【作者】 邓庆周；

【导师】 王光明；

【作者基本信息】 首都师范大学 ， 文艺学， 2007， 博士

【摘要】 论文探讨外国诗歌译介对中国新诗发生的影响,并把这种影响落实到中国新诗的孕育、发生期加以考察。论文把各阶段的代表诗人兼翻译家如张德彝、苏曼殊、胡适、刘半农、郭沫若等当作中心研究对象以梳理他们的诗歌翻译与创作之间的关系。论文的论述重心落在中国新诗发生的“标志性”诗人及其“标志性”诗作与外国诗歌译介的深度关联上,同时揭示了这些集诗歌翻译与创作于一身的中国新诗的奠基者们对外来文化尤其是诗歌艺术的接受和转化过程中,对中国传统诗歌的现代性质素的重新发现与激活,以及对某些传统诗歌标准的过度偏离乃至脱节而导致后世诗歌亚健康成长的历史根源。中国新诗孕育阶段的主要论述对象“圈定”在张德彝、苏曼殊等人身上。论文首先把在文学发展史及翻译文学史上几乎被完全淡忘的中国近代第一批外交使臣“张德彝”们所做的前期诗歌译介工作(包括中国最早引进、至今还继续沿用的“泰西句读”),和对后世文学的发展提供的探索借鉴意义作了一番梳理和复位。对该阶段的另一位代表诗人苏曼殊,论文以其编译的《汉英文学因缘》在新诗发生的重镇《新青年》上连续刊载的广告以及他与新青年、新文学同人陈独秀、刘半农、沈尹默等人的密切交往为切入点,以大量诗句为证,呈现了苏曼殊的外国诗歌译介活动与其自身创作的关系,同时也彰显了他的诗歌编译对中国新诗和新诗人直接或间接的影响。中国古典诗歌的体式,经由外国诗歌的汉译所遭遇的现代经验显露出了表情达意上的削足适履。早期诗歌的翻译者们不约而同地选择了诗律要求相对宽松的骚体、古风等诗体,这种对应诗式诗形的寻求和尝试,在一定程度上激活了传统中可用的诗歌资源,但也暴露出不同语言运用上的一些问题。这在诗人兼诗译家的作家身上表现得非常明显(如“连章半重体”之于马君武,“三句转韵体”之于胡适)。中国早期翻译诗歌为中国古典诗歌的变革和新诗的发生积累了一些可资借鉴的样式和经验,由于“以译代作”的时代风气,翻译本身也成为一种准创作,在不少方面(如参差的句式、跨行、横排、破韵等)成为新诗创作的萌芽和先声。在五四前后,外国诗、诗论的译介,是与中国新诗的诗论、诗歌创作同时起步甚至更早展开的。刊登外国诗歌译介诗文的有《新青年》、《少年中国》、《诗》、《新潮》、《每周评论》、《晨报副刊》等五四著名报刊。先后发表了陈独秀、胡适、刘半农、周作人、田汉、郭沫若、黄仲苏等人的外国诗歌译介文章。先后译介的诗人有英国和爱尔兰诗人拜伦、雪莱、布莱克、叶芝,美国诗人惠特曼、俄国诗人普希金、印度诗人泰戈尔等;作品有国歌,英、美国自由派和意象派诗歌,法国的象征派诗歌,诗体包括自由诗、散文诗、俳谐诗,小诗、俗歌、短歌等不同形式。在中国新诗的尝试阶段,那些标志性诗作(尤其是胡适的一些诗歌),在形式和技巧(如分行、建节、押韵等)方面虽然也沿袭了传统的惯例,但更多的是借鉴和采用了西方的诗形和诗律。这一方面反映出胡适对艺术本位、形式本身的注重,另一方面也反映出翻译与创作的互动关系。如果说胡适的功绩主要是诗歌格式(语言与形式)转换的成功,是新与旧二元框架内的成功,那么在中国新诗的确立期,代表诗人郭沫若、康白情等人则在抒情方式的向度上深化和延展了新诗的品格,换言之,是充分凸显和张扬了中国古典诗歌中隐身的甚至普遍缺席的“自我”,而这,与他们对美国诗人惠特曼等西方诗人的自由诗译介是大有关系的。论文还探讨了郭沫若等诗人早年在对外国诗歌的借鉴上过于为我所用(以偏概全的强化和误读误用),不加调和(与传统诗歌审美)而导致的粗放型创作及其自由诗散文化特征。外国诗歌翻译由文言转向白话,与新诗摆脱传统形式在方向上是平行一致的,外国诗歌翻译与新诗创作的发展是交叉互动的。外国诗歌的译介参与了中国新诗发生的全程。更多还原

【Abstract】 The present thesis attempts to explore the influence of introduction and translation of foreign poetry on the occurrence of Chinese New Poetry. The impact of foreign poetry is revealed and researched at the three phases during the transitional period from Chinese classical poetry to the New Poetry, focusing on the representative poets who are poetry translators as well.The thesis is aimed at discovering the deep concern and close co-relationship between the so-called "marked poets /poems" at the very stage of Chinese New Poetry’s occurrence and the introduction and translation of foreign poetry. In the process of the New Poetry’s founders’ acceptance and transformation of foreign cultures (especially the western poetry), they re-discover and activate/stimulate the elements of modernity in Chinese classical poetry. Furthermore, the author also holds the view that the early New Poetry writers and translators’ neglecting the key "standard" elements of Chinese classical poetry contributes to the undesirable consequences of Chinese New Poetry in the following days.The preface reviews some representative opinions and theories of literature translation and the printed works and articles concerning the introduction and translation of foreign poetry in China. The review is meant to rest the present research on a firm foothold for the further research design and interpretation.In Chapter One, the detailed activities of introduction and translation of foreign poetry by the diplomat Zhang Deyi are presented. The second and third chapters are devoted to Su Manshu and Hu Shi’s foreign poetry translation and the great influence on their own writings along with the widespread of their translated poems, revealing and comparing their translated poems and created ones. The interaction of translating and creating poems is revealed and analyzed respectively on the subject and content, form and language.Conclusions are reached in the final chapter as well as the analysis of negative influence on Chinese New Poetry from misunderstanding or "creative treason" during the introduction and translation of foreign poetry.更多还原