【作者】 蒙兴灿；

【导师】 潘文国；

【作者基本信息】 华东师范大学 ， 语言学及应用语言学， 2008， 博士

【摘要】 在五四运动前后中国社会文化转型和文学嬗变的历史时期,外国文学的译介意义显得特别重大,一直受到翻译史家和文学史家的高度关注。本论文在“五四前后英诗汉译的社会文化研究”这一课题下,从社会文化因缘出发,考察、分析和研究了五四前后中国这段特定历史时期近三十年间英诗汉译现象产生的社会文化心理和社会文化功能,并对它们进行了译学社会文化行为分析和反思。全文共分七章。第一章为绪论,介绍了论文研究的概况与意义、范围与目标、架构与内容以及论文研究的思路与方法,说明了论文各章彼此之间的逻辑关系。第二章首先介绍了文化概念的哲学、文学以及人类学和社会学泉源,并根据克罗伯文化界说厘定了本文所指文化概念的范畴和性质;然后层层铺开,将文化分为三个层面加以理解,即“外显”的器物文化、制度文化和“内隐”的精神文化,并对它们之间的关系进行了说明和论证,指出社会文化对文学发展实施有效而持续作用的部分正是“内隐”的精神文化,进而认为五四前后中国近现代的翻译活动其实也有一个层次的问题,它与中国认识西方、向西方学习的历史进程相一致,在总体上也经历了三个阶段,即从器物翻译到制度翻译再到文化翻译,并对各个阶段的翻译质态、功用和特点进行了简要的归纳、评论与总结。本章随后着重从社会文化因缘出发,宏观展示出五四前后中国这段特定历史时期的社会文化背景、社会文化思潮及其在这样的社会文化背景和思潮中英诗汉译流变的基本走势、发展脉络和翻译特点,并把这个时期的英诗汉译划分为萌芽期、发展期和繁盛期三个阶段加以分析和讨论,论证了中国翻译家严复1898年翻译《天演论》时所译英国诗人蒲伯的《原人篇》和丁尼生的《尤利西斯》是中国翻译文学中英语诗歌翻译的发韧。这两首译诗不仅对中国近代翻译文学具有极其重要的补全意义,而且对于英诗汉译更具有划时代的转折意义,标志着英语诗歌汉译主体不再是外国传教士或其他外国人,也不是“口授笔录”的中外合作翻译主体,而是具有专业水准的纯粹的中国学者独立担当的主体,开创了中国学者翻译英语诗歌的先河,掀开了国人自己有意识、有目的地翻译英语诗歌的新篇章。第三章从“文化心理”概念出发,以接受社会的主体文化为重心,对制约英诗汉译产生和接受的社会文化心理等诸多社会文化因素给予了关注,指出作为五四前后精神文化的一个重要载体和产物,当时的英诗汉译相应显示出前后不一的文化质态,而其直接动因则是五四前后诗歌翻译主体文化心理结构的历史性嬗变。基于此,本章从社会文化心理视角论证了五四前英诗汉译译本的古典性特征、五四后英诗汉译诗体的陌生化和传统化特征以及五四前后英诗汉译的主题流向,揭示出诗歌翻译语言由文言到浅近文言再到白话的形式变迁与译诗者对西方文化的态度从夷学到西学再到新学的心理嬗变之相生相伴关系。第四章以五四前后英诗汉译的社会文化功能为题,主要关注诗歌翻译对文化的流传和传播的干预与影响,探讨诗歌翻译活动对社会的主体文化和文学规范的影响。我们借用胡适把五四新文化运动比附成欧洲文艺复兴的观点,指出五四译诗就是中国的文艺复兴,进而详细地探讨了五四译诗对早期新诗的影响和制约,认为“新诗”是中西社会文化因素共同作用下合成的一个新概念:它既接受了晚清维新派诗人“诗界革命”的启示,也从西方文学资源,尤其是从英美“意象派”诗歌和美国的“自由诗革命”中汲取了话语活力,指出中国新诗文体发生、发展和演变的轨迹其实就是外来诗歌影响的轨迹,中国新诗能够在五四时期真正地确立起自己作为文类的地位其实与五四前后英诗汉译所起的“触媒”作用密不可分。本章还对胡适的译诗《关不住了》之新诗成立纪元性进行了细致入微的分析和论证。第五章首先从翻译的文化社会学观出发,探讨了诗歌翻译的社会文化属性,认为在我国五四前后的英诗汉译中,大多数英语诗歌并非专为“文”而译,而恰恰是为“事”而译,这主要是基于诗歌翻译的社会文化属性的考虑,即别求新声和新诗于异邦。此时社会文化属性上升为诗歌翻译的第一性而文艺美学属性退居第二性,成为在当时特定的社会历史条件下改造社会、改造国民、改造文学和改造语言的一把利器,成为推动社会文化向前发展和演进的一支重要力量。其次,本章还运用文化翻译理论,引入意识形态、译者主体性和诗学规范等关键概念详细探讨了接受社会的主体文化对五四前后英诗汉译的文本选择和翻译策略取向的制约和影响,认为由于五四前后政权频繁更替导致国家对意识形态控制有限,为诗歌翻译在此间形成高潮提供了难得的历史机遇,为诗歌翻译在中国的传播和接收创造了条件。意识形态对翻译的影响是相对的而非绝对的,作为诗歌翻译行为的译者,在实际翻译活动中会时时发挥其主体性作用,五四时期著名诗人翻译家朱湘的个性化英诗汉译就是译者主体性在诗歌文本选择和翻译策略取向上起直接作用的典型例证。我们把勒弗维尔的诗学概念分为翻译的社会诗学和个人诗学,指出虽然个人诗学受社会诗学的影响和制约,但是这种影响和制约也是相对而非绝对的,它们有一致也有不一致的时候,这在五四前后中国特定的社会历史文化转型时期更是如此,从而有效地解释了五四前后中国译坛上两种翻译策略并存的独特现象,提高了多元系统的普适性,丰富和发展了文化翻译学理论。第六章通过梳理中国近代文学语言的历时流变,探究了十九世纪末西方传教士由于基督教圣诗和赞美诗的翻译而对汉语进行的改造活动与五四白话文运动,尤其是与白话新诗的关系,提出了西方传教士19世纪末开始的欧化白话翻译对晚清白话文运动、五四白话文运动以及五四新诗的历时嬗变均有着不可低估的影响和价值的观点,认为他们的翻译活动也是五四新文学,尤其是五四白话新诗的重要源头之一。本章还通过五四前后的诗歌翻译与中国白话新诗滥觞之间的互动伴生的翻译创作质态,结合社会文化背景从新诗发生生态和草创时期的扭曲引进等视角反思新诗定型难的历史成因,提出了新诗诗体应该适度定型的诗学观。第七章为结论,总结本课题讨论的主要问题,概括本论文的主要观点和贡献,指出本研究的局限与不足,并对课题的后续研究进行了展望。更多还原

【Abstract】 The translation of foreign literature has been of unusual significance and has long attracted attention of many translational and literary historians since the Chinese socio-cultural transformation and literary transmutation around the May 4^th Movement. Entitled as " A Socio-cultural Study of Poetry Translation in China around the May 4^th Movement" and based on the socio-cultural background at that period, this dissertation observes, analyses and studies the phenomenon of the Chinese translation of English poems at this special Chinese historical period around the May 4^th Movement from the perspectives of the socio-cultural psychology, the socio-cultural function, the socio-cultural translation behavior and their profound socio-cultural introspection.The dissertation consists of seven chapters.Chapter One is an introduction, presenting the dissertation’s literature review and research necessity, research scope and targets, research structure and content as well as its research approaches. The chapter also depicts and explains the logical relations among the seven chapters.Chapter Two firstly explores the source of the concept of "culture" from the perspectives of philosophy, literature, anthropology and sociology, stipulating the scope and nature of the cultural concept in the dissertation according to A.L.Kroeber’s definition of the cultural concept. Then the chapter divides "culture "into three bedding surfaces: material culture and institutional culture which are "outer and visible" as well as conceptual culture which is the core of culture and therefore inner and invisible, and discusses their mutual relationships, pointing out that the translation in China around the May 4^th Movement also experienced three stages: the translation of natural sciences, the translation of social sciences and the translation of culture, in accordance with China’s understanding of and learning from the west The chapterStarting from the socio-cultural causes of that time, the chapter also microscopically displays the socio-cultural background, the socio-cultural trend of thought and the line of thought of English poetry translation in China in such a socio-cultural background and trend of thought. The chapter differentiates the Chinese translation of English poems in this period by delimiting them as embryonic stage, developing stage and thriving stage. After a careful study of these three stages, the chapter puts forward that " An Essay on Man" and "Ulyssess", two English poems written respectively by Alexander Pope and Tennyson, translated by Yan Fu, a well-known Chinese translator, when he translated Huxley’s Ethics and Evolution, is no doubt the commencement of English poetry translation in Chinese translated literature. These two translated poems not only fills up a vacancy in Chinese translated literature at the turn of the 20^th century, but represents a turning point in Chinese translation of English poems since they were translated not by a western preacher, or a collaborator of both the west and China ,but by a purely native Chinese scholar.Chapter Three starts from the concept of cultural psychology, and it centers on the subjective culture in the receptive society and gives attention to such socio-cultural factors as socio-cultural psychology, ideology, poetics and subjectivity. It comes to the conclusion that as the carrier and product of conceptual culture around the May 4^th Movement, the different forms of English poetry translation before and after the May 4^th Movement directly attributes to the translators’ historical change of their cultural psychology. Thanks to this change. the classical features of translated poems before the May 4^th Movement, the bestrangement and traditionalization coexisting in the English poetry translational （?） the May 4^th Movement, and the translational theme （?）on come into being, revealing that the language of the translated poems changes from classical （?）nese to plain classical Chinese to vernacular Chinese, accompanying translators’ （?）nological change of attitudes towards the western culture from "foreign studies" to "western studies" to "new studies".Chapter Four, entitled as the socio-cultural function of English poetry translation in China around the May 4^th Movement, mainly concerns the English poetry translation’s interference with and influence on the culture’s circulation and dissemination, probing into the English poetry translation’s influences on the subjective culture and its literary norms. Just as Hu Shi thought that the May 4^th Movement resembled the European Renaissance, we compare the May 4^th translated poetry to the Chinese Renaissance, inquiring into its influences on and constraints of early Chinese new poetry. The chapter concludes that the Chinese new poetry is a hybrid concept composed of both Chinese and western socio-cultural factors , that it both draws inspiration from the Chinese poetry revolution of the reformers in the late Qing dynasty and gains language enlightenment from the western literature, especially the British and American imagist school of poetry and America’s revolution of free verse, that the trace of the Chinese new poetry "s birth, growth and evolution just follows that of the influences from the western poetry , and that the translation of the western poetry in the May 4^th period plays a crucial role in establishing the Chinese new poetry as a new literary genre in Chinese literature. In addition, the chapter gives a detailed and profound study of Hu Shi’s " Over the Roofs", a famous translated poem, so as to prove it as a symbol of new era in the founding of China’s new poetry.Chapter Five, based on the viewpoints of cultural sociology concerning translation studies, firstly explores the socio-cultural quality of poetry translation, arguing that the majority of English poems were translated around the May 4^th Movement for the sake of introducing new ideas rather than literature just owing to the consideration of poetry translation’s socio-cultural quality, i.e. searching for new voice and new poetry from the west. At that period, the socio-cultural quality of poetry translation rises while its aesthetic quality declines, and it ultimately becomes an efficient tool of remolding our society, people, literature and language in that given social and historical conditions, an important force of propelling the society forward. Besides, the theories of cultural translation school are also applied in the chapter to the discussion of how the subjunctive culture in the receptive society affects or constrains the choice of translated texts and translation strategies around the May 4^th Movement by way of such key concepts as ideology, translator subjectivity and poetical regulations. The frequent change of the national power leads to the loose control of ideology, which creates a good condition or opportunity for the formation of the climax of the poetry translation. for the translated poetry’s reception and propagation in China at that period. As the ideological influence on. the poetry translation is relative, the poetry translators can always play their subjective roles in their translation activities, in which Zhu Xiang, a renowned poetry translator at the period of the May 4^th Movement, is noted for his personalized poetry translation in the choice of either poem texts or strategic methods. The chapter also portions Andre Lefvere’s concept of poetics into social poetics and personal poetics, in which although the latter is constrained by the former, yet the constraint is relative and they are sometimes identical while sometimes they are not, especially at the specified period of Chinese socio-cultural and historical transformation. The division of the poetical concept does help explain why there exist two kinds of translation strategies in China around the May 4* Movement, and fulfills the translation theory of Polysystem.Chapter Six argues that the western preachers’ Euoropeanized vernacular versions of English Bible or Christian hymns played an unestimable part in late Qing dynasty’s vernacular Chinese movement, the May 4^th vernacular Chinese movement and the May 4^th free verse movement by carding the diachronic change of Chinese literary language at the turn of 20^th century and looking into the relationship between the western preachers’ Chinese versions of English Bible or Christian hymns and the May 4^th vernacular Chinese, especially the free new verses written in the vernacular. The chapter concludes that the activities of remolding classical Chinese by the western preachers at the end of 19^th century are one of the sources of the May 4* new literature, one of the sources of the May 4^th new poetry in particular. The chapter also proposes a concept of poetics that the form of the Chinese new poetry should be moderately fixed after displaying interdynamic and accompanying characteristics of the translated poems and early Chinese new poems, introspecting the historical contributing factors brought about by the morbid social environment in which new poems were written and by the distorted introduction of English imagist poems.Chapter Seven summarizes the main views and findings of the research, points out the limitations of the dissertation, and proposes research questions for future studies.更多还原