| 1. | On reception aesthetics and bakhtin ' s dialogical theory
接受美学与巴赫金对话理论的关联及互动 |
| 2. | Creative departure in literary translation in terms of reception aesthetics
从接受美学看文学翻译的创造性叛逆 |
| 3. | Reception aesthetics and consideration of the tl readers in literary translation
接受美学与文学翻译中的读者关照 |
| 4. | A comparison between ethel ' s reception aesthetics and china ' s yijing theory
论伊塞尔的接受美学与中国意境学说之比较 |
| 5. | A comparative study of marriage standpoint between chinese literature and western literature under reception aesthetics
接受视域下中西文学中的婚姻观比较 |
| 6. | The creative treason in the translation from chinese ancient poems into english from a perspective of receptions aesthetics
从接受美学看古诗英译中的创造性判逆 |
| 7. | So it is necessary to study the process of translating tang poetry into english on the basis of reception aesthetics
应当从接受美学角度出发，对唐诗英译活动进行分析。 |
| 8. | The addressee subdivision is an idea that was borrowed from tire discipline of marketing , and was in close contact with the theories of reception aesthetics in the course of its cultural transmission
摘要受众细分的理念最初是从市场营销学中借鉴过来的，并在文化传播的实践中与接受美学的理论发生了相当深刻的内在联系。 |
| 9. | First and most importantly , translators ' reception process is an aesthetic experience in the light of reception aesthetics . in the whole process of translating titles of literary works , the translators ' aesthetic understanding and judgment of the original work and its title as well as their discreet discernment of the aesthetic taste and reception on the part of the translated work ' s readers determine how the aesthetic information borne in the original title may be conveyed , with some part retained , some segment lost or replaced
根据接受美学理论，译者的接受过程首先是一种审美的过程，在文学作品名翻译过程中，译者作为审美主体，对原名和原作（审美客体）的理解和审关荆断，对译文读者审美能力和审美接受的审慎辨别，最终导致了原名审美信息在传递中的复制、损失和替代。 |
