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本文以20世纪30年代中华独立美术协会成员赵兽翻译的《超现实主义宣言》为研究对象,重新审视其中涉及的几个关键性问题:译者身份、源文本和译本。通过史料勘探和话语分析,指出《超现实主义宣言》的中译本所依据的源文本是法文本,而不是以往学界所以为的日语译本。本文从现代派艺术宣言的翻译个案研究出发,提出赵兽译本的“中国式超现实主义”糅合了30年代复杂的民族主义话语与现代性诉求;同时,本文还反思艺术史研究有关中国现代艺术进程深受日本影响的普遍预设,指出“欧洲——日本——中国”这一诠释框架的局限性。
This article takes the “Surrealist Manifesto” translated by Zhao Bei, a member of China Independent Art Association, as the research object, and reexamines several key issues involved in it: identity of translator, source text and translation. Through historical exploration and discourse analysis, it is pointed out that the source text of the Chinese translation of Surrealist Declaration is the French version, rather than the Japanese version originally adopted by the academic circles. Based on the case studies of the Modernist Manifesto, this paper proposes that “Chinese Surrealism” by Zhao Zhao translated the complex nationalist discourse and modernity demands of the 1930s. At the same time, this article also reflects on the research on the art history of China The prevalent influence of modern art process in Japan is presumed to indicate the limitations of the “Europe - Japan - China” interpretation framework.