A Comparative Study On The Two Chinese Translated Versions Of Breakfast At Tiffany’s From The Perspective Of Reception Aesthetics

Breakfast at Tiffany’s is a representative work of Truman Capote who has been ranked as a genius writer in the south of America since the two world wars. With the help of two Chinese translated versions, this novel has long been listed as one of the best-sellers since it was introduced into China in 1980. Compared with influential achievements in movies and dramas, its results on literary researches seem to be deficient. The previous studies at home and abroad simply focus on character images, spiritual tendency, social environment and narrative strategies. On account of the lacks of diversification and novelty on perspectives, the original text of Breakfast at Tiffany’s hasn’t been analyzed from aesthetics and poetics, let alone its translation texts.Since 1980 s, reception aesthetics has been making an attempt to take a new look at translation studies, which has significantly promoted the importance of recipient’s status. Compared with the decisive roles of text and author in traditional translation theory, the reception theory shows concerns on readers’ active involvement in reading and receiving. Under its influence, a translator, as the subject of a translated version, has played two roles of an original reader and a reproducing writer. According to Jauss, translation is not a simple interpretation of the original text. The interaction influence between the original writer, the translator and the target text reader should be taken into consideration so as to analyze the translated versions.This thesis selects two Chinese translated versions of Breakfast at Tiffany’s as research subjects, consisting of Tang Yongkuan’s version(1988) and Dong Leshan’s translation(1988). It employs the reception aesthetics as the theoretical basis, particularly embarking on “horizon of expectations”, “fusion of horizons” and “text-appealing structure”. The research methods include literature research, case study, as well as text selection, analysis and comparison.According to reception aesthetics, a translator’s double identity promotes two fusions of horizons among the original author, the translator and the target text reader. Firstly, the translator should be faithful to the original writer, and have a comprehensive understanding of the original literary style and plots producing, and then fulfill “blanks” and “indeterminacy” in the texts. It aims to keep the translation text smooth and show loyalty to the theme of the novel. This is the first fusion of horizons between the original author and the translator. Secondly, the translator should pay close attention to the target text reader and take fair account of the reader’s cognitive competence, cultural capacity and aesthetic experience. It aims to cater to the aesthetic and artistic tastes of the target text reader so as to deepen the reception effects. This is the second fusion of horizons between the translator and the target text reader. Obviously, it’s very different for Tang Yongkuan and Dong Leshan to express and realize the two fusions in their versions. Tang takes classic words to reflect Capote’s delicate language and narrative techniques while Dong prefers to use colloquial words to describe wonderful plots and deepen reception effects. However, the same is that translators have taken the original author and the target text reader into consideration, which has fulfilled the main contents of reception aesthetics. They have adopted various translation strategies so as to produce perfect translated works. Although some flows still exist, they have made nice attempts.Based on reception theory, this comparative study on the two Chinese translated versions of Breakfast at Tiffany’s can not only broaden the scope of research perspectives but also offer some practical evidences for reception aesthetics in literary translation. What’s more, it confirms the theoretical meaning of interaction between the original writer, the translator and the target text reader, and can also provide alternative choices of translation strategies for international literary translations in the future. By the way, this paper intends to enrich the research findings on Breakfast at Tiffany’s and its Chinese translated versions, and further Truman Capote’ researches in China.