现代人本主义思想是接受美学理论运行的逻辑起点。
Modern humanism is the logical starting point of reception aesthetics theory′s exercise of operation.
在接受美学理论指导下，确定学生阅读主体的措施。
In accepts under esthetics theory instruction, the definite student reads the main body the measure.
赵树理是接受美学理论在中国现代文学中的最佳文本。
Zhao Shuli in regarded as the most excellent example of the aesthetics of reception in modern Chinese literature.
如果运用西方的接受美学理论，就能获得一个新的读解视角。
A new viewpoint is found with the adoption of western reception theory.
与接受美学理论密切相关的解释学以及格式塔理论在本章中也有所论及。
Hermeneutics and Gestalt theory which are closely connected with ReceptionAesthetics are also referred to in this Chapter.
接受美学理论有助于我们更好的理解读者在翻译过程中所起到的重要作用。
The Aesthetic Reception theory will help us to understand the role of the readers in the translation activity.
接受美学理论在翻译研究中的应用引起了研究者对译者与译文读者接受过程的关注。
Application of the theory into translation studies brings to our attention the reception processes by translators and target language readers respectively.
接受美学理论在翻译研究中的应用引起了研究者对译者与译文读者接受过程的关注。
Also application of the theory into translation studies brings to our attention the reception processes by translators and target language readers respectively.
接受美学理论在翻译研究中的应用引起了研究者对译者与译文读者接受过程的关注。
Application of the theory into translation studies brings our attention to the reception processes by translators and target language readers respectively.
论文的第四章运用接受美学理论分析《杨柳风》两个中译本的区别和造成区别的主要因素。
Chapter four makes a case study of the two translated versions of the Wind in the Willows through the application of reception theory.
本文以接受美学理论和目的论为理论依据，通过描述分析法来探讨译文读者在林纾翻译中的角色。
Based on the theory of Reception Aesthetics and the Skopostheorie, this thesis attempts to adopt a descriptive-explanatory method to explore the target readers role in Lin Shu s translation.
第二小部分指出审美性阅读教学赖以存在的理论基础：语言本体论、审美教育理论、接受美学理论。
The second part talks about the theoretical foundation on which aesthetic reading teaching is based: Ontology of Language, Aesthetic Education Theory and Reception Aesthetics Theory.
根据伊瑟尔的接受美学理论，每部文学作品一经写出，就与原作者脱离关系，从而形成了某种社会的东西。
According to Wolfgan Iser's receptive aesthetics, upon the text has been created by the author, it's already broken away from the original author, becoming part of the society.
因此，本文以接受美学理论和奈达的功能对等理论为指导，从审美角度对《围城》英译本进行了研究分析。
Therefore, with the guidance of Jauss and Iser's Reception Aesthetics and Nida's Functional Equivalence, this thesis deals with the English version of Fortress Besieged through an aesthetic approach.
作者以接受美学理论为指导，对严复“雅”的历史局限性及其作为翻译标准的“合理内核”进行了辩证分析。
The authors, guided by reception theory, have viewed Yan Fu's "elegance" dialectically, so as to discover its historical limitations as well as its "rational core" as the translation guideline.
最后，尝试运用西方的接受美学理论，阐释二人转作为“观众的艺术”的特质及其所具有的接受性审美特征。
Finally, I try to use the western acceptance of aesthetic theory to explain the Characteristics of the song-and-dance as "the art of audience" and the accepted aesthetic.
本文以接受美学理论为依据，通过对《浮生六记》的两个英译本进行比较，拟对译者在翻译中起到的作用进行研究。
Based on Reception Aesthetics, this paper intends to do a research of the translator's role in the process of translation by comparing two versions of Fu Sheng Liu Ji.
因此，第一章首先引进了文学理论中的接受美学理论，主要介绍了接受理论的基本概念以及翻译过程中的接受美学观。
Therefore, chapter one ushered in the literature theories first introduced the basic theories of Reception Aesthetics and its application in translation.
本文的理论支持主要来源于三个方面，分别为：可译性的相关理论，俄国形式主义学派的文学批评理论，以及读者接受美学理论。
The theoretical foundation is established on the basis of the related theories on the general translatability, the Russian formalist literary criticism, and the reader's reception aesthetics.
本论文借鉴西方接受美学理论，以历代词话以及文人笔记中散见的有关东坡词的议论为主要材料，从三个方面对苏词接受史进行了研究。
Depending on reception-aesthetics , my thesis cards the kinds of comments about Su-Ci in the poetics of Ci's history from vertical and horizontal directions.
本论文借鉴西方接受美学理论，以历代词话以及文人笔记中散见的有关东坡词的议论为主要材料，从三个方面对苏词接受史进行了研究。
Depending on reception-aesthetics , my thesis cards the kinds of comments about Su-Ci in the poetics of Ci's history from vertical and horizontal directions.
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