中文化负载词归为六类后，统计并分析了译者使用的翻译策略和翻译方法。发现就归化策略而言，葛浩文多采用意译，就异化策略而言，他多采用直译。此外，本文还从接受美学的角度出发，进一步分析了葛浩文为何采取这种翻译方法的原因，并评价了他的翻译成果。本文认为，虽然葛浩文未能很好地翻译《青衣》中部分文化负载词，但是就整体而言，他对文中的文化负载词的翻译取得了出色的效果，能够促进中国文化的传播。本文还针对今后的文化负载词翻译出了四个建议，即融合作者和读者的视野，拓宽读者的期待视野，顾及无形的读者，以及找到恰当的审美距离。

关键词：接受美学；文化负载词；翻译策略；翻译方法

Contents

Abstract i

摘  要 ii

1. Introduction 1

1.1 Definition and classification of culture-loaded words 1

1.2 Study of culture-loaded words in literary works 3

1.3 Further development of the study of culture-loaded words 5

2. Theoretical framework—reception aesthetics 6

2.1 Main concepts of reception aesthetics 6

2.2 The domestic study of reception aesthetics adopted in literary works 8

2.3 The overseas study of reception aesthetics adopted in literary works 10

3. Howard Goldblatt and The Moon Opera 11

3.1 Howard Goldblatt and his translations 11

3.2 The Moon Opera 12

4. Analysis on the translation of culture-loaded words in The Moon Opera from the perspective of reception aesthetics 13

4.1 The translation of linguistic culture-loaded words 16

4.2 The translation of material culture-loaded words 17

4.3 The translation of social culture-loaded words 18

4.4 The translation of historical culture-loaded words 19

4.5 The translation of religious culture-loaded words 21

5. Suggestive strategies 22

5.1 Fusing the author’s horizon and readers’ horizon 22

5.2 Broadening readers’ horizons of expectations 22

5.3 Taking the invisible role of readers into consideration 23

5.4 Achieving appropriate aesthetic distance 23

6. Conclusion 24

6.1 Main findings in the study 24

6.2 Limitations of the study 24

Acknowledgements 26

Bibliography 27