译者身份差异与清末民初翻译戏剧的文体多样性  

The Identity Differences of Translators and the Stylistic Diversity of Translated Drama in the Late Qing and Early Republic of China

作　　者：李向阳 Li Xiangyang

机构地区：[1]河南大学黄河文明与可持续发展研究中心,河南开封475001

出　　处：《河南大学学报（社会科学版）》2024年第4期79-85,154,共8页Journal of Henan University(Social Sciences）

基　　金：国家社会科学基金重大项目“中国文学学术现代化进程研究”(21&ZD263)阶段性成果;河南省哲学社会科学规划青年项目“清末民初汉译文学文体演进研究(1898-1919)”(2023CWX033)阶段性成果。

摘　　要：清末民初的翻译戏剧,语言上文言、白话并存,文体上戏剧、小说兼具,呈现出戏剧转型期特有的复杂性和多样性。从史的角度看,先后登场的留学生/新剧家译者、通俗小说家译者、新文学家译者,因其不同的文化立场和思想观念,既赋予戏剧译本丰富多维的文学文化内涵,又在不同层面推进了域外戏剧的中国传播及接受,使翻译戏剧文体走出一条由规范到形变再到规范的独特演进道路。在以翻译戏剧为重要参照构建现代话剧文体的历程中,不同年代译者的身份差异,一方面折射出现代话剧在探索中生成的曲折步履,另一方面也为清末民初翻译戏剧的文体多样性提供了更为多元的阐释视角。In the late Qing and early Republic of China,translated dramas coexisted in both classical and vernacular languages,while in terms of genre,dramas and novels were both present,presenting the unique complexity and diversity of the dramatic transformation period.From a historical perspective,the translators of Chinese students who studying abroad,popular novelists,and the new literature writers,due to their different cultural stances and ideological concepts,not only endow drama translations with rich and multi-dimensional literary and cultural connotations,but also promote the dissemination and acceptance of foreign drama in China at different levels,leading to a unique evolution path of translated drama style from standardization to deformation and then to standardization.In the process of constructing modern drama genres with the translation of drama as an important reference,the identity differences of translators in different eras reflect the twists and turns of the establishment process of modern drama on the one hand,and on the other hand,provide a more diverse interpretation perspective for the diversity of translated drama genres.

关 键 词：清末民初 翻译戏剧 文体演进 译者身份 

分 类 号：I206.5[文学—中国文学]