日据时期朝鲜半岛鲁迅作品译介的思想谱系与文化抉择--以《狂人日记》和《阿Q正传》的韩译为例  

The Ideological Lineage and Cultural Choices in the Translation of Lu Xun’s Works on the Korean Peninsula during the Japanese Colonial Period--A Case Study of the Korean Translations of A Madman’s Diary and The True Story of Ah Q

作　　者：张乃禹[1] ZHGNA Naiyu(School of Foreign Languages,Suzhou University,Suzhou,Jiangsu 215006)

机构地区：[1]苏州大学外国语学院,江苏苏州215006

出　　处：《中国文学研究》2024年第3期180-189,共10页Research of Chinese Literature

基　　金：韩国学研究孵化型项目“中韩近现代文学关系史的深层探究与韩国学研究后备力量培养”(AKS-2022-INC-2230001);江苏高校“青蓝工程”资助项目。

摘　　要：《狂人日记》和《阿Q正传》分别于1927年和1930年译介至日据时期的朝鲜半岛。两部作品韩译本虽然在翻译质量上均存在诸多无法忽视的缺陷,但是柳树人翻译的《狂人日记》作为世界上首部由外国译者翻译成外文并在国外发表的鲁迅作品,开启了外国译者翻译鲁迅作品的先河;梁建植翻译的《阿Q正传》作为朝鲜半岛众多韩译本中的首部作品,也在“阿Q”形象传播接受方面厥功甚伟。从译者思想谱系来看,幼时阅读《狂人日记》的思想冲击以及后来的无政府主义转向,促成了柳树人与鲁迅在无政府主义思想基点上达成了共通的文艺启蒙理论共识,成为译介《狂人日记》的内在契机。而梁建植翻译的《阿Q正传》尽管受制于日本殖民文化霸权而不得不借助于井上红梅的日译本进行转译和“译述”,但这恰恰体现了梁建植将殖民地宗主国语言--日语--为我所用的文化立场,以及即使通过迂回和曲折的方式,也要关注和译介中国新文学的文化抉择。During the Japanese colonial period,A Madman’s Diary and The True Story of Ah Q were respectively translated into Korean in 1927 and 1930 and introduced to the Korean Peninsula.Despite significant flaws in the translation quality of both works,Ryu Suin’s translation of A Madman’s Diary marked the first instance of a foreign translator translating Lu Xun’s work into a foreign language and publishing it abroad,thus pioneering the translation of Lu Xun’s works by foreign translators.Likewise,Yang Geonsik’s translation of The True Story of Ah Q as the first among numerous Korean translations on the Korean Peninsula contributed significantly to the dissemination and reception of the Ah Q image.In terms of the translators’ideological lineage,the impact of reading A Madman’s Diary during youth and the subsequent shift towards anarchism led Ryu Suin and Lu Xun to reach a consensus on literary enlightenment theory based on anarchism,thus becoming the intrinsic catalyst for translating A Madman’s Dia⁃ry.On the other hand,although Yang Geonsik’s translation of The True Story of Ah Q was constrained by the cultural hegemony of Japanese colonialism,forcing him to rely on Kōbai Inoue’s Japanese translation for adaptation and“translation”,this precisely reflects Yang Geonsik’s cultural stance of utilizing the language of the colonial master—Japanese—and the cultural choice of focusing on and translating Chinese new literature,even through indirect and circuitous means.

关 键 词：日据时期 翻译理念 译述 思想谱系 文化抉择 

分 类 号：I01[文学—文学理论]