五四时期中国儿歌的越境与海外接受——以青木正儿对《歌谣》周刊的译介为例  

Border-crossing and Overseas Reception of Chinese Children’s Songs in the May Fourth Movement Period: Taking Masaru Aoki’s Translation for Ge Yao Weekly as an Example

作　　者：魏晨 Wei Chen(School of Chinese Language and Literature,Wuhan University,Wuhan 430072,Hubei,China)

机构地区：[1]武汉大学文学院,湖北武汉430072

出　　处：《长江学术》2021年第4期89-97,共9页Yangtze River Academic

基　　金：武汉大学人文社会科学青年学术团队发展计划“近现代东亚的作家流徙、文学越境与文化触变研究”(1102-413100047)。

摘　　要：1925年,青木正儿将《歌谣》周刊的儿歌选译成日文,并编入《世界童谣集(下)》在日本出版。青木的译介将五四时期民俗学研究成果即时地传播至日本,为日本提供了理解新文化运动的途径。同时,中国儿歌越入日本童谣的文化生成空间,作为日本童谣的参照被纳入世界童谣体系,获得了融入世界儿童文学可能性。在翻译过程中,青木基于自身对民俗学的兴趣和对戏曲的精通进行了富有创造性的意译,保留了儿歌之民俗学价值的同时也忽略了儿歌体裁的特殊性。In 1925, Masaru Aoki translated those children’s songs from Ge Yao Weekly into Japanese. And these songs were included in Sekai Sekai Dōyō Shū(ge) and published in Japan. Aoki’s translation and introduction immediately disseminated the folklore research during the May Fourth Movement to Japan, providing Japan with a way to understand the new cultural movement of China. At the same time, children’s songs entered the cultural context of Japanese Dōyō, were incorporated into the world children’s literature system as a reference for Japanese Dōyō, and gained the possibility of becoming one of world children’s literature. In the translation process, Aoki made creative translation based on his interest in folklore and his proficiency in Chinese opera. While maintaining the value of the folklore of those Chinese children’s songs, it also ignored their particularity as a genre.

关 键 词：五四时期 青木正儿 儿歌 《歌谣》周刊 译介 

分 类 号：H36[语言文字—日语] I046[文学—文学理论]