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对世界文学名著《浮士德》第二部分最后2-8行在中国的翻译及其接受的讨论,无疑是一次历险。本文分析了六个不同版本的《神秘的合唱》中译本及其相关材料。中国传统文化中关于“永恒之女性”的主题非常罕见,而类似现象在近东和欧洲却比较常见。如果我们考虑到中国文化尤其是儒家文化歧视或排斥女性的背景,就会了解中国研究者为何对歌德这部杰作结尾的反应鲜有涉及或罕有评论。显然,中国还需要更多新信息和资料深入展开对歌德和《浮士德》的研究。
It is undoubtedly an adventure to the translation and acceptance of the last 2-8 lines of the second part of the world literature classic Faust. This article analyzes six different versions of “Mysterious Chorus” in the translation and related materials. The themes of traditional Chinese culture about “women of eternity” are rare, and similar phenomena are more common in the Near East and Europe. If we consider the background of Chinese culture, especially Confucian culture, or exclusion of women, we can understand why Chinese researchers have little or no comment on the end of Goethe’s masterpiece. Obviously, China needs more new information and materials to conduct in-depth study of Goethe and Faust.