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作 者:张强[1] Zhang Qiang
机构地区:[1]南开大学外国语学院翻译系
出 处:《中国比较文学》2021年第2期168-183,共16页Comparative Literature in China
基 金:国家社科基金青年项目“西南联大诗人群翻译活动与中国新诗翻译理论建构研究”(项目编号:18CWW004)的阶段性成果。
摘 要:作为抗战时期引介新批评的代表人物,燕卜荪在西南联大期间的教学及诗歌创作活动对当时中国断诗现代化产生了深远的影响。他写于这一时期的《朦胧的七种类型》阐述了英语诗歌从词语选择、意象呈现到阅读方式等诸多层面的特征。本文认为,燕卜荪于战时中国写作的长诗《南岳之秋》在以上三个方面恰恰背离了他同时期的诗歌创作主张,这具有深刻的历史与现实原因:其一,含混的话语表现方式难以进入战时中国的主流话语,因而不能参与到救国救民的统摄性宏大叙事当中;其二,这一时期的燕卜荪着迷于东方宗教的神秘主义特质,寻求中西文化的共通点试图探寻神祗在东方的多重表现形式;其三,燕卜荪以现代科学与文学的关系为切入点,从精英与大众、叙事与抒情、诗歌的文学性与社会性等方面,探讨新批评的文本阅读方式对读者群的启示,证明了现代诗歌的阐释方式具有个性化、多样化与明晰化的倾向,而非故弄玄虚的含混化与去大众化。As a representative poet who introduced new criticism to China during the Sino-Japanese War,William Empson had significant influence on modemization of Chinese poetry during his teaching and poetry creation at Southwest Associated University.His Seven Types of Ambiguity,written in this period,expounded the features of English poetry from the choice of diction,representation of images,and the modes of reading.This article argues that Empson's long poem"Autumn on Nan-Yueh"witten in wartime China deviated from his poetic principles from the three aspects mentioned above,which had profound historical and practical reasons.First,the poetry of ambiguity could hardly enter the mainstream discourse of wartime China,so it could not participate in the grand narative of national salvation.Second,in this period,Empson was fascinated by the mysticism of Oriental religion.He intended to seek the commonalities of East and West culture,and tried to find the muliple formns of gods in the East.Third,based on the relationship between science and literature,Empson explored the enlightenment of new critical reading to readers from the relationships between the elite and the general public,the lyrical and the narrative,and the literariness and social function of literature.It proves that the interpretation of modem poetry has the features of individualization,diversification,and clarity,rather than mystified ambiguity or de-popularization.
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