A Comparative Study On The Artistic Language Of Chinese Versions Of Harry Potter And The Prisoners Of Azkaban From The Reception Aesthetic

Reception Aesthetics begins its popularity in the 1960 s.The academic world regarded authors or works as the center before 1960 s.Jauss and Iser as the representatives of Reception Aesthetics in the late period believe that the study of literary works should be reader-centered.Therefore,in the study of the value of works,readers have a leading role that cannot be ignored.After the 1970 s,Reception Aesthetics began to apply to the study of language art in translation.The research scope of Artistic Theory is very broad.It is not limited to discussing works of art,art tools,and laws of art,but focuses on all the issues based on art,and considers the particularity and universality of various art types.As a category of art,language art in translation emphasizes that the only way of philosophical analysis is linguistic analysis,which makes people realize the importance and multiplicity of language and finds that beautiful language expression is an indispensable part of humankind.Translating plays an important role in the expression of beauty.Since the study of Buddhist scripture translation in the Han Dynasty,the pursuit of the artistic beauty of translation language has never stopped in our country.Whether it is literary translation or non-literary translation,it needs readers to accept the transmission of its beauty.Harry Potter is a series of novels by British writer JK Rowling,and Harry Potter and The Prisoner of Azkaban is the third one.Since the publication of this novel,it has been widely acclaimed for its enchanting magic school,surprising and interesting wizard spells and fascinating storylines,and it is still loved by readers from all over the world.Based on Reception Aesthetics this paper will compare the Harry Potter and the Prisoner of Azkaban translated by Zheng Xumi and Ma's sisters,there will be three steps: First,we will start with the perspective of readers' role,compare the direct influence of the translator and the reader on the meaning of the translated version;second,we will start from the horizon of expectation,compare the acceptance of the two Chinese versions among readers;third,we will focus on the appealing structure,comparing the two translators' treatment of the blankness in the text,emphasizing the importance of the Reception Aesthetics on the use of the blank call in the linguistic criticism of the translation.Through comparative analysis,it demonstrates the importance of the reader in interpreting the meaning of the translated version,and the feasibility of the Reception Aesthetics in the translation of magic literature.Finally,it analyzes translation languages as a text how to communicate with readers,how the subject and object are compatible in the translation creation,and through the criticizing the art of translation language,dispels the inherent mode of thinking of subject and object.