本文選題：藏族格言詩 + 《水樹格言》�。� 參考：《河北師范大學(xué)》2017年碩士論文

【摘要】：《水樹格言》是一部完整的藏族哲理格言詩集,作者孔唐·丹白準(zhǔn)美是清代著名文學(xué)家,藏傳佛教格魯派高僧,拉卜楞寺第三世貢唐倉活佛。全書共有二百四十五首格言詩,其中樹喻格言詩一百零六首,水喻格言詩一百三十九首。這部格言集自產(chǎn)生以來在廣大藏族地區(qū)流傳甚廣,為藏民所熟知�！端畼涓裱浴芬匀藗�?nèi)粘Ｉ钪谐Ｒ姷默F(xiàn)象作比,闡釋處世、修法之理,具有較強(qiáng)的思想性和濃厚的宗教色彩。作為中國藏族文學(xué)史上一顆璀璨的明珠,《水樹格言》頗具文學(xué)藝術(shù)價(jià)值,且不乏學(xué)術(shù)研究價(jià)值,受到了譯界中人的關(guān)注。興起于二十世紀(jì)六十年代的接受美學(xué)作為一種新興的文學(xué)理論,強(qiáng)調(diào)讀者在文學(xué)作品生成過程的能動(dòng)作用,因而顛覆了以往的作者中心、作品中心的觀點(diǎn),在闡釋學(xué)和現(xiàn)象學(xué)的基礎(chǔ)上提出了“期待視野”、“視域融合”、“召喚結(jié)構(gòu)”等一系列重要概念,對于文學(xué)翻譯研究具有諸多啟示。根據(jù)接受美學(xué)的觀點(diǎn),譯者作為譯文的創(chuàng)作者,必須考慮目的語讀者的接受能力和審美需求,滿足目的語讀者的期待視野,力求達(dá)到目的語讀者視野與原文視野的融合;另一方面,譯文需要保留異域文化氛圍,譯者有必要對原文的召喚結(jié)構(gòu)再創(chuàng)造,以增加譯文的陌生感和新鮮感,調(diào)動(dòng)讀者的想象力和參與的積極性,不斷拓寬目的語讀者的視野。本文以接受美學(xué)為框架,采用例證分析的方法對李正栓的英譯本《水樹格言》進(jìn)行分析。全文共分五部分,前言部分簡述了孔唐·丹白準(zhǔn)美的生平及其主要作品、《水樹格言》研究的文獻(xiàn)綜述、接受美學(xué)理論及其主要概念。第一章探究譯文是否滿足了讀者的期待視野,主要圍繞英譯本中的修辭、習(xí)語表達(dá)、以及疊詞三個(gè)方面分析討論,以求向目的語讀者再現(xiàn)原文的思想;第二章探究譯文是否實(shí)現(xiàn)了目的語讀者與文本的視閾融合,主要從詩的形式和韻律兩個(gè)層面進(jìn)行分析研究,以求再現(xiàn)原文的形式美;第三章探究譯文是否創(chuàng)造了召喚結(jié)構(gòu),主要圍繞文化負(fù)載詞、典故、措辭三個(gè)方面展開論述,以求向目的語讀者提供異域文化及審美體驗(yàn),感受藏族文化的魅力。結(jié)論中指明了在文學(xué)翻譯的實(shí)踐過程中,譯者應(yīng)做到心中有讀者,通過采取翻譯策略適應(yīng)讀者的審美需求,使譯本更為讀者歡迎。
[Abstract]:Shuishu maxim is a complete collection of Tibetan philosophical aphorisms. The writer Kong Tang Dan Baizumi is a famous writer of the Qing Dynasty, a prominent Tibetan Buddhist monk of the Grumite School, and a living Buddha of the third Kungtangcang Temple of Labran Temple. There are 245 aphorism poems in the book, among which 106 are tree aphorism poems and 139 are water aphorism poems. This collection of aphorisms has been widely circulated in Tibetan areas since its birth, and is well known to Tibetans. Compared with the common phenomena in people's daily life, it explains the principles of dealing with the world and practicing the law. It has a strong ideological content and a strong religious color. As a bright pearl in the history of Chinese Tibetan literature, Watertree aphorism is of great literary and artistic value, as well as academic research value, which has attracted the attention of the people in the field of translation. As a new literary theory, reception aesthetics, which rose in the 1960s, emphasizes the dynamic role of readers in the process of literary creation, thus upsetting the previous viewpoint of authorship and authorship. On the basis of hermeneutics and phenomenology, this paper puts forward a series of important concepts, such as "vision of expectation", "fusion of horizons" and "summoning structure", which have many implications for literary translation studies. According to the viewpoint of reception aesthetics, the translator, as the creator of the target text, must consider the target language readers' receptive ability and aesthetic needs, satisfy the target language readers' expectation vision, and strive to achieve the fusion of the target language readers' visual field and the original language vision. On the other hand, it is necessary for the translator to recreate the calling structure of the original text so as to increase the strangeness and freshness of the target text and arouse the readers' imagination and enthusiasm. To broaden the horizon of target language readers. Based on the framework of reception aesthetics, this paper analyzes Li Zhengzhu's English translation Watertree maxims by means of illustrative analysis. This paper is divided into five parts. The preface briefly describes the life and main works of Kong Tang Danbai's beauty, the literature review of the study of Watertree aphorism, the theory of reception aesthetics and its main concepts. The first chapter explores whether the target text satisfies the readers' expectation and discusses mainly the rhetoric idiom expression and repetition of words in the English translation in order to reproduce the original thought to the target language readers. The second chapter explores whether the target text has realized the visual fusion of the target language reader and the text, mainly from the aspects of form and prosody of the poem, in order to reproduce the formal beauty of the original text, and the third chapter explores whether the translation has created the summoning structure. In order to provide foreign culture and aesthetic experience to the target language readers and to feel the charm of Tibetan culture, the thesis mainly focuses on the three aspects of culture-loaded words, allusions and wording. The conclusion points out that in the process of literary translation, the translator should have readers in mind and adopt translation strategies to meet the aesthetic needs of the readers so as to make the translation more popular.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：H315.9;I046

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 星全成;從格言詩看歷代藏族學(xué)者的治學(xué)觀[J];青海民族學(xué)院學(xué)報(bào);1984年04期

2 王介山;介紹幾首印度古代格言詩[J];名作欣賞;1985年05期

3 李鐘霖;藏族格言詩面面觀——格言詩中的幸福觀[J];青海民族學(xué)院學(xué)報(bào);1989年02期

4 李鐘霖;藏族格言詩中的倫理觀[J];西南民族學(xué)院學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);1991年05期

5 李鐘霖;藏族格言詩面面觀——格言詩中的治學(xué)觀[J];青海民族研究;1991年02期

6 李鐘霖;藏族格言詩面面觀——格言詩中的審美觀[J];青海民族學(xué)院學(xué)報(bào);1991年02期

7 李鐘霖;藏族格言詩中的智愚觀[J];西藏民族學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);1991年02期

8 李鐘霖;藏族格言詩的哲理性藝術(shù)魅力[J];青海民族研究;1992年01期

9 李鐘霖;藏族格言詩文化審視[J];青海民族研究;1993年03期

10 李鐘霖;論藏族格言詩中的辯證法思想[J];青海民族學(xué)院學(xué)報(bào);1993年01期

相關(guān)重要報(bào)紙文章 前1條

1 強(qiáng)朝輝;南郭家莊村人的幸福格言[N];衡水日報(bào);2011年

相關(guān)碩士學(xué)位論文 前7條

1 王翠玉;藏族格言詩在小學(xué)道德教育中運(yùn)用的問題研究[D];西北師范大學(xué);2014年

2 寧小娟;翻譯目的論視角下的藏族格言詩英譯[D];河北師范大學(xué);2015年

3 李霄宇;泰特勒翻譯三原則視角下的《格丹格言》英譯研究[D];河北師范大學(xué);2016年

4 王宣力;貢唐·丹貝仲美《水樹格言》佛教思想研究[D];西北民族大學(xué);2016年

5 李杰聰;接受美學(xué)視角下的《水樹格言》英譯研究[D];河北師范大學(xué);2017年

6 蔡曉菁;藏族格言詩哲理新探[D];中央民族大學(xué);2009年

7 尼旦;淺談藏族格言詩產(chǎn)生發(fā)展及其特點(diǎn)[D];西藏大學(xué);2008年

，

本文編號：1957040