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.
在中国古代美学范畴中虽没有“象征”一词，但这并不能说明中国古代文学当中没有象征性的文学理论。
There wasn't the word of "symbol" in esthetics category of Ancient China, but it could not explain there weren't symbolic literature theory in Chinese ancient literature.
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.
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.
雷·韦勒克的文学理论，继承了俄国形式主义、布拉格学派和茵加登现象学美学的理论。
Wellek's theory was shaped by the theories of Russia Formalism and Prague School and Ingarden's aesthetic 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.
他关于死亡美学创作有许多独创性的文学理论，并且自觉地将这些理论运用到自己的诗歌创作之中，为这些作品烙上了深深的个人印记。
In literary theory, POE puts forward a great number of unique thoughts, and applies his literary theory to his poetry, which is stamped with the corresponding brands of POE.
他关于死亡美学创作有许多独创性的文学理论，并且自觉地将这些理论运用到自己的诗歌创作之中，为这些作品烙上了深深的个人印记。
In literary theory, POE puts forward a great number of unique thoughts, and applies his literary theory to his poetry, which is stamped with the corresponding brands of POE.
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