论洪深《少奶奶的扇子》改译中的创造性叛逆  

Creative Treason in Hong Shen's Translation of “The Young Mistress' Fan”

作　　者：周琳琳[1] 

机构地区：[1]三亚学院人文与传播学院,海南三亚572022

出　　处：《太原大学学报》2014年第2期83-86,共4页Journal of Taiyuan University

摘　　要：1924年4月,改译自王尔德《温德米尔夫人的扇子》的《少奶奶的扇子》在上海首演并一举成功,使当时的观众大开眼界,为当时的新兴戏剧奠下了第一块稳固的基石。而改译的成功,则是和洪深的创造性叛逆分不开的。这不仅表现在时代背景和环境设置、地名人名以及戏剧语言的"中国化",还表现在对主题的取舍上。这种创造性叛逆,一方面源于洪深重视舞台演出的戏剧创作理念,另一方面则是顺应当时的社会现实语境和观众鉴赏水平的自觉创造。In April 1924,＂ Lady Windermere＇ s Fan＂ which was an adaptation of Oscar Wilde＇ s play, was staged in Shanghai and ob- tained a great success. It broadened the audience＇ s horizon at that time, and established the first piece of solid foundation of emerging drama. The success on adaptation depended on the creative treason of Hong Shen. It was mainly reflected in the historical background, environment setting, names and dramatic language of China, and still showed in the choice of the subject. This kind of creative treason came from Hang Shen ＇ dramatic creative concept of paying attention to stage performance in one hand, and came from a conscious creation which complied with the social reality context and the audience appreciation level in the other hand.

关 键 词：洪深 改译 创造性叛逆 《温德米尔夫人的扇子》 《少奶奶的扇子》 

分 类 号：I23[文学—中国文学]