Abstract 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.

中文翻译：

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从接受理论看《长恨歌》中文化意象的翻译

摘要本文基于接受理论中的期望和不确定性视域，对唐诗人白居易的叙事诗《长恨歌》及其英译汉·威廉·约翰·班布里格·弗莱彻，赫伯特进行了比较分析。艾伦·吉尔斯（Allen Giles），徐元冲（Xu Yuanchong）以及杨贤义和杨H琳（Gladys Yang）。结果如下：1）徐的翻译是最好的，他添加了注释，并结合了直译和自由翻译，从而在满足和拓宽目标读者期望范围的同时，阐明了文化内涵和图像的潜在含义。此外，他试图复制形象特征并转换原始文化意象的修辞手法，以保留源文本的不确定性和美学价值，并为目标读者提供丰富的审美经验。2）在所有四种英语翻译中，文化意象的翻译都不合适且不准确，这是由于族裔历史，宗教信仰，思维方式，英汉特色以及译者的主观性差异造成的。