诗译莎剧滥觞:新月派的新文学试验  

The Crescent Moon Group's Experimenting with New Chinese Literature: Poetic Translation of Shakespearean Drama into Chinese

作　　者：黄焰结 

机构地区：[1]安徽工程大学外国语学院,安徽芜湖241000

出　　处：《外语与外语教学》2018年第3期88-97,共10页Foreign Languages and Their Teaching

基　　金：国家社科基金项目"新月派翻译文化研究"(项目编号:13BYY039);高校学科(专业)拔尖人才学术资助重点项目(项目编号:gxbj ZD2016058)的研究成果

摘　　要：20世纪二三十年代的中国莎学探索期,莎剧的白话散体翻译盛行,但邓以蛰、徐志摩、孙大雨、朱维基等新月同人先后以白话诗体形式翻译了莎剧片段,开创了诗译莎剧的先河。本文首先从文体、形式、语言等层面描写分析新月派翻译的诗体莎剧,然后结合副文本材料与当时的历史文化语境,探讨新月派诗译莎剧的目的与策略。研究发现,新月成员诗译莎剧的滥觞活动既是反思反拨五四以来"浪漫式"的文学翻译与创作,亦是用中文试验新文学的文体与诗体,以丰富中国新剧与新诗的题材内容和表现形式,从而建设成熟的中国新文学。本研究不仅揭示了诗译莎剧的源头,而且进一步透视了新月派的翻译文化。During the 1920 s and 1930 s when prosaic translation of Shakespeare's plays prevailed in China,such Chinese writer-translators as Deng Yizhe,Xu Zhimo,Sun Dayu and Zhu Weiji,members of the Crescent Moon Group,first translated poetically some excerpts of Shakespearean plays into modern Chinese.Through a descriptive analysis of the Chinese translations in terms of meaning,form and style based on historical-cultural context and supported by the paratexts,this article investigates into howand why the Crescent Moon Group did the first poetic translation of Shakespeare in China. It reveals that this newliterary group,with the help of translation,aimed to reconstruct modern Chinese literature by refuting the "romantic"translation strategies prevailing in the literary world since the 1920 s and experimenting in the Chinese language with literary genres and poetic forms borrowed from the west. The findings of this study not only reveal the origin of poetic translation of Shakespeare in China,but also the translation culture that the Crescent Moon Group has shaped.

关 键 词：新月派 莎剧 诗体翻译 新文学建设 文化考量 

分 类 号：H059[语言文字—语言学]