论布莱希特对毛泽东《沁园春·雪》的翻译与接受  

Brecht’s Translation and Acceptance of Mao Zedong’s Poem“Qinyuanchun·Snow”

作　　者：薛松 XUE Song(School of Foreign Languages,Shanghai Jiao Tong University,Shanghai,200240,China)

机构地区：[1]上海交通大学外国语学院,上海200240

出　　处：《湘潭大学学报（哲学社会科学版）》2024年第6期16-21,共6页Journal of Xiangtan University:Philosophy And Social Sciences

基　　金：国家社会科学基金项目“布莱希特的文学创作与中国文化关系研究”(22BZW033)。

摘　　要：布莱希特的“陌生化”诗学得益于“中国榜样”。他对毛泽东《沁园春·雪》的改写译本《飞越长城有感》介于翻译、自由改写和再创作之间,呈现出布氏独特的艺术风格和思想特征。布氏在翻译时,结合自己的“陌生化”诗学理念进行再创作,不仅保留了毛泽东诗歌的思想精髓,还通过艺术手段激发思考,让读者在保持审美距离的基础上深入理解诗歌的思想内涵。毛泽东对传统文学形式的现代化运用让提倡用西方古老诗歌传统形式表现社会现实的布莱希特产生了强烈共鸣,他从“远东的崛起”中看到了“艺术复兴”的可能。Brecht’s poetics of“alienation”benefits from the“Chinese model”.His rewritten translation of Mao Zedong’s“Qinyuanchun·Snow”into“Flying Over the Great Wall”straddles the boundary between translation,free adaptation,and re-creation,presenting Brecht’s distinctive artistic style and ideological features.In his translation,Brecht re-created with his own idea of“defamiliarization”,which not only retained the ideological essence of Mao Zedong’s poems,but also stimulated thinking through artistic means,allowing readers to deeply understand the ideological connotation of poems on the basis of keeping an aesthetic distance.Mao’s modernized use of traditional literary forms resonated strongly with Brecht,who advocated for the expression of social realities through the ancient forms of Western poetry.Brecht saw the possibility of“artistic renaissance”from“the rise of the Far East”.

关 键 词：布莱希特 《沁园春·雪》 “陌生化”诗学 再创作 

分 类 号：I106.2[文学—世界文学]