俄罗斯汉学家巴斯曼诺夫译中国古代女性诗歌研究  

A Study on Russian Sinologist Basmanov’s Translation of Traditional Chinese Women’s Poetry

作　　者：叶芳芳 Ye Fangfang

机构地区：[1]南开大学外国语学院

出　　处：《国际汉学》2024年第6期69-77,152,共10页International Sinology

基　　金：国家社会科学基金“中华学术外译”一般项目“弱德之美:谈词的美感特质”(项目编号:23WZWB022)的阶段性成果。

摘　　要：本文从语词出发,基于文本比较辨析,揭示俄罗斯汉学家巴斯曼诺夫如何通过在翻译中模糊、消解乃至颠覆中国古代女性诗歌“情感”主题背后的古代宗法制婚姻架构和性别秩序,将其泛化为规避婚姻事实的男女“爱情”,从而在俄语语言—文化场域构建出中国古代诗歌的“爱情诗”序列,完成对中国古代文学史的异域改写。基于对中国古代诗歌中“情感”主题与欧诗(俄诗)中“爱情”主题的比较,本文指出中国古代思妇诗、怨妇诗等诗类与西方爱情诗之间在“主体性”原则方面存有本质差异,这一差异构成了译者对原诗“情感”主题“误读”“误译”的根源。Starting from the vocabulary and then using a comparative analysis of the texts,this article reveals how the Russian Sinologist Mikhail Basmanov in his translations blurred,dispelled and even subverted the traditional patriarchal marriage structure and gender order behind the theme of“emotion”in Chinese women’s poetry,generalizing it into“love”between man and woman rather than the fact of marriage,so as to construct a sequence of classical Chinese“love poems”in the Russian language-cultural field,and complete an overseas rewriting of the traditional Chinese literary history.Based on the comparison between the theme of“emotion”in classical Chinese poetry and the theme of“love”in European poetry(Russian poetry),this article points out that there is an essential difference in principle of“subjectivity”between traditional Chinese poems about thinking and grieving women and Western love poems.This difference constitutes the cause of the translator’s“misreading”and“mistranslation”of the theme of“emotion”of the original poems.

关 键 词：中国古代女性诗歌 俄译 爱情诗 文学史改写 

分 类 号：H059[语言文字—语言学]