《苦闷的象征》在中国的翻译及传播

发布时间：2018-04-21 15:58

本文选题：《苦闷的象征》 + 鲁迅先生　；参考：《日语学习与研究》2002年01期

【摘要】：正在今天的日本,了解厨川白村(1880—1923)的读者越来越少,学术界也很少有人提及这位曾经以《近代文学十讲》(1912年)、《出了象牙塔》(1920年)、《近代的恋爱观》(1922年)、《苦闷的象征》(1924年)等著作驰名日本近现代文坛的文艺评论家。在中国厨川白村也曾名噪一时,到20世纪20年代末,他的作品几乎全被翻译成中文。他的文艺理论影响了中国的读书界,他的遗作《苦闷的象征》使“苦闷”的话语广泛流传。由于鲁迅翻译了厨川白村的大部分著作,鲁迅与厨川白村的比较研究一直是鲁迅研究的重要课题。大多数学者论述到鲁迅翻译厨川的作品以及所受到的影响。对于《苦闷的象征》在中国的传播及其意义也有人论述。但是,把鲁迅为何要介绍厨川白村、如何翻译《苦闷的象征》放到当时的中日文学、文化语境中去考察时,我们发现还有许多问题有待于进一步研究。本文从鲁迅及其同时代的翻译者如何翻译介绍《苦闷的象征》这一侧面,探讨《苦闷的象征》在中国的翻译及传播中出现的翻译问题。
[Abstract]:In today's Japan, there are fewer and fewer readers of Kokukawa White Village (1880-1923). Few scholars mention this literary critic who was famous for his works in 1912 (1912, "the ivory tower") (1920, "recent generation's view of love" (1922, "the symbol of boredom" (1924)), and so on. He was famous in Chuan Baicun, China, and by the late 1920s, his works were mostly translated into Chinese. His theory of literature and art influenced the reading world in China, and his relic, symbol of boredom, spread the words of boredom widely. Because Lu Xun has translated most of the works of Kuichuan Bai Village, the comparative study between Lu Xun and Khuichuan White Village has been an important subject in the study of Lu Xun. Most scholars discuss Lu Xun's translation of Kitchen's works and their influence. The spread and significance of the symbol of boredom in China has also been discussed. However, we find that there are still many problems to be studied in the context of Chinese and Japanese literature and culture when Lu Xun is introduced to the village of Kaochuan White, such as the translation of "the symbol of boredom" in the context of Chinese and Japanese literature at that time. From the perspective of how Lu Xun and his contemporary translators translate the symbol of boredom, this paper discusses the translation problems in the translation and communication of the symbol of boredom in China.
【作者单位】：首都师范大学诗歌研究中心
【分类号】：H36

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