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法国现代主义作家保尔·穆杭一直被视为中、日两国新感觉派的重要精神来源,历来学者多从比较文学的影响研究、接受研究以至平行研究的方法,建构了“穆杭与新感觉派”在现代中文文学里的基本研究框架。本文试就既定论述框架,提出若干重新思考的方向,以求深化我们对穆杭的认识,并在时代和地域意义上,拓展穆杭与现代中文文学关系的研究范畴。第一,本文认为,在穆杭与中、日新感觉派的研究以外,关注穆杭作品中文翻译具有的特殊意义。第二,穆杭一战后的小说创作及其在华文世界的翻译与传播,都经历了二十世纪初欧、亚两洲极为复杂的历史和政治背景。其中,《六日之夜》一篇曾于沪港两地被四度翻译及重译。本文重溯二十年代至五十年代《六日之夜》四种中文翻译的历史语境,并将小说重置于不同时代、地域的历史脉络下,探讨欧洲战后产生的现代主义小说是如何被理解和思考的。
Paul Muham, the French modernist writer, has long been regarded as an important spiritual source for the neo-sensualists in China and Japan. Historically, many scholars have studied the influence of comparative literature, accepted research and even studied it in parallel. And New Sensation School “in modern Chinese literature. This paper attempts to set forth the framework of the review and set forth several directions for rethinking so as to deepen our understanding of Mu Hang and broaden the research scope of Mu Hang’s relationship with modern Chinese literature in a contemporary and geographical sense. First of all, this paper argues that besides the researches by Mu Hang and the new sensitivists in China and Japan, it is of special significance to pay attention to the Chinese translation of Mu Hang’s works. Second, the creation of Mu Hang’s post-World War I novels and their translation and dissemination in the Chinese-speaking world have experienced extremely complicated historical and political backgrounds in Europe and Asia at the beginning of the 20th century. Among them, the ”Night of Six Days“ was translated and reprinted four times in Shanghai and Hong Kong. This essay traces back to the historical context of the four Chinese translations of ”Six Days Night" from the 1920s to the 1950s and repositions the novel under the historical context of different times and regions to explore whether the post-war European modernist novel is How to be understood and thought.