唯美主义的中国叙事:论《水榭》对《合影楼》的跨文化改写  

Aestheticism in Chinese Narratives:On the Transcultural Adaptation of Le Pavillon sur l'eau from He Ying Lou

作　　者：桑瑞 SANG Rui(School of Foreign Languages,North China Electric Power University,Beijing 102206,China)

机构地区：[1]华北电力大学外国语学院,北京102206

出　　处：《华北电力大学学报（社会科学版）》2023年第6期108-117,共10页Journal of North China Electric Power University(Social Sciences)

基　　金：国家社会科学基金重大项目“法国收藏中国西南文献的整理与研究(1840-1949)”(19ZDA221);华北电力大学“双一流”研究生人才培养建设项目“中法比较文学研究”(XM2312716)。

摘　　要：泰奥菲尔·戈蒂耶的短篇故事《水榭》是作者基于汉学家的译作,间接对李渔的拟话本小说《合影楼》进行的跨文化改写作品,其改写策略受到作者个人志趣及诗学理念影响。对异域情调的迷恋推动戈蒂耶在作品中大量增设中国元素,且隐喻其对异域东方的“怀旧”情感。“为艺术而艺术”的唯美主义诗学理念引导他对故事的语言、情节、人物进行唯美重塑。《水榭》重燃了19世纪法国作家对中国题材的热情,同时,从《合影楼》到《水榭》的翻译和改写过程,充分展示了早期中国文学融入世界文学的范式。Théophile Gautier's novella Le Pavillon sur l'eau serves as a transcultural adaptation of Li Yu's vernacular novel He Ying Lou,based on translations provided by sinologists.The author's adaptation strategy was influenced by his personal preferences and literary theory.His fascination with exoticism drove him to extensively incorporate Chinese elements into the work,metaphorically expressing his "nostalgia" for the exotic East.Guided by the aesthetic principle of "l'art pour l'art",Gautier artistically refined the language,plot,and characters of the story.Le Pavillon sur l'eau reignited the 19th-century French enthusiasm for Chinese themes,and the process of translating and adapting from He Ying Lou to Le Pavillon sur l'eau served as a comprehensive demonstration of the early integration of Chinese literature into the global literary paradigm.

关 键 词：《水榭》 泰奥菲尔·戈蒂耶 《合影楼》 跨文化改写 

分 类 号：I106.4[文学—世界文学] I207.41