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초록· 키워드
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This article is the full-scale work which study 〈The Buddhist Saint’s Ten Wishes〉’ translation into Chinese poetry. I studied in the two sides, structure of contents and form. In chapter 2, I found the circulation structure in the part of contents’ structure. Namely, the structure of the first half which is from the 1st work to 5th work is [Buddhist → myself(poetic speaker) → me&others]. And the structure of second half is same with it of the first half.
In chapter 3, I examined the basic structure of Korean songs(Hyang-Ga) and Chinese poetry. Korean songs have 5 lines and Chinese poetry 8 lines. So, I compared the translation appearances according to one lines in chapter 4. As a result, there were 3 kinds of translation principles, which are creation&addition, materialization and deletion.
In chapter 5, I examined the translation aspects according to larger unit, more than two lines and found that Korean songs were translated into [4lines+2lines+2lines] or [2lines+4lines+2lines] because of the difference of two structure. In conclusion, I studied the whole structure of a three stage structure in Korean songs and a four stage structure in Chinese poetry. The whole structure in sequence of 11 works has antithesis, so the structure of antithesis in the one work agrees with that of whole 11 works. Therefore, this study is meaningful to find the translation condition of Hyang-Ga(Korean songs) which is the sequence works into Chinese poetry in the history of diglossia in Korea.
In chapter 3, I examined the basic structure of Korean songs(Hyang-Ga) and Chinese poetry. Korean songs have 5 lines and Chinese poetry 8 lines. So, I compared the translation appearances according to one lines in chapter 4. As a result, there were 3 kinds of translation principles, which are creation&addition, materialization and deletion.
In chapter 5, I examined the translation aspects according to larger unit, more than two lines and found that Korean songs were translated into [4lines+2lines+2lines] or [2lines+4lines+2lines] because of the difference of two structure. In conclusion, I studied the whole structure of a three stage structure in Korean songs and a four stage structure in Chinese poetry. The whole structure in sequence of 11 works has antithesis, so the structure of antithesis in the one work agrees with that of whole 11 works. Therefore, this study is meaningful to find the translation condition of Hyang-Ga(Korean songs) which is the sequence works into Chinese poetry in the history of diglossia in Korea.
목차
1. 서론
2. 예비적 고찰
3. 한 행의 한역 양상 비교
4. 한시의 首ㆍ?ㆍ頸ㆍ尾聯과 향가의 제1ㆍ2ㆍ3句 비교
5. 결론
참고문헌
[Abstract]
참고문헌 (2)
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UCI(KEPA) : I410-ECN-0101-2010-810-002480298