“视角”起初是舞台专用术语,指一场戏剧中所有的可视及可感细节,最早由格莱姆斯于1975年引入语言学界,用以类比语言及戏剧在呈现过程中的共同特点。用“视角”喻语言,不但更易于学者对其进行研究,而且更加形象、通俗易懂。但是,由于视角现象的宽泛抽象,目前对视角的研究还十分不充分,该理论在翻译领域的应用更是少之又少。本文试图从“视角”出发,探讨将原文所有“视角”特点再现于译文之中的可能。文章采用定性分析方法进行研究,主要研究对象为托马斯·哈代的长篇小说《德伯家的苔丝》及其四个中译本。通过研究,文章最终得出结论,“视角”完全可以被应用到文学翻译的实践活动之中。译者首先应辨认出原文的“视角”特点,然后在译文中予以适当体现。在翻译批评活动中,“视角”也能发挥其独特的作用。但是,基于本文主要对文学文本进行分析研究,该理论是否适用于其他类型文本还有待于进一步的研究。 “Perspective ” was originally a stage-specific term referring to all the visible and sensible details of a drama. Originally introduced by Grimes in the linguistics field in 1975, it was used to simulate the presentation of language and drama together Features. With “perspective ” metaphor, not only easier for scholars to study it, but also more image, easy to understand. However, due to the broad abstraction of the phenomenon of perspective, the current research on perspective is still inadequate, and the application of the theory in the field of translation is even fewer. This article tries to explore the possibility of reproducing all the “perspectives” of the original text from the “perspective”. The article uses the method of qualitative analysis to study. The main research object is Thomas Hardy’s novel Tess of the Düber and its four Chinese versions. Through research, the article concludes that “Perspective ” can be applied to the practice of literary translation. The translator should first identify the “angle of view” of the original text and then properly reflect it in the translation. In translation criticism, “perspective ” can also play its unique role. However, based on the analysis of literary texts in this paper, whether the theory is applicable to other types of texts remains to be further studied.