中國現(xiàn)代文學(xué)在法國的翻譯和接受

1、作者姓名： 高 方論文題目 ： 中國現(xiàn)代文學(xué)在法國的翻譯和接受作者簡介 ：高方，女， 1979 年 4 月出生， 2003 年 9 月師從于南京大學(xué)許鈞教授，于 2008 年 6 月獲博士學(xué)位。中文摘要中外文學(xué)互譯與交流問題是譯學(xué)理論研究的一個重要領(lǐng)域。 本論文采用文化雙向交流的視角， 以中國現(xiàn)代文學(xué)在法國的譯介與接受歷史、 現(xiàn)狀和特點的梳理與描述為主線， 著重探討中國現(xiàn)代文學(xué)何以進入法蘭西語境， 在譯介過程中遭遇了何種障礙， 翻譯家與文學(xué)研究專家在譯介與接受過程中起了何種作用， 有何因素在制約或影響中國現(xiàn)代文學(xué)在法國的譯介與接受等一系列與翻譯有著重大關(guān)系的理論問題。論文由三個相對獨立但關(guān)系緊

2、密的部分組成， 共 7 章， 另有緒論與結(jié)論兩個部分。 在緒論部分著重指出， 中外文學(xué)的譯介與接受研究具有重要作用， 一方面可以從中探討文學(xué)交流之于文化交流的重要意義， 另一方面可以為出發(fā)語國家了解自身文學(xué)提供一面明鏡。 中法兩國文化交流歷史綿長， 但對中國文學(xué)特別是中國現(xiàn)代文學(xué)在法國的譯介與接受狀況缺乏全面的梳理與理論思考， 有鑒于此， 本論文在較為充分掌握涉及本課題研究的資料的基礎(chǔ)之上， 確定了研究的重點， 明確了研究難點， 采用宏觀梳理與個案分析相結(jié)合的路徑， 試圖描述出中國現(xiàn)代文學(xué)在法蘭西語境中譯介的基本軌跡、 發(fā)展脈絡(luò)和特點， 進而通過選擇三位具有代表性的作家， 即魯迅、 巴金、 老

3、舍， 為個案分析， 揭示文學(xué)翻譯與文化交流之間，特別是譯介和接受與出發(fā)語和目的語國家的歷史、社會和文化語境之間的聯(lián)系，探討翻譯作為跨文化交流活動如何受到政治、 意識形態(tài)、 文化和語言等要素影響的過程與機制。論文第一部分由第一章和第二章組成。 第一章以 “現(xiàn)代性” 這一關(guān)鍵詞的界定入手， 追溯其歷史， 在中西文化發(fā)展的脈絡(luò)下， 探討中國現(xiàn)代文學(xué)對于現(xiàn)代性的訴求， 以及在其過程中所表現(xiàn)出的特質(zhì)、 價值與特色， 進而思考在中法文化差異的背景下， 中國現(xiàn)代文學(xué)何以吸引法國的翻譯者、 研究者以及普通讀者， 繼而凸現(xiàn)翻譯在中法文化交流中的重要作用， 以及翻譯之于中國現(xiàn)代文學(xué)的形式與發(fā)展的特殊意義。 第二章

4、則為翻譯定位， 在將翻譯定位于跨文化交流活動的基礎(chǔ)上，思考在中法文學(xué)交流中， 中國現(xiàn)代文學(xué)是否得到法國的關(guān)注， 又是通過何種途徑進入法蘭西語境的。 論者借助布里塞的翻譯社會批評理論、 布厄迪厄的社會場域理論和卡薩諾瓦的文學(xué)等級論， 指出在中法文學(xué)的雙向交流中， 中國現(xiàn)代文學(xué)基本處于邊緣的地位， 其重要性及其價值并未得到法國讀者的足夠關(guān)注和了解。 同時，在歌德提出的“世界文學(xué)”這一概念的探討中，提出了翻譯的特殊意義：翻譯可為出發(fā)語國家的文學(xué)提供了解自身的參照， 同時為接受語國家的文學(xué)與文化提供豐富與發(fā)展的外來的促進因素，而魯迅的翻譯思想則為我們理解翻譯的選擇、介入與對文化的構(gòu)建作用有著重要啟迪意

5、義。論文第二部分由第三章與第四章組成。 第三章為分類的描述性研究， 旨在回答人們普遍關(guān)心的一個基本問題： 法國究竟翻譯了中國現(xiàn)代文學(xué)哪些作品？在對中國現(xiàn)代文學(xué)在法國譯介進行全面的分類梳理的基礎(chǔ)上， 揭示翻譯文本的選擇和法國對中國作家的關(guān)注， 均受到歷史與文化因素的影響和制約， 翻譯的文化交流價值超過了文學(xué)翻譯的本身。 第四章為分期的分析性的研究， 以歷史的目光考察中國現(xiàn)代文學(xué)在法國的翻譯與接受的歷程，如果說經(jīng)羅曼羅蘭的推薦，敬隱漁翻譯的魯迅的阿 Q 正傳于 1926 年在歐羅巴雜志發(fā)表，標(biāo)志著中國現(xiàn)代文學(xué)在法國譯介的起點， 那么在此后的八十多年里， 在各個不同的歷史時期， 都有中國現(xiàn)代文學(xué)的一

6、些優(yōu)秀作品被譯介到法國。 通過分期分析， 論文指出文學(xué)翻譯與文學(xué)輸出國及接受國的歷史文化語境密切相關(guān)。 中國現(xiàn)代文學(xué)之所以能進入法蘭西語境， 主要得益于中國社會的不斷發(fā)展， 以及中國現(xiàn)代文學(xué)作品所蘊涵的特有的社會、政治、歷史與文化美學(xué)內(nèi)涵。此外，在各個不同的歷史時期，對作品的選擇和翻譯， 都有著不同的目的與方法， 顯現(xiàn)出不同的特點。 在分期研究中，論文不僅注重描述翻譯了什么與如何翻譯， 同時凸現(xiàn)誰在翻譯， 翻譯作品如何走入法蘭西語境， 揭示了一個各種翻譯要素相互作用， 同時與翻譯外部的歷史、 文化與社會語境相互協(xié)力的動態(tài)的翻譯歷史過程。在第二部分對中國現(xiàn)代文學(xué)在法國譯介的分類與分期研究的基礎(chǔ)上

7、， 第三部分則從宏觀描述轉(zhuǎn)入個案的分析。 如果說第二部分旨在提供一個中國現(xiàn)代文學(xué)在法國翻譯的基本圖景， 揭示其動態(tài)發(fā)展的歷史進程， 那么第三部分則注重在宏觀把握的基礎(chǔ)上， 選擇具有代表性的個案， 深入探討法國在對中國現(xiàn)代文學(xué)作品的選擇、 翻譯策略與接受環(huán)境等一系列重要問題。 所選擇的個案既能有助于揭示翻譯活動的有關(guān)規(guī)律， 又能體現(xiàn)中國現(xiàn)代文學(xué)作品在法國譯介與接受的歷史發(fā)展與特點。鑒于這兩條基本原則，本論文選擇了魯迅、巴金與老舍三位作家，分章加以探討與思考。第五章追蹤魯迅在法國的翻譯與接受的歷程， 研究其翻譯的特點， 追問魯迅何以在法國一譯再譯， 進而揭示翻譯魯迅的動機與語境。 魯迅是在法國翻譯

8、最多的中國現(xiàn)代文學(xué)作家。 在法國的歷史與社會語境中， 魯迅的翻譯在中國解放后的一個相當(dāng)長的歷史時期內(nèi)， 主要被意識形態(tài)與政治因素制約， 在其譯介與接受的過程中，不免受到誤解、變形，甚至曲解。但由于魯迅在中國現(xiàn)代文學(xué)中所處的特殊地位， 魯迅的作品在法國知識界一直受到不同程度的關(guān)注， 魯阿夫人所領(lǐng)導(dǎo)的魯迅翻譯與研究小組從上個世紀(jì)七十年代末至九十年代， 通過與中國文學(xué)、 出版與翻譯界的合作， 聯(lián)合巴黎學(xué)界有志于從事魯迅作品研究與翻譯的人士， 為魯迅作品的翻譯與研究做出了開拓性的貢獻。 盡管綜觀魯迅在法國的翻譯歷程， 意識形態(tài)因素起到了決定性的作用， 一度曾打上濃重的政治色彩， 但在新的歷史時期，魯迅

9、的作品仍舊受到法國的關(guān)注，對魯迅的闡釋與理解又開辟了新的空間。第六章著重討論巴金在法國的譯介情況。 巴金在法國譯介較多， 不在于巴金在中國現(xiàn)代文學(xué)界所占有的突出地位， 也不在于巴金在解放后， 特別是在文化大革命后在中國文壇所處的特殊位置， 而首先在于巴金與法國文化和文學(xué)所具有的某種割不斷的姻緣關(guān)系。 從歷史的發(fā)展角度看， 巴金在法國的譯介主要是在中國改革開放之后。 巴金的作品在法國的譯介由兩部分組成， 一是他在解放前所寫的主要作品，二是他在文化大革命后所發(fā)表的隨感錄 。考察作為現(xiàn)代作家巴金在法國的譯介情況， 自然不能割斷其歷史的發(fā)展與延續(xù)。 因此， 巴金在法國的譯介凸現(xiàn)了一個法國讀者不斷接近巴

10、金， 理解巴金的歷史進程。 巴金本人在法國的特殊經(jīng)歷、 他所接受的外國文學(xué)特別是法國文學(xué)的影響、 其作品對法國讀者所提供的認識中國社會的參照價值， 以及巴金對真理的追求， 構(gòu)成了其作品在法國譯介與接受的重要原因。第七章討論的個案是老舍。 老舍是法國讀者最喜愛的中國現(xiàn)代作家之一。 老舍在法國的翻譯要追溯到 1946 年，在法國出版的駱駝祥子是從英譯本轉(zhuǎn)譯的。 在此后的半個多世紀(jì)里， 老舍的一些主要作品在法國先后被譯介。 在譯介的過程中，我們特別注意到譯本的質(zhì)量不斷提高，在譯本質(zhì)量有著保證的前提下，對老舍研究的基礎(chǔ)顯得更為扎實可靠。 程抱一與女兒的通力合作， 李治華的堅持不懈，保爾巴迪的深入研究，

11、為法國讀者閱讀老舍，理解老舍提供了較多的可能性。 而在法蘭西的語境中， 老舍的作品所表現(xiàn)出的異國情調(diào)和人文色彩更是為其在法國的生命拓展與延續(xù)構(gòu)成了決定性的因素。 不過， 理解老舍的路很長， 在法蘭西的棱境中， 老舍在不同時期顯出了不同的形象， 這為中國讀者理解老舍也提供了某種具有啟迪性的參照作用。通過三個具有代表性的個案的分析， 本論文不僅深化了中國現(xiàn)代文學(xué)在法國譯介與接受的發(fā)展歷史的認識， 也有助于揭示翻譯活動， 特別是翻譯動機、 翻譯主體、 翻譯影響因素和翻譯接受語境等重要方面， 在不同的文化空間與歷史語境中所顯出的特點。 就總體而言， 論文不僅從理論上對中國現(xiàn)代文學(xué)在法國譯介和接受的成因

12、、 歷史、 場域與影響因素作了探討， 而且在研究方法上為今后類似的探索提供了參照， 同時， 第一次系統(tǒng)地就中國現(xiàn)代文學(xué)在法國的譯介與接受問題進行宏觀與微觀相結(jié)合的描述與分析，為相關(guān)研究打下了基礎(chǔ)。關(guān)鍵詞： 中國現(xiàn)代文學(xué)、法國、翻譯、接受、魯迅、巴金、老舍On the Translation and Receptionof Modern Chinese Literature in FranceGao FangABSTRACTThe issue of translation and exchange between Chinese and foreign literature is an impo

13、rtant field in the theoretical aspect of Translation Studies. The dissertation, from the perspective of bi-directional cultural exchange, following the clues of history, present situation and characteristics of the translation and reception of Modern Chinese Literature in France by combing through a

14、nd describing all the related materials, explores a series of theoretical problems inherently associated with translation, such as how Modern Chinese Literature is integrated in the French context, what kind of obstacles were encountered during the translating process, what roles translators and lit

15、erary researchers have played in the translating and integrating process, what factors have restrained or influenced the translation and reception of Modern Chinese Literature in France and so on.Besides an introduction and a conclusion, the dissertation is composed of seven chapters divided into th

16、ree comparatively independent while closely related parts. In the introduction, the author points out the importance of the study on the translation and reception between Chinese and foreign literature, which can show the significance of literary exchange on cultural exchange, and provide a mirror f

17、or the better understanding of her own literature by the source language country herself. China and France have a long history of cultural exchange, but a comprehensive study and theoretical considerations are still lacking in terms of the translation and reception of Chinese literature in France, e

18、specially Modern Chinese Literature. On account of this, the dissertation sets up the research focus and clarifies the research difficulties on the basis of the thorough mastery of the materials related to this topic. It adopts the research method combing the macro-analyses with case studies to desc

19、ribe the trace, track and traits of the translation of Modern Chinese Literature in the French context. Then by selecting three representative writers, that is,Lu Xun, Ba Jin and Lao She as cases,it proceeds to manifest the relations between literary translation and cultural exchange, particularly t

20、he relations between translation/reception and historical, social and cultural contexts of the source language and target language countries, thus exploring the process and mechanism of how translation, as a cross-cultural exchange activity, is influenced by political, ideological, cultural, linguis

21、tic and other factors.Part I of the dissertation consists of Chapter One and Chapter Two. Chapter One starts with the definition of the keyword“modernity” and traces its history. Then byfollowing the trends of the development of Chinese and foreign cultures, it discusses Modern Chinese Literature s

22、pursuit of modernity and the traits, values and characteristics shown in the process. Under the framework of cultural differences between China and France, it reflects upon how Modern Chinese Literature attracts the attention of French translators, researchers and common readers, and foregrounds the

23、 particular significance of translation on the form and development of Modern Chinese Literature as well as the importance of translation in Sino-French cultural exchange. Chapter Two sets the status of translation, that is, putting translation on the base of cross-cultural communication, and reflec

24、ts on whether Modern Chinese Literature has received proper attention from France and how it is integrated into the French context in the literary exchange between China and France. The author, employing Brisset s Social Critical Theory of Translation, Bourdieu sSocial Field Theory and Casanova s Li

25、terary Rank Theory, points out that in the bi-directional Sino-French literary communication, Modern Chinese Literature mainly lies on the periphery of the French literature and that its significance and value do not obtain enough attention and understanding from French readers. Meanwhile, in the di

26、scussion of “World Literature” proposed by Goethe, the author presents the particular significance of translation translation can provide not only reference for the better understanding of her own literature by the source language country herself, but also promoting factors for the heterogeneous dev

27、elopment of literature and culture in the target language country. Furthermore, Lu Xun s translation thoughts are of edifying significance on the understanding of the selection and participation of translation as well as its constructive role in culture.Part II of the dissertation comprises Chapter

28、Three and Chapter Four. Chapter Three is the classified descriptive study, aiming at answering one basic question that concerns most people: What Modern Chinese literary works have been translated into French? On the basis of thorough classified description of the translation of Modern Chinese Liter

29、ature in France, the author reveals that the selection of translated texts and the attention given by the French on Chinese writers are all influenced and restricted by the historical and cultural factors, showing that the value of cultural exchange during translation surpassesliterary translation i

30、tself. Chapter Four, as a stage-to-stage analytical study, explores the translation and reception of Modern Chinese Literature in France from historical perspective. If Jing Yinyu s translation of Lu Xun s The True Story of Ah Q, published on the journal, Europe, in 1926 after it had been recommende

31、d by Romain Rolland, inaugurates the beginning of translation of Modern Chinese Literature in France, there are always some outstanding Modern Chinese literary works translated into French in different periods of time in the following eighty-odd years. Through the stage-to-stage analyses, the disser

32、tation indicates that the literary translation is closely related to the historical and cultural contexts of the source language and target language countries. The reasons that Modern Chinese Literature could be integrated into the French context lie in the continual development of Chinese society a

33、nd the particular social, political, historical, cultural and aesthetic traits inherent in Modern Chinese literary works. In addition, the selection and translation of literary works reflect different purposes and methods, suggesting different characteristics in different periods of time. In the sta

34、ge-to-stage studies, the dissertation not only describes what had been translated and how they had been translated, but also foregrounds who was translating and how these translated works were disseminated in the French context, showing a dynamichistorical process of translation, in which various tr

35、anslational elements coordinate within themselves and with the historical, cultural and social context outside the translation per se.Based on Part II, that is, the classification and stage-to-stage studies of the translation and dissemination of Modern Chinese Literature in France, Part III turns t

36、o case studies from macro-description. If Part II is said to present a panorama of the translation of Modern Chinese Literature in France, revealing its dynamic historical progression, Part III, based on the thorough mastery of the progression, discusses a series of important issues, such as the sel

37、ection, translation strategies and accepting environment of Modern Chinese Literature in France by selecting representative cases. All the chosen cases should not only reveal the laws pertinent to translational activities, but also manifest the historical development and features of the translation

38、and acceptance Modern Chinese Literature in France. Given these two principles, the dissertation choosesLu Xun, Ba Jin and Lao She, and discussesthem in respective chapters.Chapter Five traces the process of translation and acceptance oLf u Xun s works in France and studies its translating character

39、istics. Then it probes why Lu Xun s works were translated once and again in France, thus manifesting the motivation and context of translating Lu Xun s works. Among all the modern Chinese writers,Lu Xun has ranked first in the number of works having been translated in France. In French history and s

40、ocial context, the translation ofLu Xun s works was mainly restrained by ideological and political factors in a rather long period of time after China s liberation from the Kuomintang Regime. During the process of translation and reception, his works could not avoid misunderstanding, deformation and

41、 even distortion. However, due to his special status in Modern Chinese Literature, Lu Xun s works have always attracted the attention to various degrees in the French intelligentsia. From the end of the 1970s to the 1990s,Lu Xun Translation and Research Groupheaded by Lady Loi, through the cooperati

42、on with the Chinese literary, publishing and translating circles, leagued together all the people who have set their minds on the research and translation of Lu Xun s works in Parisian academia, and have made pioneering contributions on the translation and research of Lu Xun s works. On the whole, i

43、deological factors played a decisive role in the translating process ofLu Xun s works in France, and even in a certain period of time, the translation was imbued with a strong political flavour; nevertheless,in the new historical era, Lu Xun s works are still given proper attention in France, thus o

44、pening the new field for the interpretation and understanding ofLu Xun s works.Chapter Six mainly discussesthe translation of Ba Jin s works in France. The reason why there are a lot ofBa Jin s works having been translated into French is not that Ba Jin occupies an outstanding position in the modern

45、 Chinese literary circle, not that Ba Jin enjoys a special status in the Chinese literary arena after China s liberation, especially after the Cultural Revolution, but that, first and foremost, Ba Jin has an inseparable affinity with the French culture and literature. From the perspective of histori

46、cal development, Ba Jin s works are mainly translated into France after the launch of the reform and opening policies in China. His translated works in France can be divided into two parts: one part consists of his major works written before China s liberation from the Kuomintang Regime, while the o

47、ther part is Record of Impressions published after the Cultural Revolution. Investigation of the translated works of Ba Jin as a modern writer in France should inevitably follow its historical development and continuity. Therefore, the translation of Ba Jin s works in France accentuates a historical

48、 process in which French readers approachBa Jin and further their understandings in a progressive mannerB. a Jin s personal experiences in France, the influence of world literature, particularly French literature on him, the referential value of his works for French readers to understand Chinese soc

49、iety and his pursuit of truth all constitute the important reasons why his works are translated and accepted in France.Chapter Seven discusses Lao She, one of the most favourite modern Chinese writers among the French readers. The translation of Lao She s works in France can be traced to 1946 when h

50、is Rickshaw Boy was published in France indirectlytranslated from English. In the following fifty-odd years, Lao She s major works have been translated in succession in France. In this process, the author discovers that the translation quality of Lao She s works is continually raised, which, in turn, makes the foundation for the research on Lao She more profound and reliable. Fran?