Abstract  Compared with western countries, China, as a typical of agricultural society, is a large agricultural country with such a long history。 Naturally, the folk language which is formed by agricultural production has stood for a long time。 As a carrier of the specific national culture, the folk language is an indispensable part of Chinese culture, and it possesses the function of transmitting the culture with Chinese characteristics。 Meanwhile, translation plays a vital role in building a bridge of communication to satisfy the demand of exchanging different cultures in the process of Chinese culture’s “going-out”。87286
   During the middle and later periods of 1960s in America and Germany, there emerged a literary aesthetics thought—reception aesthetics whose representatives are Robert Juass and Wolfgang Iser。 And as a branch of “ reader criticism ”, this theory holds the main view that the reader is the active subject of literary creations, and that only through his or her reading can a literary work obtain its aesthetic value。 One of the important criteria to judge whether the translation of folk language is successful is that how to pass the original meaning of the folk language, a carrier of culture with Chinese characteristics to the world of target language and make it accepted by the target readers as possible as the
translator can。 Three Sisters discussed here in this paper is Bi Feiyu’s important works, winning the fourth Man Asian Literary Prize with the help of Howard Goldblatt’s outstanding translation。 At the same time,it also embodies Bi Feiyu’s unique writing style, including the particular folk language in Taizhou of Jiangsu province。 Thus, the particular heterogeneity of folk language brings much more difficulties to the  translation。 Then, this paper will analyze the Howard Goldblatt’s application of translation strategies in light of reception aesthetics by selecting typical folk language, such as idioms, dirty words, dialects,  names and appellations etc in Three Sisters。 Strategies at linguistic level include creating new words based on meaning, translating dialects into standard English, omission and translating dirty words with idiomatic English etc。 And strategies at cultural level include free translation, literal translation or literal translation plus explanatory words。
To conclude, the author summarizes and analyzes the translation of folk language in Howard Goldblatt’s English Version: Three Sisters, sparing no efforts to find out the basic translation strategies of folk language in order to provide some reference for translation research and practice, and to a certain degree, to promote the Chinese literary works and culture’s“going-out”。
Keywords: folk language; translation strategies; reception aesthetics; Three Sisters


毕飞宇《玉米》英译本中乡土语言翻译策略研究
摘要   较西方国家而言，中国历史悠久，是以农耕社会为典型特征的农业大国,依附农业生产而形成的乡土语言由来已久。乡土语言作为特定民族文化的载体，是中国文化不可或缺的组成部分，具有传递中国特色文化的作用。而在中国文化走向世界的进程中，不同文化的交流仍需翻译搭建沟通之桥，其作用不可小觑。
   在20 世纪60年代中后期，德国和美国出现了“接受美学”思潮。其主要代表人物是姚斯和伊瑟尔。作为以“读者反应”为中心的批评思潮中的一个支流，该理论主要认为读者是文学活动的能动主体，文学作品只有通过读者的阅读和接受才能获得美学价值。
如何将中国特色文化载体的乡土语言尽可能原汁原味地传达到目的语世界并且为译语读者所接受是判断乡土语言翻译成功与否的重要考量标准之一。本文选取的研究文本《玉米》是苏籍著名作家毕飞宇的重要作品，在葛浩文的翻译下，获得英仕曼亚洲文学奖。集中体现了毕飞宇的个人风格，也包含了大量极具江苏泰州特色的乡土语言，这一异质性大大增加了翻译的难度。因此，本文选取其中典型的乡土语言包括俗语、骂语、方言、人名、称谓等等，从接受美学视角具体分析葛浩文的翻译行为。在语言层面上，葛浩文主要采用创造新词，用标准英语，省略，用地道英语翻译等方法；在文化层面上，葛浩文主要采用直译与意译相结合的方式，必要的时候辅之以相应的解释。 毕飞宇《玉米》英译本中乡土语言翻译策略研究:http://www.youerw.com/yingyu/lunwen_131924.html