中外现代陶渊明接受之研究

【作者】 田晋芳；

【导师】 徐志啸；

【作者基本信息】 复旦大学 ， 比较文学与世界文学， 2010， 博士

【摘要】 陶渊明(公元365～427)是我国古代著名诗人和杰出的文学家,他的影响力穿越了时代和地域,以其独特的艺术风采感动着一代代读者,直至现代世界。从比较文学的角度看,则正是中外读者的持续的接受,构成了陶渊明至今不灭的艺术生命力。聚焦于这一现象,以比较文学的接受研究为途径,探讨其中不同的历史文化因子和中外文化的异同,将陶渊明的文学效应视为动态的作用与反作用,即是本学位论文的主题和宗旨。这也是坚持比较文学的学科性,运用新的观念和方法,来探讨一位古典诗人在现代全球化语境下得到接受的图景的尝试。论文主体由序论与四章内容构成。序论包括：第一,关于中西文化交汇下的陶渊明及其研究的课题史。第二,接受研究的理论来源与论文的学理支撑。第三,接受的主体——“读者”的独特界定。第四,论文的理论意义及创新之处。第一章“现代思潮催生的接受模式”,评述现代思潮中对陶渊明接受的新模式。一是以梁启超为代表的批评新标准。他的关注点转向了诗人的个性,这种以诗人人格为核心的做法,体现了将陶渊明的精神境界引向艺术审美领域的努力。二是以陈寅恪为代表的文史兼通与中西合璧的独特研究视角。他在现代历史意识觉醒的大背景下形成的文化史观念,为陶渊明的文学成就提供了文化思潮的内涵,开掘出陶诗中“新自然说”的哲理基础。三以朱自清与朱光潜为代表,执着于陶渊明研究中的文学特质的揭示。这表现在讲究作品文本与注释关系上的“详密”和“切合”相接合,把握陶渊明思想与禀性的二元性,通过提倡情感与审美的重要作用,将诗作的人格魅力树立为重要的艺术标准。第二章“西方现代汉学家的接受与独特视界”,评介陶渊明走向世界后,从西方文化的视界来解读和译介陶渊明诗歌的情况,分别以三位著名的陶诗英译学者埃柯尔、海陶韦、戴维斯为个例。埃柯尔的英译更多出自逼近陶诗原貌的忠实翻译,既有传达陶诗神韵的精彩之笔,也有参考汉语文献不足导致的误解之处,由此而对陶渊明的隐士身份及其哲学思想的把握发生了文化上的偏差。海陶韦下足功夫学习和钻研中国古代典籍,力求原汁原味地译介陶诗,但因文化的隔阂,虽然成绩世所公认,照样在接受过程中遭遇了意义的缺失。戴维斯的翻译注重对陶诗进行西方哲理的关照,所以对陶渊明倍加推崇,将其和西方哲人相提并论,既有文化沟通上的积极意义,也有现代阐释过程的误区。第三章“文化意识觉醒下的中国学者英译”,述评因文化交流意识和文化自尊心的加强,中国学者主动向国外译介陶渊明诗文的工作。他们既是传播者,也是接受者,因为他们的翻译同样体现出对陶诗的不同解读；他们既有本民族文化的根底,又更多一分对西方文化的了解,虽取向有所出入,但仍旧不可避免地表现出文化上的位差。这其中有杨宪益,在英籍妻子戴乃迭的帮助下,作为中国学者,最早进行了陶诗的英译；有方重的陶诗选译,因译者有上佳的英语诗学素养,选译篇目质量上乘；及下一代学者谭时霖,他全译了陶渊明诗文,致力于沟通中外文化,也具有鲜明的特色。第四章“世纪之交中外接受的诸类型”,综述20与21世纪之交在中西思想文化激荡之下对陶渊明的多种接受类型。首先,探析中国学界对陶渊明的思想倾向与人格形象的研究,包括文化语境、玄学或儒道释的思想渊源、自然观与生死观等观念探讨、人格构成与分析四个方面；其次,考察陶诗主题和题材、四言诗、境界和意象以及从艺术性到审美性的研究,以及在此接受过程中自觉不自觉地打下的西方现代思维的烙印。复次,评析中国学者致力于打通中外文学距离和中外文化隔膜的各种努力与尝试。他们一定程度均受到比较文学学科的启发,但或多或少存在问题。最后,探讨旅美学者田晓菲对陶诗传抄本异文的处理及文本的解读。作者在国外后现代解构思潮的预设下,对陶渊明传统的诗人形象进行了全面的颠覆,固然有创新之处,但暴露出无视传统价值观念和中国本土文化特征的重大缺失。更多还原

【Abstract】 Tao Yuanming (A.D.365-427) is a distinguished Chinese classical poet and writer, with influences across times and places.His special artistic auras have deeply touched a good many of readers from different generations,and even different countries. In the perspective of comparative literature,it is the perennial receptions of the national and international reader that assist create Tao Yuanming’s everlasting artistic vitality. So we focus on this sort of phenomenon and regard Tao’s literary effect as a dynamic process between the action and the reaction. Consequently, the purpose of dissertation, grounded on the reception study of comparative literature, is to investigate the distinctive historical and cultural elements and the differences between Chinese and foreign cultures, during the wide-spreading reception of Tao Yuanming. It is also a try to explore a picture how a classical poet can be accepted under the conditions of modern globalization with new conceptions and approaches, in adherence to the disciplinary character of comparative literature.The dissertation is composed of a preface and four chapters. The preface contains: first, a brief review of the study on Tao Yuanming in the context of Chinese and Western cultures meeting; second, the theoretical sources of the reception study and the methodological underpinning of the dissertation; third, the definition on the reception subject, namely the "reader"; and finally the new points and its academic significance of this dissertation.Chapter one the reception modes urged by the current of modern thought, is to comment the new modes on the reception of Tao Yuanming in the current of modern thought. To begin with, Liang Qichao stands for a new criterion of literary critiques that focus on the poet’s personal character, shows us the efforts to lead the study on Tao’s spiritual world to the aesthetic realm. Furthermore, Chen Yinque’s unique view is based on a thorough knowledge of both history and culture with self-conscious combination of Chinese and Western cultures. His conception of cultural history, formed in the context of the awakening modern historic consciousness, provides the works of Tao Yuanming with the contents of cultural trends as well as the philosophical basis of the New Nature Theory in Tao’s poetry. Finally, Zhu Ziqing and Zhu Guangqian represent the point of view that persists in the reveal of the literary features while studying on Tao Yuanming. What they pay attention to is that the "detailed" notes must go with "suitable" when attached to the text; the duality of Tao’s thoughts and natural disposition should be grasped. They, promoting the key function of emotion and aesthetics, erect the enchantment of Tao’s poetic creation as the important art standard.Chapter two the reception of modern Western sinologists and their special spectrums, exhibits a review on the interpretation and translation of Tao Yuanming’s text from the views of Western culture, taking three Tao’s translators William Acker, J. R. Hightower and A. R. Davis as examples. Acker’s translations are noted for their loyalty to Tao’s original poems, bringing the reader a good many excellent verses to convey the charm of Tao’s poetry. However, there exist some misunderstandings and even mistakes due to the lack of use of Chinese ancient documents, thereby leading to cultural deviations such as doubting Tao Yuanming’s identity as a hermit and ungrounded analysis on his philosophical thoughts. What is more, Hightower devotes himself to translating Tao’s poetry in considerably original flavor through working hard at Chinese classical documents. Although Hightower’s volume is very successful, he must face the omission of meaning within the discussing Tao’s works, ascribed to the cultural gap. However, Davis’ poetic translations emphasize his efforts to read Tao’s poetry from the perspective of Western philosophy. He, as an admirer of Tao, draws parallels between Tao Yuanming and the Western philosophers. The translations by Davis have beneficial effects on the cultural communication, contrast with misguidance in the form of modern interpretation.Chapter three the Chinese scholars’translations in the context of cultural awakening, criticizes the works of Chinese scholars who translate Tao Yuanming’s writings in their own initiative to the English reader, motivated by the enhance of awareness of cultural exchange and native-dignity. In fact, each of them in a situation of receiving as well as outputting Tao’s poetry because their translations really show the different understanding on the same poetry. These Chinese translators not only are rooted in their own national tradition, but also have more knowledge about Western culture. Guided by a different value orientation, however, their translations inevitably produce some inaccuracy relate to culture understanding. In this respect, Yang Xianyi, helped by his wife Gladys Yang, an English citizen, translates Tao’s poetry into English, preceding other Chinese scholars.And Fang Chong makes good selection from Tao’s poetry and presents excellent translations because of his fine artistic cultivation on English poetics.Eventually, Tan Shilin’s translations on the complete works of Tao Yuanming have also distinctive characteristics, in the pursuit of building a bridge between China and the world. Chapter four:Multiple reception types of the Eastern and the Western in the century turn.This chapter remarks the multiple types of Tao Yuanming reception under the background of Chinese and West cultures communication in the turn from 20th to 21st century. Its first level refers to the Chinese scholars who study Tao’s thought trend, including the ancient cultural context, the thought sources of Confucianism, Taoism, Buddhism and Xuan-Xue (Metaphysics), the ideas of life and death, as well as to analyze his personal figure structure.In the second level the motives, subjects, aesthetic perspectives and ideas, four-word-poem forms are researched, which goes from the traditional so-called art to the new depth of aesthetics, and inevitably is impressed with the modern Western thinking methods. The third level discusses the multiplex efforts of Chinese scholars who try to shorten the distance between the different literatures and cultures and to break through their diaphragm, but grasp the principle of Comparative Literature as an independent research field not so suitable, even though are influenced by its fashion. The last level criticizes Xiaofei Tian’s The Record of a Dusty Table:Tao Yuanming & Manuscript Culture. The author deals with the manuscript texts of Tao Yuanming’s writings in a destruction way and then subverts his poet character,whose theory, seeming so fresh and revolutionary, presupposes the western post-modern thoughts and reveals the serious shortage to deny the traditional evaluation and the cultural essence of China.更多还原