摘要
葛浩文是一位美国学者和翻译家,他为国人所知缘于他对中国新文学时期女作家萧红的“发掘”性研究,以及他对中国现当代小说的翻译。他从20世纪七十年代起开始翻译中国现当代小说,至今已有三十年的历史。三十年当中,他孜孜不倦地翻译了中国大陆及港台三十几位知名作家的四十余部长篇小说,而他翻译的短篇小说更是不计其数。在现有以葛浩文小说翻译为对象的相关研究中,或对葛浩文先生的翻译观及技巧作总体概述；或以葛浩文翻译的某部小说为依托,探讨文化差异下的翻译研究问题；或以葛浩文翻译的小说译本为研究资料,从英汉语言对比的角度,探讨汉英翻译的转换技巧及机制；或以葛译小说个别译例为窗口,佐证某个理论在翻译中的解释力。唯独不见从文学审美的角度,尤其是从小说叙事的角度,研究葛浩文先生的小说翻译。他的译作享誉海内外,而他在中国,尤其是翻译界却相当“默默无闻”。这与追随西方翻译理论研究为主流的我国翻译界有很大关系。本论文试图以葛浩文的小说翻译为个案,通过对其代表性译作的文本分析,从叙事研究的角度出发,探讨其小说翻译的叙事策略和技巧,以及小说作为一种文类为翻译提供的再创造空间。
葛浩文翻译成果丰硕,本论文选择了其中较有代表性的三部小说及其译本为研究对象。葛译小说中既有男性作家的作品,也有女性作家的作品；既有大陆作家,也有港台作家；既有现代小说,也有当代小说。本论文在选择译本时,尽量照顾到这些方面。在所选的三部小说中,萧红是大陆现代女性作家,莫言是大陆当代男性作家,朱天文是台湾当代女性作家。而且,所选的三部小说分别代表了三种不同类型的小说,分别是情感型的《呼兰河传》,情节型的《红高粱家族》,思想型的《荒人手记》。因此,兼顾各方,本论文选择这三部小说作为文本研究对象。
《呼兰河传》是散文化情感型小说。这类小说不以离奇曲折的故事为己任,小说中的人物和故事不是为了吸引读者,而是为了抒发作者的情感。对《呼兰河传》而言,就是在浓浓怀乡中批判家乡父老愚昧、麻木的国民性精神状态,表达了作者“哀其不幸,怒其不争”的复杂情感。小说特殊的橘状结构、无时性叙述、聚焦方式与叙述声音都在不同程度上强化了小说淡化情节的散文化、口语化特征。在英译本中,译者对橘状结构和无时性叙述的处理效果较好,但是对原文特殊的聚焦方式和叙述声音的处理效果则不尽人意,使其中蕴含的价值和意义有所遗失。
《红高粱家族》属于典型的情节型小说。这类小说以故事建构和情节设计为重,因此,这部小说突现了小说叙事研究中对故事和情节的关注。二十世纪的小说实践颠覆了十八世纪莱辛(Gotthold Ephraim Lessing)在《拉奥孔》(Laocoon)中关于文学是时间艺术的论断,作家们醉心于小说的空间化建构。《红高粱家族》时空关系交错,情节曲折,表现了作者意欲突破传统的线性情节安排,改变平面化处理叙事时间的努力。译文中通过事件重组、省略非叙述评论、省略卫星事件等手段,使小说结构紧凑、情节连贯,强化了小说叙事时间的自然顺序,表现出译者和原文作者不同的书写理念。一方面,译文迎合了译文读者的阅读习惯和心理,另一方面,也表现出西方主流诗学对中国文学的边缘化。
《荒人手记》则是一部思想型小说。它既不像《呼兰河传》那样散文般抒发作者内心情感,也不像《红高粱家族》那样构建引人入胜的故事和扑朔迷离的情节,而是以故事叙述为契机,追索同性恋者的身份认同、人类存在的意义、宗教文化、两性关系、等等文化现象的思想沉浮录,其主题丰富而深刻。小说以重峦叠嶂的意象铺陈故事,以极尽耽美的陌生化文字诉诸感官,断句叠词更加突显女性思维方式,形成小说极具个性的阴性书写特征。该小说的风格与主题完美统一,风格本身构成主题,即以求异的书写方式,质疑常态的异性恋体制和男权话语秩序的权威。从叙事的角度来说,这类小说既没有经典叙事学的聚焦方式与叙述话语的复杂关系,也没有经典叙事学的故事与情节的纠缠,却表现出后经典叙事学中叙事文本与社会历史语境的关系。英译本中,尽管译者十分尊重原文风格,但仍表现出对传统叙事规约的妥协,通过非标记化和叙事化手段弱化原文的奇异色彩,并在这一翻译行为之下,无意识地扭转了叙述者性别,再次彰显了男权话语的中心地位。
纵观葛浩文对中国现当代小说的翻译历程,明显有一个从原文中心主义向译文本和译文读者倾斜的变化。在翻译事业之初,葛浩文的翻译略显稚嫩,译文时常显得生硬,翻译腔浓厚,有着明显的“隔”之嫌。随着时间的流逝,随着他翻译实践的丰富,也随着翻译大气候的变化,葛浩文凭借丰富的想象力和深厚的中英文语言功底,逐渐在原文与译文之间拿捏自由,游刃有余。尤为突出的是,葛浩文非常注重译文可读性,并在尽可能保持原文风貌的基础上,通过各种方法简化译本,形成他小说翻译的易化原则。一方面,其易化原则在追求译文可读性的同时,表现出原文作者和译者不同的书写理念,以及西方主流诗学对中国文学的边缘化操控,另一方面,其易化原则在表现出译者对传统叙事规约的遵循,力求使故事因果分明、情节连贯的同时,也表现出译者面对叙事规约和作者创作以及读者阅读的双重矛盾,以及叙事文本与社会历史语境之间的矛盾。
文学翻译是再创造的艺术。就小说文类的翻译活动而言,故事的翻译再创造空间最小,它是小说翻译的最小忠实维度；但译者可以通过素材挖掘、事件重组等手段重建小说情节,延伸小说虚构性；叙述话语的翻译再创造空间最大,且由于中西方不同的审美习惯和语言差异,例如汉语的意合性和英文的形合性,中文小说中常见模糊性叙述话语,即叙述者话语和人物话语的隐性越界,造成阐释的多义性。译者常常需要根据文本内语境和文本外语境进行判断,在多种可能中确定一种,如果选择不当或疏忽,则会造成原作和译作文本内蕴的较大差异,使读者的阅读心理感受发生偏离。
葛浩文认为,翻译是写作的高级阶段,翻译意味着对原文的重写。然而,他的重写并非“改写”。重写并不排斥对原文的接受,并且与原文保持密切的关系。重写与原文之间有一种温和协调的合作关系,而“改写”则透射出译文与原文的某种对抗关系；重写意味着与原文的协商和对话,而“改写”则隐含着对原文的挑战和怀疑。尽管我们承认翻译的行为具有再创造的成分,尤其是文学翻译,然而翻译毕竟不是原创,翻译的本质注定了译文的受束性,不可能完全反叛原文,而是有条件的创造性叛逆。对于翻译而言,译文就是原文同构母体的变体。如果说译文是原文的互文体,那么这一互文体与原文同构母体之间的衍生关系必然清晰可辨,就像是空中的风筝,无论它飞得多高,总有一根绳子牵引着它,那根绳子就是原文文本。葛浩文就是这样一位紧紧抓着风筝的绳子,让其在空中自由飞翔的放飞者。
Howard Goldblatt is an American Scholar and translator who is known by Chinese people with his study of Chinese New Literature, esp his "dig-up" study of Chinese woman writer of that period, Xiong Hong, and also with his translation of modern Chinese novels. He started his translating work since 1970s. During the past three decades, he has translated more than forty novels and numerous short stories of more than thirty well-known Chinese writers in China's mainland, Hong Kong and Tai Wan. Among the research papers on Howard Goldblatt's translations, they either give general statements about his ideas of translation, or study translating under the polycultural envirionment with his translations as analyzed materials, or study the linguistic translating mechanism from the angle of comparative linguistics, or provide evidences for some translation theories. But there are no research papers done from the perspective of literary aesthetics, esp fictional aesthetics. Being contrasted with his great achievemenst as a translator, Howard Goldblatt seems to be quite unknown in the field of translation studies in China. This may have to do with the fact that concentrating on the western translation theories dominates the mainstream in the field of translation studies in China. This dissertation aims to do some research on Howard Goldblatt's translations from the perspective of fictional aesthetics, based on which it hopes to contribute to the art of fictional translation.
In consideration of Howard Goldblatt's great achievements in translation that include novels by male and female writers of Mainland China, Tai Wan and Hong Kong from 1930s up to the present, this dissertation selects three representative works and their English versions as research materials. They are Tales of Hulan River by Xiao Hong, a female writer of Mainland China in the 1930s, Red Sorghum by Mo Yan, a male writer of modern Mainland China, and Notes of a desolate man by Chu T'ien-wen, a female writer of modern Tai Wan. Besides, these three novels also repesent three different kinds of first-person novels:emotion-oriented novels, plot-oriented novels, and ideology-oriented novels.
Tales of Hulan River is a proselike emotion-oriented novel which does not intend to construct an attractive story. The charaters and stories in it are there to satisfy the author's emotions rather than attract the readers. In the case of Tales of Hulan River, they are there to express a kind of complicated feelings of criticizing the countryfellows's spiritual fatuity and torpidity wrapped in strong emotion of nostalgia. In the novel, the special orangelike structure, the timeless narration, the ways of focalization and the vioces of narration all contribute to the proselike and oral features of the plotless novel. The English version does well in capturing the features of the orangelike structure and the timeless narration, but is a bit poorer in capturing the value covered in the ways of focalization and the vioces of narration.
Red Soghum is a typical plot-oriented novel which takes the construction of attractive story and plot as its main task, entailing the examination of its story representation and plot reconfiguration as an important study in the English version. In the twentieth century, writers tend to spacialize their novels which is quite a revolt against the idea that literature is art of time in Lessing's Laocoon. Red Soghum is constructed in a twisted and distorted plot with frequent flashbacks and flashforwards, which exposes the writer's intention of breaking the traditional linear and chronological development of the plot. By means of reorganizing the events, omitting the non-narrating comment and the satellite incidents, the English version comes to be more compact and continous in plot development, which somewhat enhances the linear and chronological narration. Hence a contradiction between the writing notion of the original writer and that of the translator. The rewriting of it caters for the English readers, but at the same time comes on as manipulation of Chinese literature by the mainstream western poetics.
Notes of a desolate man is otherwise an ideology-oriented novel which neither mainly expresses emotions like the proselike Tales of Hulan River, nor does it create attactive story like Red Soghum, but provokes ideological meditation in homosexual identity, existential significance of human beings, religion, and the relationship of men and women with the help of a skeloton story. The text is interwoven with heaps of images in a luxrious way of feminine writing that connects the readers'senses with frequent fragmentated phrases and repeated words. The style perfectly conforms the thematic significance in the novel, or even, the style itself constitutes the theme of the novel in a way. It questions the normal position of the compulsory heterosexuality and the masculine patriarchal authority of writing system in its abnormal way of writing. In the novel, there is no classic confusion of focalization and voices, nor construction of story and plot, but a relationship between the narration and the historical context in terms of the postclassical narratology. In the English version, out of a compromise of the traditional narrative rules, the translator somewhat reverses the gender of the narrator by way of non-marked style and narrationization and, as a consequence, manifests the masuline patriarchal authority of writing system.
Taking Howard Glodblatt's translating practice as a whole, there shows a clear cline from the source-text orientation to the target-text orientation. At the beginning of his translating, he seemed to care too much about whether he had remained all the information in the original text to an extent that he sometimes even distorted the English text with distinct translationese. Along with time passage, with more and more of his practice and with the climat of translation studies as well. Howard Goldblatt becomes more adept at translating surported by his powerful imagination and solid background in both Chinese and English writing.
What's more conspicuous is that Howard pays more attention to the readability of the English versions and even takes shape a rule of simplification that tends to simplify the text as possible, while damaging the original style and features in the least degree at the same time. On the one hand, his rule of simplification shows not only a collision between the original writer's notion of constructing the story and that of the translator, but also the marginalization of Chinese literature in the mainstream western poetics, on the other hand, Howard observes the tradtional narrative rules to make the logic clear and the plot continuous in the story, but is caught in the contradiction of the writer's artistic pursuit and the reader's habits of economic reading, and the contradiction of the text and its historical and cultural context as well.
Translation, especially literary translation, is recreation. Taking novels as a genre, the story provides the least recreation capacity for the translator. It's the least requirement of fidelity for fictional translations, but the translator may relate the events so as to extend its fictionality in one way or another. Narrative discourse provides enormous recreation capacity for translation. The different aesthetic philosophy of the west and the east constitutes the different language of the English hypotaxis and the Chinese parataxis, which brings about the fact that in Chinese fictional text, there tends to be more ambiguous discourse that is difficult to tell the character's discourse from the narrator's, leading to polysemous interpretation. In most of the cases, the translator has to ascertain one from many possible interpretations according to the in-text context as well as the out-text context. Improper selections on account of any slight negligence may lead to divergence of the narrating tone that is great enough to cast different feelings on the readers of English versions.
Howard Goldblatt holds that translation is a more advanced stage of writing and that translating means rewriting. His rewriting does not mean a reverse from the original but indicate negotiable and compatible adjustment to the original text. Translation is a recreation as well as a restriction that makes it a variation that shares the same isomorphic matrix as the original text. The intertextual relationship between the translated text and the original one is differentiable, just like a kite in the sky, no matter how high it flies, there is the flyer at the other end of the string. Howard Goldblatt is exactly such a kite flyer, flying his kite high in the sky, but always holding tighly his string.
引文
[1]《中国作家：走出去影响如何?》http://www.southcn.com/edu/newbook/dushu/200604030353.htm
[2]《中国作家：走出去影响如何?》http://www.southcn.com/edu/newbook/dushu/200604030353.htm
[3]《中国文学》自1951年创刊以来到1997年10月共翻译刊载小说3000多篇,英文版出了382期,法文版出到183期。“熊猫从书”从1981年才开始运作,到1997年时,英文版有100余种,法文版有60余种
[4] Maczka, Michelle.& Stock, Riky. Literary Translation in the United States:An Analysis of Translated Titles Reviewed by Publishers Weekly. Publishing Research Quarterly.2006, Summer, p54
[5] Hoffman, Jascha. Data; Comparative Literature, New York Tmes. April 15,2007
[6]关于这15个译本的详细资料见帅雯霖著文《英语世界(红楼梦)译本综述》,收于阎纯德主编的《汉学研究》第二集,北京：中国和平出版社1997年出版,p503-509。
[7]《红楼梦》：A Dream of Red Mansions. Peking:Foreign Languages Press,1978;《老残游记》:The Tavels of Lao Can. Beijing:Chinese Literature. Distributed by China Publications Center,1983
[8]《浮生六记》：Six Chapters of A Floating Life)1939年汉英对照本由上海西风出版社出版。
[9]《论语》：Ku Hung-ming. The Discourses and Sayings of Confucius:New Special Translation, Illustrated with Quotations from Goethe and Other Writers, Shanghai:Kelly and Walsh, Ltd.,1898;《中庸》: Ku Hung-ming. The Universal Order or Conduct of Life. Shanghai:The Shanghai Mercury, Ltd.,1906
[10] Arthur Waley. The Analects of Confucius. London:George Allen & Unwin,1938
[11] DavidHawkes. The Storv of the Stone. Harmondsworth:Penguin,1973
[12]Jeffrey Kinkley. ed. Shen Congwen:Fiction from Modern China. Honolulu:University of Hawaii Press,1995
[13]《肉蒲团》和《无声戏》均为清代李渔的章回体小说。前者英文版The Carnal Prayer Mat. trans. by Patrick Hanan. New York:Ballantine Books,1990;后者英文版Silent Operas. trans. by Patrick Hanan. Hong Kong: Research Center for Translation. Chinese University of HongKong,2000
[14] John Updike, Bitter Bamboo:Two Novels from China. Newyouker. May 9,2005
[15]布吕奈尔.什么是比较文学.葛雷,张连奎译.北京：北京大学出版社,1989,P17
[16]见莫言.小说的气味.附录.沈阳：春风文艺出版社2003,p202
[17]罗屿.中国好作家很多,但行销太可怜[J].新世纪周刊,2008(10),p120
[18]Hampton, Wilborn. Review:Red Soghum[N], by Mo Yan. trans by Howard Goldblatt. New York Times, April. 18,1993
[19]参见唐伟胜.阅读效果还是心理表征?：修辞叙事学与认知叙事学的分歧与联系[J].外国文学评论.2008(4)
[20]这里对叙事学及文体学的概述参考申丹.叙事学[J].外国文学,2003(3),p60-65
[21] Lingenfelter, Andrea. Howard Goldblatt on How the Navy Saved His life and Why Literary Translation Matters. Full Tilt. Issue 2
[22]ibid.
[23]这是葛浩文对自己的称号,见“访萧红故里、墓地始末”,《弄斧集》,p97
[24]彦火.异乡人的星空[M].北京：作家出版社,2006,p201
[25]见刘绍铭《弄斧集》序,p2
[26]见刘绍铭《弄斧集》序,p2
[27]加利福尼亚大学中国研究中心于1975年创办,每年两期
[28]见葛浩文.中国大陆的台湾文学研究概况[A].弄斧集[C].台北：学英文化事业公司,1984,p181-186
[29]见Goldblatt, Howard. Translator's Afterword Six chapters from my life "downunder". Yang Jiang, trans. Howard Goldblatt. Seattle:Univ. of Washington Press.,1984.p101《弄斧集》中有中文版
[30] Modern Chinese Fiction:A Guide to Its History and Appreciation, Winston L.Y.Yang and Nathan K. Mao ed. Boston. Mass:G.K.Hall,1980
[31]葛浩文文中没有译出第三部分,但他文中有说明,他的分期参考夏志清先生的《中国现代小说史》中的分期。这里,笔者根据葛浩文的说明为其第三期命名。因为夏志清的第三个分期为“抗战时期及抗战胜利以后”。
[32]参见Eugene Chen Eoyang,"'Artifices of Eternity':Audiences for Translations of Chinese Literature", The Transparent Eye:Reflextions on Translation, Chinese Literature, and Comparative Poetics. Honolulu:University of Hawaii Press,1993, p69
[33]《骆驼祥子》：Evan King, Rickshaw Boy. New York:Reynal and Hitchcock.1945;《八月的乡村》：Evan King. Village in August. New York:Smith & Durrell.1942
[34]莫言.我在美国出版的三本书[J].小说界,2000(5),p170
[35]柳无忌,序,葛浩文,漫谈中国新文学[C],香港：香港文学研究社,1980,p3
[36]刘绍铭.弄斧集,序,葛浩文,弄斧集[C].台北：学英文化事业公司,1984,p3
[37]见Lingenfelter, Andrea. Howard Goldblatt on How the Navy Saved His life and Why Literary Translation Matters. Full Tilt. Issue 2
[38]英文原文见Howard Goldblatt. Book Review on Chiang Kuei by Timothy A. Ross and The Whirlwind by Chiang Kuei and Timothy A. Ross, Chinese Literature:Essays, Articles, Reviews (CLEAR), Vol.2, No.2 (Jul., 1980), pp.284-288)
[39]欧怀琳.读翻译学英文.http://bbs.cenet.org.cn/html/board92525/topic73808.htm
[40]“曼氏亚洲文学奖”由香港国际文学节和曼氏投资集团(Man Group plc)携手创立。该奖旨在提高亚洲作品的知名度,鼓励将亚洲文学翻译成英语。作品以英语出版。参选作品必须是亚洲籍人士用英语写作或翻译成英语的作品。该奖项每年评选一次,得奖作家获1万美元奖金。若有译者,译者可获3000美元奖金。第二届(2007)得主是菲律宾作家米格尔·西乔科(Miguel Syjuco)《幻觉》；第三届(2009)得主是中国大陆作家苏童的《河岸》。
[41]见赵毅衡,如何打倒英语帝国主义?,《书城》,2002(8),p72
[42] Daniel Simon. Why We Need Literary Translation Now. Publishing Research Quarterly.2003,19(3), p48-51
[43]见聂绀弩《回忆我和萧红的一次谈话》,见《高山仰止》,人民文学出版社1984年半,p100
[44]见萧红长篇组诗《砂粒·六》和《砂粒·二十一》
[45]临汾民族革命大学,简称民大,1937年11月,中共山西党组织为培养抗日人才,在山西临汾创办的一所大学
[46]刘以鬯“孙伏园论鲁迅小说”,刘以鬯《便绠集》北京：中国友谊出版公司,1985,p32
[47]见Howard Goldblatt. Introduction. The Field of Life and Death and Tales of Hulan River. Bloomington: Indiana Univ. Press.1979
[48]估计应该是放大镜。原文形容是“一块圆玻璃”(79)
[49]见Goldblatt, Howard. Translator's Preface. The Field of Life and Death and Tales of Hulan River. Xiao Hong, trans. Howard Goldblatt. Bloomington:Indiana Univ. Pr.1979 p xxiv-xxv
[50]见Goldblatt, Howard. Translator's Preface. The Field of Life and Death and Tales of Hulan River. Xiao Hong, trans. Howard Goldblatt Bloomington:Indiana Univ. Pr.1979 p xi
[51]见Theodore Huters, Review:Chinese Literature:Essays, Articles, Vol.3. No.1 Jan.1981,p192
[52]见Goldblatt, Howard. Translators'Preface. Xiao Hong, trans. Howard Goldblatt. The Field of Life and Death and Tales of Hulan River, Bloomington & London:Indiana Universty press,1979, p xii
[53]见The Field of Life and Death and Tales of Hulan River, Bloomington & London:Indiana Universty press, 1979, Introduction, xxv
[54]ibid
[55]见Huters, Theodore. Review:Chinese Literature:Essays, Articles, Vol.3. No.1 Jan.1981, p192
[56]关于叙述视角,参见申丹.视角[J].外国文学.2004b(3)p52-61
[57]Pollard, D. E. Book Review:Tales of Hulan River. Bulletin of the School of Oriental and African Studies. University of London,1981, Vol.44, No.2. p410
[58]郑万隆的《我的根》见《上海文学》1985年第5期；李杭育的《理一理我们的根》见《作家》1985年第9期；郑义的《跨越文化断裂带》见《文艺报》1985年7月13日；李庆西的《寻根：回到事物本身》见《文学评论》1988年第4期
[59]见Howard Golblatt. Translator's Notes. The taste of apples.Huang Chun-ming, translated by Howard Golblatt.. New York:Columbia University Press,2001.
[60]托马舍夫斯基曾经提出叙事作品的“细节印证”,他说“每个具体细节或每个细节总体的引入都应具备其理由(有其动机)。某一细节的出现,都应使读者感到是出于必需。为具体细节及其总体之引入提供理由的程序系统就叫细节印证”。托氏将细节印证分为三种类型：结构细节印证、求实细节印证、艺术细节印证。其中,结构细节印证强调了细节的适度性与合理性。他说“任何一种道具都应在情节中得到使用,任何一桩事情都应对情节局势发生影响。契诃夫就曾谈到过结构细节印证的问题。他讲,如果故事开头说过把一个钉子钉到了墙里,那在故事的结尾,主人公就应在这个钉子上吊死”。可见,结构细节印证包括两方面的含义：一是叙述者对事件应具有选择性,因为不可能叙述素材中所有的事件；二是叙述者所选择的事件应具有一定的功能,并且事件与事件之间的连接应具有合理性。引文见托马舍夫斯基.主题.俄国形式主义文论选.方珊等译.北京：三联书店,1986,p125
[61]俄国文学理论家托马舍夫斯基认为,作品可以按照事件和思想片断(他称为“主题”,实际上就是某一事件和思想片断的相对独立的主旨)进行分解。作品不可分解部分的主题叫做“细节”。作品中因与事件之间的因果联系密切而不能省略的细节为“关联细节”,而那些可以省略而不致破坏故事的因果联系的细节为“自由细节”。(见托马舍夫斯基.主题.俄国形式主义文论选[C].方珊等译.三联书店,1989,P114-115)
[62]“酷儿”一词是英文"queer"的音译。"queer"在西方社会里指同性恋者,有“怪胎”之意,本身带有浓厚的贬义色彩,现已成为同性恋者的时尚代名词。
[63]“敢曝”一词的解释有不同说法。一种说法是它来自法语se camper,意为“大胆展示自己”,另一种说法是它来自纽约市警察局使用的KAMP (Known as Male Prostitute的缩写),意为“已入档的男妓”。华语界将camp译成“敢曝”取第一种意思。(参见徐责：扮装技艺、表演政治和“敢曝(camp)美学”http://www.xici.net/b760339/d64019374.htm)
[64]见李欧梵, 《当代中国文化的现代性和后现代性》,文学评论,1999(5),p137
[65]《变蝇人》(The Fly)是美国导演库尔特·纽曼(Kurt Neumann)1958年的一部电影。电影里,一位科学家由于失误把自己的头和一只苍蝇搞错,结果自己的头变成了苍蝇头,成了一个“变蝇人”。电影最后,科学家的妻子帮他找到了那只长着他的头的苍蝇,预示着科学家的获救。
[66]见Kurth, Peter. This Man is an Island:Review on Notes of a Desolate Man. New York Times, August 22, 1999
[67]《安妮·霍尔》(Annie Hall)是伍迪·艾伦1977年执导的一部电影。黛安基顿(Diane Keaton)扮演的女主角安妮·霍尔常身着西装、衬衫、马甲、吊带裤,头戴男式呢子帽,有时甚至打领带,被认为是典型的男性化装扮的女人。
[68]张启疆,《“我”的里面有个“她”——专访朱天文》,《中国时报》,1994年6月14日
[69]胡兰成《中国文学史话》,台北：远流,1991,p136-137
[70]冯沪祥,两性之哲学,北大出版社,2002,p125；原文见法国哲学家西蒙·波伏娃(Simone de BeauVori)《第二性》,新潮文库,1997,第二卷
[71]如美国女性主义者埃斯特拉·劳特(Estella Lauter)的著作直接以《女人：神话的缔造者》为题,见Estella Lauter. Women As Mythmakers:Poetry and Visual Art by Twentieth-Century Women. Bloomington:Indiana University Press,1984
[72]见Nina Baym. The Norton Anthology of American Literature.4th ed. New York:Norton,1995, p1881
[73]据日本神话《日本书纪》和《古事记》两书,天照大神(Amaterasu)是开天辟地之祖伊奘诺尊洗脸时从其左眼生出的太阳女神,伊奘诺尊命其掌管高天原(诸神居住的地方),命其弟素盏鸣尊辅佐她。天照大神是日本神话传说中最核心的神灵,尊为神道教的主神,被奉为日本皇室的祖先。天照大神祭在伊势神宫,自明治天皇(1867-1912在位)以后的历代天皇即位时均要前往参拜。在伊势神宫做斋王的均系出皇族未婚公主,她们代表日本皇室侍奉天照大神。天照大神代表女性统治。
[74]如莎朗·斯通(Sharon Stone)的《本能》(Basic Instinct),金·贝辛格(Kim Basinger)的《洛城机密》(L.A. Confidential)等。
[75]关于台湾作家钟阿城对贾平凹《废都》的评论见1999年4月30日朱天文为她的小说《荒人手记》英译本出版召开的新书发表会上的演讲。
[76]此乃第一届“时报文学百万小说奖”的评委之一台湾学者施淑给予这部小说的高度评价,见朱天文《荒人手记》,台北：时报文化出版企业有限公司,1994,p222
[77]朱天文.世界末的华丽.画眉记.刘俊,蔡晓妮主编.广州：花城出版社,p249
[78]见李欧梵.当代中国文化的现代性和后现代性.文学评论.1999(5),p137
[79]见朱天文《荒人手记》,台北：时报文化出版企业有限公司,1994,p230
[80]见《第一届“时报文学百万小说奖”决审会议记录》,收于朱天文,荒人手记[M],台北：时报文化出版企业有限公司,1994,p226
[81]见朱天文《荒人手记》,台北：时报文化出版企业有限公司,1994,p222
[82]见Matthew Rottnek. Sisses & Tomboys:Gender Nonconformity & Homosexual Childhood. New York:New York University Press,1999中第一部分第四章"Queering the Center by Centering the Queer"
[83]见王德威之文“从《狂人日记》到《荒人手迹》”, 《当代小说二十家》,三联出版社,2006,p1
[84]即法国人类学家列维·斯特劳斯(Claude Levi-Strauss)
[85]见《第一届“时报文学百万小说奖”决审会议记录》,收于朱天文.荒人手记[M].台北：时报文化出版企业有限公司,1994,p221
[86]同上,p227
[871同上,p228
[88]同上,p224
[89]费振钟.时空的幻境：新时期小说艺术蜕变侧面研究[A].吴义勤.中国新时期小说研究资料(上)[C],济南：山东出版社集团.2006,p099。
[90]女性主义叙事学的开创者、美国学者苏珊·兰瑟于1986年在美国的《文体》杂志上发表了一篇宣言性质的论文《建构女性主义叙事学》,该文首次采用了“女性主义叙事学”这一名称,并对该学派的研究目的和研究方法进行了较为系统的阐述。同期,欧洲也有一些将女性主义批评与叙事研究相结合的开创之作,如1989年由New Brunswick and London:Rutgers University Press于1989年出版的Robyn R. Warhol所著的Gendered Intervention:Narrative Discourse in the Victorian Novel一书,但未在欧洲形成气候。1989年加拿大的女性主义文评杂志《特塞拉》(Tessera)发表了“建构女性主义叙事学”的专刊,与美国学者的号召相呼应。1994年在国际叙事文学研究协会的年会上,加拿大学者和美国学者联手举办了一个专场“为什么要从事女性主义叙事学?”,相互交流了从事女性主义叙事学的经验。《特塞拉》杂志的创建者之一凯西·梅齐主编了《含混的话语：女性主义叙事学与英国女作家》这一论文集,并于1996年在美国出版。论文集的作者以加拿大学者为主,同时也有苏珊·兰瑟、罗宾·沃霍尔等几位美国学者加盟。至此,女性主义叙事学在北美成为一门方兴未艾的显学。女性主义叙事学是后经典叙事学形成的派别之一,其它的还有修辞性叙事学、认知叙事学。(参见申丹,20世纪90年代以来叙事理论的新发展.当代外国文学.2005(1),p47-48)
[91]见Hui-chuan. Chang. The Struggle for a New Identity:A Study of Taiwanese Feminine Fiction. Dong Hua Chinese Studiese. Vol.1.2003. p13
[92]见Lingenfelter, Andrea. Howard Goldblatt on How the Navy Saved His life and Why Literary Translation Matters. Full Tilt. Issue 2
[93]罗屿.中国好作家很多,但行销太可怜[J].新世纪周刊,2008(10),p120
[94]罗屿.中国好作家很多,但行销太可怜[J].新世纪周刊,2008(10),p120
[95]Andrea Lingenfelter. Howard Goldblatt on How the Navy Saved His life and Why Literary Translation Matters. Full Tilt. Issue 2
[96]罗屿.中国好作家很多,但行销太可怜[J].新世纪周刊,2008(10),p121
[97]参见Deborah Cameron and Don Kulick. Language and Sexuality. Cambrdge:Cambridge University Press, 2003:William L. Leap and Tom Boellstoref. Eds., Speaking in Queer Tongues:Globalization and Gay Language. Urbana and Chicago:University of Illinois Press,2004.
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