Comparative Study. Huren Uli Siegel "gods" Text With Chinese Language Original "gods"

Fengshen Yanyi, which tells the stories of Gods and Spirits, was written in the late Ming Dynasty. As for its author, there are two views. One is Xu Zhonglin and the other is Lu Xixing. The latter one is well accepted by the academic circle. On the basis of Wuwang Fa Zhou Pinghua written in the Song and Yuan Dynasty, the author of Fengshen Yanyi widely collected folk myths, legends, anecdotes and Buddhist stories, and finally finished this long and magnificent novel.Fengshen Yanyi was set in the historical period from the Zhou Dynasty to the Shang Dynasty. On the one hand, it tells the story that King Zhou was possessed by the millennium fox Su Daji. He not only used cruel tortures to kill loyal ministers and innocent people, but also turned his blind eye to affairs of state. Therefore, he was utterly isolated and fired to ashes with the Star Tower. On the other hand, it tells that Jifa, who was the son of Xibo Hou, under the help of Jiang Ziya and together with eight hundred princes, crusaded against King Zhou and finally established the Zhou Dynasty. In the end, Jiang Ziya was named as god, and King Wu became Hou. Since the advent of Fengshen Yanyi, it won the favor of readers with its fertile imagination, complex story, the scenes of the battle of wits, and the rich folk literature knowledge.In the nineteenth century, Fengshen Yanyi has been translated into Mongolian. Because of the translation of Chinese Fiction into Mongolian and the promoting of Buddhist temple, it has been widely spread in the Mongolian region mainly through reading by the literati and telling by Huerqi. This story got a profound impact in the Mongolian folk society. And Huerqi played a major role.The author of this thesis selects the verbal text of Xiribu Huerqi, which was recorded in the Zhelimu League Broadcasting Station (People's Broadcasting Station of Tongliao City at present) in the1980s, and its original version (edited byXu Zhonglin, commented by Zhong Xing, Fengshen Yanyi (2volumes), Guangdong People's Publishing House,1980) as her study objects. Based on the first-hand materials collected from the eastern Mongolia, the author studies it in multi-level and multiple angles guided by the theory of Impact Studies and Oral-Formulaic Theory and the reference of previous research results. By the comparison of the two texts from different authors, different times, different languages and different genres, the author explores the cultural connotations implied in the creation of Huerqi, and further reveals the difference between written literature and oral literature, Mongolian's reconstruction spirit when they accepted the positive impact of other nation's literature and the profound cultural heritage of itself.Huren Wuliger Fengshen Yanyi sung by Xiribu Huerqi is the only complete oral text, which has its records. When recording Huren Wuliger Fengshen Yanyi, Xiribu Huerqi directly read the original novel, transformed the language into Mongolian, and perfectly performed the classical novel with his mother language (Mongolian) in persuasive ways. Therefore, he got the reputation of "Fengshen Yanyi Huerqi". The research value of Xiribu Huerqi and his Huren Wuliger Fengshen Yanyi is obvious. This paper has the important academic significance to the Theoretical Study on the relationship between Mongolian and Chinese literature and comparative literature.First, the author analyzes the transmission route of Huren Wuliger Fengshen Yanyi in Mongolian area and its influence, probes the main reason of the spread of Fengshen Yanyi in Mongolian area and the leading role of Xiribu Huerqi during the process of its spread. She points out the effects of the teaching of his master Zhana and Mongolian translation of Fengshen Yanyi to Xiribu Huerqi during familiarizing himself with the original. Meanwhile, through comparing the Mongolian transcription with its original chapter by chapter, sentence by sentence, the author summarizes and analyzes the re-creation of Huerqi in Huren Wuliger Fengshen Yanyi. On the basis of this, the author selects typical cases as her arguments, deeply probing the reason of Huerqi's adding, deleting and rewriting to the original and the way of Huren Wuliger Fengshen Yanyi to influence Mongolian literature and culture. Huerqi deleted the poetries of Han, allusions and all kinds of reviews of original and the contents which were hard to understand by Mongolian people; in additon, he added some contents and re-created his version according to Mongolian Huren Wuliger tradition, religion, aesthetic psychology, customs, personality traits and other factors. These changes also gave the full consideration to the receptivity of the audience. The modified version well fulfilled the Mongolian Huren Wuliger traditions and aesthetic psychology.