【作者】 崔艳秋；

【导师】 白杨；

【作者基本信息】 吉林大学 ， 现当代文学， 2014， 博士

【摘要】 中国现当代文学在美国读者市场一直处于边缘化生存状态。这种现状固然与美国在政治、经济、文化领域的领先地位导致的国民骄傲心理有关，也与美国读者的阅读偏好、诗学观念、价值取向、民族性格有关。对于中国现当代小说在美国的译介与接受，尤其是美国读者市场研究，目前尚无系统深入的探讨。这是本文致力于研究的内容。本文第一章介绍了中国现当代文学在美国的接受环境。以《纽约时报》等美国主流媒体对中国作家、作品的报道为研究对象，从美国记者、社论撰稿人的视阈为观察点，根据报道的角度，内容、态度，还原上个世纪80年代以来中国文学在美国的接受环境。通过整理曾获得关注的作家、作品，了解美国读者对中国文学现有的知识；根据畅销书书评栏目介绍的作品来考察哪些华人作品曾在美国产生影响力及其在塑造中国及中国文学形象方面所起到的作用，以此窥测大众读者对中国文学的印象，厘清中国文学在美国译介与传播的历史脉络，探寻这些历史资料对于中国文学进入美国读者市场的启示。此外，根据美国国家艺术基金会的阅读人口研究报告及Harris报告，总结了美国读者对文学作品的阅读情况及偏爱的文学类型，并从美国读者及出版社对翻译文学的态度、读者的阅读趣味，初步分析中国文学在美国边缘化的原因。第二章侧重分析了中国当代文学在美国文学场域传播时所涉及的各种客观关系。从文学生产者和传播者的角度回顾并评价了中国官方机构、学术机构、民间机构、英美出版社及译者译介中国文学的努力，分析了传播中存在的问题及传播效果。此外还梳理、评述了美国汉学家对传播中国现当代文学所作的贡献，包括翻译、教学、研究、文学史及文学选集的编撰等。第三章讨论影响中国当代文学在美国传播的因素，包括文化、意识形态、诗学、赞助人、读者等因素。文学作品域外接受的实际情况表明，译著所造成的文化影响，并不取决于原著或译著本身，而在很大程度上受到了接受国的文化环境的影响。本章以《上海生与死》和《鸿：三代中国女人的故事》为个案分析，揭示文革回忆录在美国畅销的多方面原因，既涉及政治、宗教、诗学因素，也包含读者阅读心理、出版商、主流媒介、文艺界及学术界的推荐与宣传。根据中西诗学差异，围绕《狼图腾》改写所体现的出版社及译者对可读性的追求，笔者从翻译理论（功能学派、文化学派、多元系统论）与实践两个层面论证了翻译过程中跨文化改写的必要性和可行性，并进一步提出改写的原则和尺度。基于前三章的研究结论，第四章探讨了在全球化和消费时代的双重语境下，中国文学如何跻身世界文学、如何提升中国文学的国际影响力的问题。我们认为拥有世界读者是世界小说的一个评判标准，因此世界小说具有可读性和普世性两个参照标准。在此基础上，笔者对世界小说的其它特质，比如民族性和普世性的结合、小说内容与世界读者的相关性、作者的国际化视野与写作方式等方面倾注了思考，提出唯有走出文化政治的藩篱，尊重接受国读者的阅读习惯，以开放的心态包容、鼓励文化创造，中国当代文学才能以全新的形象走向世界。更多还原

【Abstract】 Chinese literature is just a marginal existence in American readership market,which arouses widely concerns among Chinese intellectuals. Although the situationcan be easily attributed to the pride or arrogance prevailing in American readers due tothe leadership of the US in politics, economy and cultural industry, the characteristicsof American readership is worth our while studying, as China is ambitious anddetermined to push Chinese culture/literature to the center of the world. Unfortunately,there are still no insightful studies of American readership market, nor systematicstudies on the translation and reception of modern Chinese novels in the US. Thesegaps are aimed to fill in this dissertation.Chapter1focuses on the cultural soils for the dissemination of Chinese novels inthe US. While sorting out the history of the reception of Chinese literature, the authortakes the critics on Chinese literature since1980s as raw materials from prestigiousnewspapers like New York Times and Washington Post, to extract American readers’perception of and attitude toward Chinese literary works and writers. According to thecomments about works and writers, especially the bestsellers as well as the novelsdiscussed in New York Times Book Review, we can also have a rough idea on theexisting knowledge and impression that American readers possibly have on Chineseliterature. To have a better idea of American readership market, a demographic surveyof readers’ interest in literary works based on the report by National Endowment forArts and the readers’ preference of literary genes based on Harris report are briefed.Besides, one of the important reasons for the marginal existence of Chinese literaturein America is addressed that American readers and publishers are indifferent totranslated works.Chapter2elaborates on the objective relationships involved in the disseminationof modern Chinese literature in American literary field based on Pierre Bourdieu’stheory of field and capital. As the “manufacturers” in literary production,governmental and non-governmental organizations, academic institutes, translators,American publishers are summarized in terms of their achievements and limitations. Inaddition, sinologists’ roles in the introduction of Chinese modern novels are assessedregarding translation of literary works, edition of literary history and anthology, as well as other academic studies. Furthermore, the teaching of Chinese literature inAmerican university in respect of syllabus and textbook and class design, isintroduced.Chapter3explores the factors that hinder the dissemination of modern Chineseliterature, including culture, ideology, poetics, readers’ psychology, etc. As the realityshows, the reception of a translation in a foreign country is decided more by the socialreality and cultural environment of the target country than by the original andtranslated texts. Through the reception of the bestsellers Life and Death in Shanghaiand Wild Swans: Three Daughters of China, various factors contributed to the successof these books are examined, including not only political, religious and poetic factorsbut also readers’ psychology and recommendations from publishers, mainstream media,literary and academic field. In order to bridge the differences between Chinese andWestern poetics and to meet the expectation of readability from publishers and generalreaders, rewriting during translation is argued both in the light of practice andtranslation theory such as German functional translation theories, cultural approach totranslation, and multi-system theory. What’s more, the principles and extent ofrewriting are also discussed.On the basis of the findings in the previous chapters, Chapter4tries to answer thefollowing questions: in the era of globalization and consumerism, how can Chineseliterature be listed world literature and how to promote the international influence ofChinese literature? According to David Damrosch, a professor of Harvard University,world literature, a concept derives from Goethe, contains not only classic novels butnovels with worldwide readers, which specifies the two main features of worldliterature: universality and readability. Starting from this proposition, morecharacteristics of world novels, such as national elements, international horizon of theauthors and reader-oriented translation are discussed. It is believed that only bychanging the mindset that literature is a vehicle ridden with political purposes andnational image, by respecting the differences of target readership in individual country,and by embracing creation in cultural production, can Chinese literature goes globalwith a brand-new image.更多还原