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作 者:张隆溪 Zhang Longxi
机构地区:[1]瑞典皇家人文、历史及考古学院 [2]欧洲学院 [3]北京大学燕京学堂
出 处:《文化软实力研究》2024年第4期5-17,共13页Studies on Cultural Soft Power
摘 要:本文通过回顾了“世界文学”的历史由来,强调歌德对这一概念的影响;指出尽管歌德没有明确定义“世界文学”,但其思想超越了民族文学的界限。随后探讨了20世纪学者对“世界文学”概念的批评与重新定义,特别是大卫·丹穆若什的观点,认为“世界文学”是超越原文化范畴流通的文学。这重新定义的世界文学提供了一种新的视角,可以揭示非西方文学尤其是中国文学的重要性。演讲者批评了一些学者的主张,即用英语批评所谓的英语“霸权”并反对将非西方文学作品译为英文,这样做的实际后果就是使非西方文学不可能超出自身语言和文化的范围进而在世界上流通,从而保证了只有西方主要的文学作品在全球流通,成为世界文学唯一的经典。演讲者主张通过文学促进跨文化理解与和谐,强调人文学科对人类未来的重要性。最后从中国古典诗歌翻译、生成式人工智能与文学创作、中国当代文学与世界文学等不同角度,阐释了相关议题。This article reviews the historical origins of“world literature”and emphasizes Goethes influence on this concept.It points out that although Goethe did not clearly define“world literature,”his thoughts transcended the boundaries of national literatures.It then discusses the criticism and redefinition of the concept of“world literature”by 20th-century scholars,especially David Damrosch,who argues that“world literature”encompasses all literary works that circulate beyond their culture of origin.The redefined concept of world literature provides a new perspective to reveal the importance of non-Western literature,particularly Chinese literature.The speaker in the lecture criticizes those scholars who,by using English to argue against the so-called“hegemony”of English and against translation of non-Western literary works into English,actually preclude the global circulation of non-Western literary works beyond their original linguistic and cultural environments,and thereby guarantee the global circulation of the major works of Western literature as the only canon of world literature.He advocates for literature to promote cross-cultural understanding and harmony,emphasizing the importance of the humanities for the future of humanity.Finally,the article explores related issues from various perspectives,including the translation of Chinese classical poetry,AIGC and literary creativity,and contemporary Chinese literatures place in world literature.
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