An Exploration of Translation Strategies of Global Cosmetics Brands Based on Reception Aesthetics

With the advancement of economic globalization,the flow of commodities from one country to another has become closer and closer.Especially in recent years,the logistics industry has been developing rapidly,overseas purchasing agents and cross-border online shopping have been enormously prevailing,and accordingly more and more British and American cosmetics expect to occupy a place in the huge market of China.Therefore,it is particularly important to explore the Chinese translation strategies for British and American cosmetic brands.Based on the theory of reception aesthetics,this thesis takes the corpus Estee Lauder,La mer,and other famous cosmetics brands.The thesis proposes several methods for translating cosmetic brands:transliteration for proper names like person or geography names;free translation to recreate brand aesthetics;creative translation for new brands;and adapted translation for divergence in language habits.Therefore,this thesis is of theoretical and practical significance as far as the field of cosmetics is concerned.

Interpretation of Lolita’s Characters of Lolita from the Perspective of Reader-response Criticism

Reader-response criticism,which began in the 1960s,differs from traditional literary criticism in that it emphasizes that criticism should be reader-centered,believing that the meaning of a work lies in the act of the reader and the reading process.The true artistic and appreciation value of a work is realized only after the author publishes it and after it has been read by readers.American writer Vladimir Nabokov’s“Lolita”has since its publication been attracting a large number of readers to read it,analyze it from different angles and there is contradictory sometimes;perhaps it is the contradictory views that have made it so famous that readers continue to study it from new points of view.This paper focuses on the controversial heroine’s character in the novel by applying the three aspects of reader-response criticism:horizon of expectation,expect reconstruction and response-inviting structure.

On the Translated Subtitles of Chinese Films from the Perspective of Reception Aesthetics

The subtitle translation not only needs to consider the audience’s horizon of expectation and acceptability,but also has to achieve the significance of spreading Chinese culture to foreigners.This paper explores the rules,principles and methods of the subtitle translation of Chinese films from the perspective of reception aesthetics.

On retranslation of famous book from the perspective of aesthetics of reception： The comparison of two translated versions of The old man and the sea

According to aesthetics of reception, the reception of literature can be divided into two patterns, that is, vertical reception and horizontal reception. The former means determining the original text＇s meaning from the perspective of historical development. Readers in different history periods have different explanations and conclusions of certain writer or original text because of their different social and cultural backgrounds. The author of this thesis combines the viewpoint and the translation of famous book, holding that famous book has special aesthetical value and its explanation shouldn＇t be limited by certain translated version. Retranslation can keep and enrich the aesthetical value of the famous book and should be encouraged.

A Research on the Documentary Subtitle Translation from the Perspective of Reception Aesthetics Theory——A Case Study of the Subtitle Translation of The Story of China

Documentary is an important form of audiovisual works with the characteristics of both authenticity and artistry, which plays a significant role in the spread of culture and knowledge. Reception aesthetics is a theory of literary criticism raised by the German literature theoretician and aesthetician Hans Robert Jauss in the 1960 s, in which the focus of literary studies is shifted from the author and text to the reader. It emphasizes reader's participation and acceptance during the text understanding, by shifting the central position of studies from the author and work to the reader. It claims that only the works that have been comprehended and delivered by readers possess artistic value and meaning. With the characteristic of audience-centered, documentary happens to coincide with reception aesthetics theory which takes readers' horizon of expectation into consideration. Applying the theory of reception aesthetics as its interpretive framework, this paper makes an effort to study subtitle translation of documentary films.

Analysis of Animal Farm from the Perspective of Reader-Response Criticism

Reader-Response Criticism emphasizes the leading role of readers in the reading process.This paper starting from the four aspects of background,the protagonist’s name,characters’experience and the design of ending in Animal Farm,analyzes the horizons of expectation,indeterminacy and the“blank”in the work,and explores the interaction between readers and the work.

On Translation of Cultural Images in Chang Hen Ge from the Perspective of Reception Theory

Based on concepts of horizon of expectation and indeterminacy in reception theory,this paper reports a comparative analysis of Chang Hen Ge,a narrative poem written by Chinese poet Bai Juyi in the Tang Dynasty,and its English translations by William John Bainbrigge Fletcher,Herbert Allen Giles,Xu Yuanchong as well as Yang Hsien-yi and Gladys Yang.Results are as follows:1)Xu’s translation is the best in that he adds annotations and combines literal and free translations so as to explicate cultural connotations and underlying implications of images while meeting and broadening target readers’horizon of expectation.In addition,he tries to replicate figurative characteristics and transform rhetorical techniques of original cultural images to retain the source text’s indeterminacy and aesthetic value and to provide target readers with intense aesthetic experience.2)There are inappropriate and inaccurate translations of cultural images in all the four English translations,and they are caused by differences in ethnic history,religious belief,mode of thinking,features of English and Chinese as well as the subjectivity of translators.