接受美学视角下的《水树格言》英译研究

发布时间：2018-05-30 22:14

本文选题：藏族格言诗 + 《水树格言》　；参考：《河北师范大学》2017年硕士论文

【摘要】：《水树格言》是一部完整的藏族哲理格言诗集,作者孔唐·丹白准美是清代著名文学家,藏传佛教格鲁派高僧,拉卜楞寺第三世贡唐仓活佛。全书共有二百四十五首格言诗,其中树喻格言诗一百零六首,水喻格言诗一百三十九首。这部格言集自产生以来在广大藏族地区流传甚广,为藏民所熟知。《水树格言》以人们日常生活中常见的现象作比,阐释处世、修法之理,具有较强的思想性和浓厚的宗教色彩。作为中国藏族文学史上一颗璀璨的明珠,《水树格言》颇具文学艺术价值,且不乏学术研究价值,受到了译界中人的关注。兴起于二十世纪六十年代的接受美学作为一种新兴的文学理论,强调读者在文学作品生成过程的能动作用,因而颠覆了以往的作者中心、作品中心的观点,在阐释学和现象学的基础上提出了“期待视野”、“视域融合”、“召唤结构”等一系列重要概念,对于文学翻译研究具有诸多启示。根据接受美学的观点,译者作为译文的创作者,必须考虑目的语读者的接受能力和审美需求,满足目的语读者的期待视野,力求达到目的语读者视野与原文视野的融合;另一方面,译文需要保留异域文化氛围,译者有必要对原文的召唤结构再创造,以增加译文的陌生感和新鲜感,调动读者的想象力和参与的积极性,不断拓宽目的语读者的视野。本文以接受美学为框架,采用例证分析的方法对李正栓的英译本《水树格言》进行分析。全文共分五部分,前言部分简述了孔唐·丹白准美的生平及其主要作品、《水树格言》研究的文献综述、接受美学理论及其主要概念。第一章探究译文是否满足了读者的期待视野,主要围绕英译本中的修辞、习语表达、以及叠词三个方面分析讨论,以求向目的语读者再现原文的思想;第二章探究译文是否实现了目的语读者与文本的视阈融合,主要从诗的形式和韵律两个层面进行分析研究,以求再现原文的形式美;第三章探究译文是否创造了召唤结构,主要围绕文化负载词、典故、措辞三个方面展开论述,以求向目的语读者提供异域文化及审美体验,感受藏族文化的魅力。结论中指明了在文学翻译的实践过程中,译者应做到心中有读者,通过采取翻译策略适应读者的审美需求,使译本更为读者欢迎。
[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.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：H315.9;I046

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