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由于中国现代文学史以新文化运动为界将二十世纪中国文学打成两截,在翻译领域也把继承了苏曼殊等人的清末译诗范式的旧体译诗归为近代的产物而予以轻忽。故而它们不单在现代外诗汉译史中鲜见讨论,在文献整理时罕有罗列,甚至在后出选本译序中也很少得到回顾。本文尝试在新旧诗体论争的语境中,考察旧体译诗在“五四”以后的存在空间、形态及原因,探讨它们在传达西方诗“义旨”与“风格”上取得的效果,并重新认识它们在现代西诗汉译史中的价值与地位。
As the history of Chinese modern literature takes the New Culture Movement as the boundary, the Chinese literature in the twentieth century will be cut into two parts. In the field of translation, the old Chinese translation poetry inheriting the translation paradigms of late Qing Dynasty by Su Manshu and others is also classified as a product of the modern times neglect. Therefore, they are not only scarcely discussed in the history of modern Chinese poetry-translations, they are rarely listed in the literature, and are rarely even reviewed in the post-translation process. This article attempts to examine the existence space, form and reasons of old-style translated poems after the May Fourth Movement in the context of the controversy between old and new poetry, discussing their existence, "And to re-understand their value and status in the history of modern Chinese poetry translation.