北京木刻版《格斯尔传》两个日译本比较研究

A Comparative Study of Two Japanese Translations of the Beijing Woodblock Edition of Geser

北京木刻版《格斯尔传》有两种日译版本。本文从日译本的版本概况、情节叙事及翻译特征等方面进行比较论述,发现两者存在以下差异:版本概况方面,因译者所依据的原文版本、出版社及出版年限的不同,两个日译本呈现出各自的独特特点;情节叙事方面,若松译本作为从蒙古文直接翻译成日文的译作,其情节叙事完整地保留了北京版《格斯尔传》的七章内容,而野中译本经过从蒙古文到德文、从德文到英文、从英文再到日文的复杂转译过程,其故事内容及人物形象塑造等均发生了变化;翻译特征方面,两位译者均采用归化翻译策略,但翻译方法的选择有所不同,此外野中译本中插入了大量与故事人物相关的剪纸画插图,作为首个将剪纸艺术巧妙地融入翻译文本的译作,为《格斯尔》史诗的版本多样性贡献了新的内容。本文通过上述内容的深入分析,以期深化《格斯尔》翻译文本的系统研究阐释,对推进《格斯尔》译文体系的创新性发展具有重要的学术价值。

The Beijing woodblock edition of The Epic of Geser has two notable Japanese translations.This paper compares these translations in terms of version background,narrative content,and translation characteristics.Differences arise from the translators source texts,publishers,and publication years.Wakamatsu's translation,which directly translates from Mongolian to Japanese,retains all seven chapters of the Beijing version's narrative.In contrast,Nonaka's version,translated through a complex process involving Mongolian,German,English,and finally Japanese,has altered storylines and character depictions.Both translators employed domesticating strategies but with different methodologies.Notably,Nonaka's work incorporated papercut illustrations related to the characters,marking the first instance of integrating this art form into Geser translations.This analysis seeks to deepen the systematic understanding of Geser translations and offers scholarly insights into innovative developments within the epic's translation studies.