摘 要

從晚清戲劇改良開始，戲劇就一直被作為改造社會的工具而存在，譯者對外國戲劇的關注大都停留在文本之上，劇本與舞臺演出的關係並沒有得到充分研究和認識，因而翻譯劇本的舞臺演出往往難以取得成功。民眾戲劇社在對「假新劇」的反思中成立，旨在創造可以登場的「真的新劇」。他們一方面繼承了新文化運動精神，繼續關注戲劇的內容與思想性，一方面加強了外國戲劇學理方面的研究，並以此思想為指導對外國戲劇知識進行了大量譯介，在民初戲劇觀念從紙面走向舞臺的過程中發揮了關鍵作用。本文將在梳理和分析民眾戲劇社譯介活動的基礎上，揭示翻譯作為一種研究行為如何影響戲劇觀念的變化，戲劇觀念的變化又如何反作用於翻譯，對外國戲劇作品的輸入方式和中國現代戲劇體制的建立產生影響。

Abstract

This paper examines the translation activities of the People’s Dramatic Society (Minzhong Xijushe 民眾戲劇社) established in May 1921 by literary writers and drama professionals who aimed at producing dramatic texts that could be performed on stage after successive failures in staging translated Western dramas since the literary revolution in late Qing China. Through translation, members of the Society made comprehensive investigations of Western theaters and introduced a wide range of theatrical knowledge into China, which in reverse broadened the translators’ vision to encompass different dimensions of theater as a form of integrated arts. As a result, a new way of translation called trans-adaptation (gai yi 改譯) that catered for stage performances became popular among drama translators, marking a great step forward in the making of modern Chinese drama.

摘 要

馬若瑟是法國耶穌會士，康熙年間抵華，晚年遭雍正流放於廣州。他在此地法譯了八首《詩經》中的詩，1735年獲杜赫德收編於《中華帝國全志》之中，是為《詩經》西傳之始。馬若赫所譯《詩經》八首，全都出自〈雅〉與〈頌〉，獨缺〈國風〉，顯示馬若瑟意非抒情文學，重點全在聖王與王治之上。他的翻譯詮解，是典型的索隱派手法，帶有強烈的天主教義的暗示。本文勾稽所隱，揣度馬若瑟的翻譯關懷，讓我們一窺早期《詩經》歐譯和《聖經》之間的聯繫。

Abstract

Joseph de Prémare was a French Jesuit who went to China in the reign of Emperor Kangxi. He was banished to Guangzhou by Emperor Yongzheng, who had been hostile to Catholicism ever since he was enthroned. In Guangzhou, Prémare translated eight poems from the Shijing into French, all being taken from the sections “Ya” and “Song.” He showed almost no interest in the poems from the more lyrical “Guofeng.” The poems he translated addressed his love of Chinese sage kings and their benevolent rule. His interpretations, typical of Jesuit figurism, were replete with intriguing intimations of Christian doctrine. Prémare employed poetic figurism to connect the Shijing to the Shenjing, or the Bible, in the eighteenth century.

摘 要

「もMoのn o -のn o -あA はw aれr e」由日本江戶時期著名的國學者本居宣長發現後，首次將該詞提昇為解讀日本文藝理念、和歌與物語的「術語」。由於該詞的意義豐富，無法一言以蔽之，因此至今中譯者將「もMoのn o -のn o -あAはw aれr e」一詞，採用對應的日文漢字，即以「借形」（calquing）的方式，譯為「物哀」，形成新語。然而，至今譯文的受眾若未具日本古典相關背景知識，難以明白其意，並對認識日本古典文藝產生艱澀感。此結果不論在文化傳承或古典文學理解上皆是相當可觀的損失。對此，本研究將以「意譯」（paraphrasing）的角度，重新思考譯詞的概念，確認其中的核心語意。探索當該詞作為「獨立」的專有名詞使用時，最可能接近「語義對等」（equivalence in meaning）的意譯詞。

Abstract

After being discovered by the famous Edo period classical Japanese scholar Motoori Norinaga, the term Mono no Aware has become a part of the terminology for interpreting literary concepts such as Waka (Japanese poetry) and Monogatari (Japanese tales). As the term Mono no Aware holds meaning more profound than can be described, Chinese translators have used the strategy of calquing, translating it as “an empathy toward things.” For the common readers with no background knowledge regarding traditional Japanese literature, however, it is difficult to understand this term, which makes it harder to pass down cultural heritage and knowledge pertaining to classical literature. Thus, this study aims to reevaluate Mono no Aware from the perspective of paraphrasing and explore the closest semantic equivalences in Chinese when the term is used independently.

Abstract

Adopting the approach of conceptualizing translation with metaphors, this study metaphorizes the Macau News 澳門新聞紙 as the Qing Empire’s imperial gaze. The Macau News is a translation project initiated and organized by Lin Zexu 林則徐, who was designated by the Daoguang Emperor 道光帝 as an imperial envoy to stem the tide of opium circulating in Canton in 1839. Lin conducted this project to learn about Britain for use in instituting countermeasures to the opium trade. In this process, Lin as well as the Qing government behind him started to look at the world seriously; for this reason, Lin was dubbed “the first person of modern China to gaze at the world.” Such a gaze relied largely on Lin’s translational and intercultural practices and may represent a general way of how the Qing looked at the foreign. To examine this looking relation, the Macau News as one of Lin’s translation projects is investigated with the aid of the existing scholarship of the gaze. Moreover, exemplified by the case study of the Macau News, the gaze is proven of potential to be integrated into translation studies.

Abstract

Offering to fill in a gap in the modern Chinese theater history, this paper probes into the famous Chinese dramatist Yu Shangyuan’s 余上沅 Qinxian 芹獻 series of articles which was published between 6 January and 23 May 1924 and has been received limited scholarly attention due to its scattered topics and equivocal wording. Via textual analysis and contextual investigation, this paper finds that Qinxian articles are not all original compositions but contain many unmarked translations rendered from the works concerning the “aesthetic paradigm,” an antirealistic theatrical scheme derived from the American New Stagecraft Movement. Based on the aesthetic paradigm, Yu Shangyuan devised a similar theatrical scheme in Qinxian, covering four facets: simple and symbolic stage sets decorated with lines, masses, and expressive lights; powerful anti-Ibsenite artist director; non-Ibsenian poetic drama; and presentational acting. Upon comparing Qinxian with the National Theater Movement’s propositions, this paper finds that the movement’s main arguments largely echo the key notions of Qinxian, indicating the movement’s umbilical tie to Qinxian and, more at large, to the American New Stagecraft Movement. The analysis of Qinxian provides perspectives for the understanding of the aesthetic stance of the National Theater Movement, shedding light on the new insights that translation studies can bring to theater historiography.

Abstract

Bing Xin 冰心is the most recognized and renowned Chinese translator of Rabindranath Tagore. Translation researchers together with critics and readers have attributed Bing Xin’s popularity as Tagore’s Chinese translator mainly to her literary achievements. In other words, Bing Xin’s fame as a top modern Chinese writer is transferred onto her role as a translator. The trust and readership she earned as a writer create an illusion among Chinese readers that Bing Xin’s translation is the same as Tagore’s “original” writing. Consequently, Bing Xin creates a Chinese image of Tagore with her writing and translation style. In this essay, I employ Pierre Bourdieu’s theory of cultural capital to argue that the critical acclaim enjoyed by Bing Xin owes greatly to the social and cultural capital she holds, in addition to her literary success compared with other less accomplished and less recognized Chinese translators of Tagore. The social and cultural capital is embodied in her identities as both a writer and a translator. This sociological study of Bing Xin’s translation of Tagore reveals the myth and illusion of the canonical position she holds as Tagore’s Chinese translation, with the hope of dispelling this illusion and allowing other translations to be recognized and appreciated.