本科毕业论文-浅析接受美学视角下的化妆品品牌翻译.docx

目 录 浅析接受美学视角下的化妆品品牌翻译AN ANALYSIS OF TRANSLATION OF COSMETIC BRAND NAME FROM THE PERSPECTIVE OF RECEPTION AESTHETICS 学生姓名学号所在学院外国语学院班级所在专业英 语申请学位学 士指导教师职称副 教 授副指导教师职称答辩时间2015年 6 月 7 日 CONTENTSABSTRACT IABSTRACTII1. INTRODUCTION- 1 -2. RECEPTION AESTHETICS AND ITS MAIN CONCEPTS- 2 -2.1 An Overview of Reception Aesthetics- 2 -2.2 Main Concepts- 3 -2.2.1 Horizon of expectations- 4 -2.2 .2Indeterminacy of text meaning- 5 -2.2.3 Aesthetic experience- 5 -3. BRAND NAME TRANSLATION AND RECEPTION- 6 -3.1 Brand name translation- 7 -3.1.1 The significances of brand name translation- 7 -3.1.2 The existing problems in the brand name translation- 7 -3.2 Enlightenments of brand name translation under the Guidance of Reception Aesthetics- 8 -3.2.1 Cultural Communication- 8 -3.2 .2 the Creative Expectation of Target Consumer- 9 -4. TRANSLATION STRATEGIES- 10 -4.1Transliteration- 10 -4.2 Free Translation- 11 -4.3 Creative translation- 12 -4.4 Copying translations- 12 -5. CONCLUSION- 13 -ACKNOWLEDGEMENTS- 15 -REFERENCES- 16 -摘要 ABSTRACT （中文摘要） 随着全球化的推进，全球的商品经济竞争愈演愈烈。每个商家都面临着这样一个问题：如何把自己的产品更好地介绍给目标市场的消费者。有美丽经济之称的化妆品品牌竞争焦点是化妆品的产品文化、企业形象、产品质量等，而其品牌名称正是其最集中的体现。接受美学确立了以读者为中心地位，为品牌翻译提供了全新的理论视角和研究方法。而本文将从以读者为中心的视角来探讨, 通过了解接受美学的主要概念和品牌翻译的意义，得到启示，提出四大翻译策略，再采用理论结合实际和举例子的方法，分析相应的成功化妆品品牌例子在其翻译策略中的具体体现 ，实现其理论指导下的化妆品品牌翻译的完美表达，目的在于唤起消费者对产品的想象和渴望，迎合消费者的品味，吸引和说服消费者购买产品。关键词：接受美学理论，化妆品品牌，翻译策略ABSTRACTAs the economy is increasingly globalized, stronger competitions among countries have arisen. Merchants are encountering such a problem of how to introduce their products effectively that attract target consumer in the target market. Cosmetic called the beauty economy competes on brand culture, enterprise image and product quality, but a brand name are the very embodiment. Reception Aesthetics provides a new angle of reader-centered to guide translation principles, techniques in brand name translation. The thesis will explore from the perspective of reader-centered, and research its main concepts and the significance of brand name translation to get inspired. Then it will put forward four strategies, taking the methods of examples and combination of theory as well as practices to analyze the actual realization of successful cosmetics brand names that correspond to the strategies in translation. Finally, to make a cosmetic brand name translation perfectly expressed under the guidance of theory is to aim at arousing consumers expectation and imagination, catering to their taste and judgement, attracting and persuading them to purchase.KEYWORDS: Reception Aesthetics; Cosmetic brand name; translation Strategies- 13 -广东海洋大学2015届本科生毕业论文AN ANALYSIS OF TRANSLATION OF COSMETIC BRAND NAME FROM THE PERSPECTIVE OF RECEPTION AESTHETICSEnglish major, 201112321110, Jiang XuelingSupervisor: Yu Yanhua 1. INTRODUCTION With globalization of the world, an increasing number of enterprises have come to realize that one of their most valuable assets is the brand name associated closely with their products. In fact, a seemingly insignificant brand name means a lot. A brand name is an enterprise intangible property and its asset in the competitive international market. While integrating with the international market, a good brand name translation will help firms with might double and the cosmetic brand name translation is no exception. But it must be a good one that moves target consumer and helps people identify and remember a product. For a product, its name is a directive advertisement and one of the most effective ways to arouse potential customers interest so as to promote sales. So in the process of translating the translation subject is the target consumer and the translation needs to be adopted by them. In the past, many translation theories brought our attention to the reception process guided by translator and target text, ignoring the reception of target readers even with different translation strategies. But Nowadays, Reception Aesthetics represented by Rober Jauss and Wolfgarg Isar provides a new perspective for translation studies, which shifts the focus of literature review from text-centered to reader-centered and causes concerns of researchers to the reception process of text-reader and translation in the application of the theory. According to reader reception, different translating strategies would not be considered by translator until the Reception aesthetic occurs. It stresses the interaction on the translator, reader and text, not just to admit the creativity of translation, but also affirm the positive participant of readers. In an attempt to discuss the study by an aesthetic approach, Reception Aesthetics served as its theoretical basis has opened up a new perspective, which emphasizes more on the implied readers aesthetic tastes and judgment, their psychological needs, and their horizon of expectation. Cause study and the methodology of theoretical and practical combination are good ways to prove the translation effort guided by Reception Aesthetics for the translation of a cosmetic brand name. It embodies that Reception Aesthetics is a nice choice as guidance.2. Reception Aesthetics and Its Main Concepts During the late 1960s and the first 1970s, Hans Robert Jauss (1921-1997) and Wolfgang Iser (1926-2007), the two most prominent theorists developed reception aesthetics, which challenged all the fields and theories. It suggested that aesthetics study should focus on the aspects of readers role, response, reception, and aesthetic experience to works during the traditional translational theories still emphasized on the translator-centered and text-centered perspective. An entirely new theory is of importance in literary study. Jauss hold that a works printed into a book is a semi-finished one if without being reading. On the ground that only by the reception of target reader, can it express the unique aesthetic value and social function. Through readers aesthetic process in a work, the aesthetic value and social function shows themselves fully. Although more and more translators are aware of the importance of the target reader in the process of translation and reception, not everyone agree that translators should pursuit the same effort on readers as nearly as possible what readers produce on the text. It needs translator to realize strongly the position and role of the target reader and then get attention to the problems that shall be cared for and the translation strategies that shall be adopted.2.1 An Overview of Reception Aesthetics From the 1960s, a crowd of literary historians and critics have return to the development of the previous literature theories under the perspective of criticism, researching in the Constance University most of the time and later being called “Constance School”. They often got together to discuss the problem of reception in the literature work. But Jauss had noticed that the immutability of the literature work criticized by the pre-structure way cannot stand the test of time. Because the beauty and value of literature work only exist in the eye of someone who thinks it great. Certainly, the reception theory of reader first mustnt mean the reader would not effect and limit by work at all in the process of reception. On the country, so many blank will come out that correspond to the image of literature work, in which need readers themselves to fill. In the process of the blank study, Jauss preferred to analyze how indeterminacy of the text meaning is adopted by readers in history, so his school was called as “Reception Aesthetics”. Another great representative, an English scholar Wolfgang Iser contented that the reception is a dynamical process. Literature works themselves are neither equal to the literature text nor its readers aesthetics, which must in the middle of them. In other words, only the combination of work and reader can form literature works. So his whole research theory focused on the interaction relationship between works and readers of the reading behaviors. 2.2 Main Concepts The direction of literature study has been shifted by reception aesthetics. There are some important concepts of reception aesthetics such as horizon of expectations, indeterminacy of the text meaning and readers aesthetic experience. In the process of reading, reception refers to the actualization of readers aesthetic experience restructuring works, which explores a large amount of potential meaning. A classic work isnt eternal but historic, being accepted by readers in different society and period. As a matter of fact, a reader cannot at free in the process of reception because activities of their acceptation are limited by their historical conditions and the development of literature works. In the reception aesthetics, the status of readers has been in the unprecedentedly important station and considered as an indispensable factor. Authors dialogue with target readers through their works. When a work is created, there exists horizon of expectations. It means what readers look forward to reading from a work. Their horizon of expectations reflects on their experience and their response, resulting in unique understanding and indeterminacy of the text meaning that are filled with actualizations of readers aesthetic experience.In this thesis，three major viewpoints playing a vital role are the horizon of expectations, indeterminacy of the text meaning as well as reader s aesthetic experience .Like other schools, reception aesthetics has its limitations.2.2.1 Horizon of expectationsHorizon of expectations, called “pre-understanding”, simply is what readers hope to read in works. Two forms included in the expectation are the horizon of individual expectation and the wider horizon of public expectation. The former is made up of readers previous aesthetic experience and personal understanding as well as relative knowledge to works. The later consisted of social life experience, which limits, affects the horizon of individual expectation in a quite hidden way and decides the width and height of texts that are read in different historical periods. They guide the reception of reader and the understanding of texts. Readers expectations establish a system-references or a mind-set on the basis of their own understanding and knowledge to accept new things. Just like Jauss point out: “literary work does not present itself as something absolutely new in an informational vacuum even when it appears to be new. The text always stimulates readers to open a certain receptive tendency by means of foreshows, signals and hints so as to awaken readers previous reading memories, taking them into a certain emotional state and arousing their expectations.” (Jauss 1982: 23)Readers are no longer just stratified with their original for familiar information. Rather, they tend to look for something new or different to them. However, when works value is not accordant with readers horizon of expectations, there being conflicts between the horizon of the work and that of the understanding. Restructuring readers horizon of expectations is a process that recalls what they used to know. In this process, it is changed, corrected, altered and even reproduced, keeping texts enriched. But what else needs to be attention is the degree that readers can accept. Once the degree is out of the scope of temporal society and the reception of readers, there is no doubt that the text will lose its attraction and even rejected. Different reader has different horizon of expectations, which makes decisions on what kind of works he would choose and affects the comment of literature works. When a readers horizon of expectations is the same with that of the author, he will lose his interest. If not, he will of surprise and excitement to what differ from their mind in the work. Actually, it drives the creation of works. Therefore, readers horizon of expectations would be an indispensable factor took into account when translating. 2.2 .2Indeterminacy of text meaning Iser defines indeterminacy as “the absence of an exact correlation between phenomena described in literary texts and the objects in the world of real life。Any text has indeterminacy of meaning. Iser pointed out that in literature works the presence of indeterminacy is not the result of creation fault accidentally. On the country, it is of necessity for every literature work. What a work writes out give readers knowledge not the opportunity they tend to picture things. Indeed, it is impossible to imagine without the existence of indeterminacies. Theoretically speaking, every literature work or every object includes numberless indeterminacies. Iser argues that two ways to standardize indeterminacy are judging works with readers standards or correcting their own prejudice. Since no works are completely same with the real life, this openness makes indeterminacy produced all kinds of scenes in the reading process changing by readers. No matter how many details or hints are in a work, indeterminacies cannot be eliminated. Thus, what a reader needs to do is to fill or pass off indeterminacies and blanks. Someone thinks that literature text is an empty box, which needs readers to fill with meaning and content. However, from beginning to end, authors of works provide a frame for readers to imagine and fill but not break away from it. Value and horizon of a text itself are limited, but the view of readers is endless with the development of the area. It may say that the value readers create continuously even would over that of literature works themselves. Obviously, in the perspective of reception aesthetics, the act of filling indeterminacy is one of the elements constituting literature works and the necessary process to actualize works value. Indeterminacy of meaning, being the basic structure of the text, calls for interacting with readers to restructure works. 2.2.3 Aesthetic experience The concept of aesthetic experience is put forward by Jauss, playing a great role in the reception aesthetics. According to Anatole France，he had wrote that readers experience make a decision on a book is boring, or interesting, and its emotion is ebullient or cheerless. Such a brilliant comment directly illustrated the function and importance of aesthetic experience. As the media of aesthetics practices, aesthetic experience makes readers aesthetic value come true in the activity of reading. Actually, every reader has his aesthetic experience. Just like a saying: There are a thousand Hamlets in a thousand peoples eyes. When reading work, everyone will feel and understand it by the means of their particular life experiences, artistic culture, interesting and so on. To a large extent, the otherness of aesthetic experience stimulates the development of reception aesthetics. Three characteristics of aesthetic experience are intervention, variety and interactive communication. Reader initiative embodies the first characteristic, on which decides readers participation and the unfinished quality of works. Not like traditional theories that readers just follow text and translator passively, readers would put forward their problems while reading a work with their own horizon of expectations and understand the content of their aesthetic experience. It is an active attitude that the reader never has before in other translation theories. The second one reflects in the reader of different period and their various experiences. Because the aesthetic experience of work changes and accumulates with the development of different time, even readers aesthetic experiences are different as they are growing up. It is always in a state of growing with an unfinished form. The last one is up to the relationship of work and reader. Texts are full of gaps, whose quality can dialogue with readers. Readers cannot go on aesthetic activity if leaving texts alone. Only depending on the reading activities of readers can texts receive final existence.Aesthetic experience can be regarded as a kind of communication, where is between aesthetic subject and its receptor. This communication has become a mutual limitation with readers. But on account of the quality it shows, aesthetic experience are bound to be affected by emotional factors. There is no doubt that the most emotional subject is readers. For artistic appreciation, reader has become an indispensable factor as the ultimate subject.3. Brand name translation and reception Someone would think translating brand name seems quite simple because it just consists of one or several words. As a matter of fact, the reason they think like that is they havent realized that the one or several words play a vital role of a product. The next part will introduce the significance and the existing translation problems of the brand name translation. From the relationship of reception aesthetics and brand name translation, the author also has found two enlightenments when translating a brand name. 3.1 Brand name translation A brand name is the symbol of a brand. Sometimes it has an impact on the loyalty of consumers for a product. They choose it based on its name in that what a brand name stands for is a brand image, quality and so on. Thus, a brand name translation holds the post of importance. 3.1.1 The significances of brand name translationIf a cosmetic brand name can get consumers first sight and arouse consumers purchasing desire, it symbolizes a brand name translation is successful. What a successful means? First of all, it decides on target consumers first expression for a produc