摘要
20世纪20年代前后,爱尔兰戏剧文学作为西方现代文学的一个典型“样本”,经由沈雁冰的译介而首次进入国人的期待视野。但由于当时时代的认知局限和社会启蒙过程中知识分子所承载的历史使命,译介者对新浪漫主义的“前沿性”的认同或偏好往往受制于当时中国知识分子族群的文化集体意识。由此,虽然沈雁冰在介绍爱尔兰戏剧时强调其新浪漫主义特质,但其文学观始终在浪漫主义与写实主义之间摇摆。这并非完全是对西方文学认知不足之表征,而更多地暴露出当时中国社会对西方文学的现代性的期待视野与新浪漫主义文学本身的反思现代性的视界之间的错位,也从一个侧面折射出在中国本土化语境中模仿和借鉴西方民族文学的艰难性和曲折性。
Around the 1920s,Irish dramatic literature,as a typical case of the Western modern literature,first came into the vision of Chinese audiences through the translation and introduction by Shen Yanbing.However,due to the cognitive limitation of the times,and the historical responsibility shouldered by Chinese intellectuals in the process of social enlightenment,the translator’s acknowledgement of or preference for the“leading-edge”Neo-Romanticism was often subject to the cultural collective consciousness of the intellectual community at that time.While Shen Yanbing emphasized the Neo-Romantic characteristics of Irish drama,his literary view kept vacillating between romanticism and realism.This is not entirely a manifestation of the inadequate understanding of the Western literature,but rather exposes the dislocations between the“horizon of expectations”of the Chinese society for the modern Western literature and the introspective vision of Neo-Romanticism itself which reflects on modernity.This also reveals the difficulty and intricacy of imitating and learning from the Western national literature in Chinese local context.
作者
周琦
Zhou Qi(School of Language and Communication Studies,Beijing Jiaotong University,Beijing,100044)
出处
《山东师范大学学报（社会科学版）》
北大核心
2023年第4期46-53,共8页
Journal of Shandong Normal University(Social Sciences)
基金
中国博士后科学基金第71批面上资助项目(2022M710337)的阶段性成果。
