接受美学观于文本的“召唤结构”、读者的“期待视野”等重要概念为译学研究开辟了一个全新的视角,实现了翻译研究从文本中心论向读者导向论的转变,将译者从被动的接受者提升为能动的主体。本文以接受美学理论为指导,通过对《鲁拜集》两个不同汉译本的对比分析,从而揭示译者作为阐释者、协调者和创造者的主体性。 Accepting the aesthetics concept of the text “summon structure ”, the readers “expectation horizon ” and other important concepts for translatology opened up a new perspective, to achieve translation studies from the text-centered to reader-oriented theory of change, Translators from passive recipients to active subjects. Based on the acceptance of aesthetics theory, this thesis tries to reveal the subjectivity of translators as interpreters, coordinators and creators through the comparative analysis of two different versions of Ru Bai Ji.