摘要
萨拉·奥恩·朱厄特的代表作《尖枞树之乡》自1896年首版以来未能平静地面对时世的变迁。在随后的半个多世纪里,朱厄特于1896年之后才创作的四个相关故事便不断地被出版界擅自增补进《尖枞树之乡》文本中,致使《尖枞树之乡》经历了一个奇异的版本流变史。这些未经作者授权的版本不仅割裂了《尖枞树之乡》在时间上的连续性和在内容上的统一性,还打破了其在章节设计上的对称性。自20世纪下半叶以来,出版界完全按1896年首版原貌或者将四个相关故事置于首版文本之后去出版《尖枞树之乡》的做法,既恢复了《尖枞树之乡》原貌,也表达了对《尖枞树之乡》艺术价值的深深敬意。
Since its original edition publication in 1896, Sarah Orne Jewett's masterpiece The Country of the Pointed Firs has not confronted time and change serenely. In the following more than half a century, The Country of the Pointed Firs has experienced a peculiar transformation of edition, due to the continual and unauthorized interpolation of the four related stories that Jewett wrote after 1896 into its original text. As a matter of fact, these unauthorized versions destroy the chronological coherence of The Country of the Pointed Firs, fracture its unity in content, and violate its symmetries in chapters. Since the late 20 th century, the common practice of either publishing The Country of the Pointed Firs as it originally stood in 1896 or publishing it by placing the four related stories rightly after the 1896 original text has not only restored the original text of The Country of the Pointed Firs,but also shown the deep respect for the artistic value of The Country of the Pointed Firs.
引文
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