چکیده:
Aesthetic theory is one of the theories in the field of literary criticism that was developed by the followers of the German school of Constance under the influence of the school of phenomenology. Since this theory focuses on the reader and his perception of the work, it seeks to examine the multiplicity of horizons in the reception process based on the translators' strategies and their interpretations of reading the text. The novel "Season of Migration to the North" by the Sudanese writer Al-Tayyib Saleh is one of the best novels of the twentieth century and has a high literary status. This research, which is organized by the descriptive-analytical method and confrontational approach with the aim of explaining the uncertainty of meaning and the reader's activity in reading the text, has investigated the various semantic readings of this novel based on the aesthetic theory of receiving at three levels of words, phrases, and structure in three translations of Davis (Arabic-English), Ghabraei (English-Persian), and Ameri (Arabic-Persian), and examined how to accept the text on the basis of establishing the artistic position of the work in different horizons and its richness from one translator to another. The result showed that a reader who, in response to white spaces and gaps, interprets and updates the text in a natural way and provides an explicit reading in accordance with the rules of the target language, can overcome the aesthetics of the target text. Accordingly, Ghabraei as a reader has been able to move from a simple reading to a critical understanding by filling in the gaps in accordance with the spirit of a culture. His participation in the reading process, relying on his semantic horizon, has both preserved the beauty of the source text and added to the aesthetic components of the target text.
خلاصه ماشینی:
The present research, which uses a descriptive-analytical and comparative method with the aim of explaining the non-fixity of meaning and the active role of the translator as a reader in text reading, has examined the multiple semantic readings of the mentioned novel in light of aesthetic reception theory in three dimensions: word, structure, and phrase, across three translations: Davis (Arabic-English), Ghobrai (English-Persian), and Ameri (Arabic-Persian).
Despite the long-standing influence of reception theory, no research was found regarding the multiplicity of the semantic horizon and its impact on different readings based on the theory of aesthetics in the English and Persian translations from Arabic; however, related studies are observed both within the framework of translation criticism in the historical domain and in aesthetics within the context of a single language, examples of which are mentioned below.
The aforementioned translations have been welcomed in different contexts (Arabic-English-Persian) and are evaluated by considering the semantic horizon as the most important aesthetic feature of reception theory.
(Refer to the page image) ) Each of these readers, according to their own horizon of reception of this novel in three languages (Arabic, English, Persian), has created meaning in their own style in a beautiful form, the arrangement of which differs from the others.
Ameri used the verb "speaking in a strange language," Davis used the verb "gibberish" meaning "broken and incomprehensible speech," and Ghobrai used "verver kardan" (babbling), which has caused the reading of each to create a different semantic horizon than the other: Original text: "أحياناً بالليلِ في النوم کان يقولُ کلاماً" (Saleh, 1997: 113).
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