姚斯接受美学是以读者为中心的文学理论，“期待视野”是其核心概念。借鉴姚斯接受美学的立体思维方法对思想政治教育接受进行分析，思想政治教育接受呈现整体性、有机性、动态性的特征。优化思想政治教育接受应尊重接受主体的“期待视野”，提高传导者的思想政治教育水平，重视接受介体的良性合力共建，强化对接受客体的把关。

Jauss''Reception Aesthetics is the literary theory centered on the readers,and"horizon of expectation"is its core concept.Analysis of ideological and political education by way of stereoscopic thinking of Gauss''Reception Aesthetics shows that the ideological and political education is in holistic,organic and dynamic characteristics.Optimization of the reception of I-deological and Political Education should respect the"horizon of expectation" of acceptant subject,raise the level of Ideological and Political Education of the instructors,attaches great importance to acceptant media together and strengthen the control of the acceptant objects.

“期待视野”“文本的召唤结构”“隐含读者”是接受美学应用于翻译研究领域的主要概念。由这三个概念的探讨可以发现，接受美学并非只研究读者的接受，提倡为顺应读者当前的期待视野采取归化策略；它也视读者为有创造力的主体，而并不否认逆向翻译的合理性。因此，接受美学不仅可以作为直接翻译的理论依据，也可以作为逆向翻译的理论支撑。在《金锁记》和《倾城之恋》的英译本中，翻译的方向并没有导致译文在语言和风格上的显著差异，译文的接受度还受到社会、政治等诸多因素的影响，不可仅归咎于翻译的方向问题。

The application of reception aesthetics in translation studies can be discussed from three concepts:ho-rizon of expectations, the response-inviting structure of the text and the implied reader. Through analysis of these three concepts, it is found that reception aesthetics does not only mean focusing on the reception of readers and advocating adaptation strategy to suit the existing horizon of expectations of them but the creative nature of readers makes it possible for a translation to be carried out in the way of inverse translation. Therefore, reception aesthet-ics can not only serve as the theoretical foundation for direct translation, which is a self-evident traditional no-tion, but also provide justification for inverse translation. Analysis of the translations of The Golden Cangue and Love in a Fallen City proves that translation directionality does not cause marked differences in translations in terms of language and style. The reception of translations is influenced

当代美学处在市民社会全面技术复制的情形下,试图颠覆这种技术复制,同时却又接受了后者提供的一个基本前提:感性与想象力的自足性。正是这个基本前提将当代美学与和它一样也追求自由的康德美学区别开来了,因为康德美学的出发点是一套目的论的终极秩序,而当代美学对此不感兴趣,将其斥为幻象。

Modern aesthetics is copied by technique comprehensively in civil society and it tries to deconstruct the technical copying, but accepts a basic premise provided by the latter: the self-con-tained-ness of the perceptual and imagination. This basic premise distinguishes modern aesthetics from Kantian aesthetics which also pursues freedom. The starting point of Kantian aesthetics is a set of ultimate order of Teleology, which shows little interest in modern aesthetics but treats it as fanta-sy. This hasty refusal leads to the disorientation of modern aesthetics which regards itself as a kind of“liberation”and“freedom”.

受到不同文化和语言环境的影响，旅游语篇文本特点也各不相同，要在正确的理论指导下来分析。接受美学理论为翻译研究开拓了新思路，对旅游语篇翻译具有重要的启示意义。以接受美学理论为指导，从译者主体作用、读者中心地位以及跨文化交际目标三个方面探讨旅游语篇的翻译原则。

Due to different cultural and language environments,Chinese and English tourist texts take on different fea-tures. The paper is to analyze the translation principles of tourist text from three aspects-the central role of translator, the great important place of readers and the goal to realize cross-cultural communication.

接受美学根植于西方的阐释学传统，认为理解是读者视野对象化的过程，是个体期待视野和历史视野的融合。当读者期待视野和作品之间的审美距离过大时又会制约视野融合，读者也无法实现文本召唤结构的具体化。从接受美学角度来看，翻译都是基于前理解的再创作。《神州集》是体现庞德诗学思想和审美体验的翻译试验，他通过移植和重构两种方式最大程度上保留了中国诗的灵魂——意象。《神州集》的翻译实现了诠释的循环，本质上体现了接受美学的旨归。

Rooted in the tradition of western Hermeneutics, Reception Aesthetics regards readers’comprehension as the substantialization of diverse horizons, the fusion of horizons of individual expectation and history. However, the aesthetic distance between the work and readers’horizon of expectation, if unacceptably wide, may block the fusion of horizons, and prevent its readers from concretizing the inviting structure of the work. From the perspective of Reception Aesthetics, translation is a sort of recreation based on preunderstanding. Cathay,therefore,is a transla?tion experiment that tells Pound’s poetics and aesthetic experience. In Cathay, Pound, by means of transplanting and reproducing, endeavors to reserve the soul of Chinese poetry—image, which embodies the hermeneutic circula?tion and reflects principles of Reception Aesthetics.