“垮掉的一代”与中国当代文学
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摘要
本论文梳理了新中国成立以来对美国文学的翻译和接受的脉络,以此为背景探讨了中国当代文学对美国“垮掉的一代”及其文学的译介、批评的发展变化情况。在这个基础上,运用影响研究和平行研究相结合的方法,分析了“垮掉的一代”文学与中国新时期诗歌和小说之间的关系。
全文分为七个部分。
导论部分分析了新中国成立以来美国文学翻译的阶段性特征,以及它与中国当代文学和文化的相互关系。美国文学翻译对象的选择、对翻译作品的批评和接受,都明显受到中国当代政治、文化和文学环境的深刻影响,烙上深深的时代痕迹。新中国成立到70年代末、80年代初,美国文学的译介是一种有计划的政治行为,文学话语被屏蔽,文学译介偏离了文学自身的轨道,因此美国无产阶级文学作品的翻译备受重视,译本数量巨大,反映美国社会现实、具有批判意义的现实主义作品也是翻译的重点对象,而美国现代主义文学和先锋文学翻译备受冷遇。同时,对美国翻译文学的解读和评论也主要采取社会历史和阶级论的分析方法,为政治意识形态所左右。到了80年代,美国文学翻译空前活跃起来,翻译对象的选择标准也发生了变化,开始重视翻译作品的艺术性和创新性,同时也重视那些关注人与社会矛盾冲突的文学作品的翻译,这是符合当时中国社会心理和社会意识形态的实际情况的。作为这种转变的具体体现,美国现实主义文学、现代主义文学以及大批文化局外人作家的作品被大量翻译过来。
第一章对“垮掉的一代”进行了严格的界定,并将研究的对象局限在克鲁亚克、金斯伯格以及巴罗斯三个代表作家上。本章还从道德、政治、宗教、文学、出版等几个方面论述了“垮掉的一代”的另类和异端品质。最后,从历史文化传统、传统文学的影响、社会现实因素等几个方面阐述了“垮掉的一代”的兴起和发展过程。本章研究吸收了国内外的研究成果,将“垮掉的一代”放在几百年的美国文学文化大背景下来考察,既有宏观的勾勒,也有微观的探究,有许多新的发现。
第二章论述了“垮掉的一代”文学在当代中国的翻译、介绍和批评的历史过程。1960年代至1970年代,“垮掉派”及其文学作为资本主义社会腐朽、没落的标本而受到全面的批判,“垮掉派”作品的翻译是以“黄皮书”的形式出现的,仅供批判之
This dissertation tries to figure out in outline the historical process of the translation and reception of American literature after the founding of New China in 1949, and probe into how contemporary Chinese literature has dealt with the translation and criticism of the Beat literature. On this basis, by applying the approaches of both influence analysis and parallel analysis, the dissertation analyzes the relationship between the Beat literature and contemporary Chinese literature.This dissertation is composed of seven parts.The Preface defines the several distinctive phases and the characteristics of the translation of American literature after the founding of New China. The relationship between the translation of American literature and contemporary Chinese culture and literature is also deliberated in this part. This dissertation points out that the choice of translation targets, the criticism and reception of translated texts are all conditioned by the political, cultural and literary milieus of contemporary China. Before the 1980's, the translation and introduction of American literature were politically motivated and carefully planned. For this reason, great importance was attached to the translation of American proletarian literature. American modern literature and avant-garde literature were ignored. Meanwhile, the interpretation and criticism of translated American literature were solely carried out by means of socio-historical methods and class analysis. In the 1980s, translation of American literature was prospering. The standard of choice of translation targets also underwent changes. Literary artistry and creativity were put before everything else in choosing which texts to translate. Meanwhile, those literary works which reflect the conflicts between human beings and society were also among the list of first choice. As a definite manifestation of this shift, lots of works by American cultural outsiders were translated and published.The first chapter gives a narrow definition of the Beat Generation, and limits the scope of examination to the three important Beat writers, Jack Kerouac, Allen Ginsberg and William Burroughs. This chapter also examines its hereditary and avant-garde features of the Beat Generation from various aspects. The rising and development of the Beat Generation and its literature is also studied in detail in this chapter.The second chapter explores the historical process of the translation, introduction and criticism of the Beat Generation and its literature. From the 1960s to the 1970s, the Beat Generation and its literature were sharply criticized as a sample of the corruption and decadence of the capitalist society. From the end of the 1970 to the middle part of the 1980s, socio-historical approaches were adopted to criticize and analyze the Beat literature,
focusing on its pragmatic function of reflecting and revealing the reality of American society. The artistic features of the Beat literature were totally denied. The translation of the Beat literature was nothing but a complement to the study of American literary history and criticism. Ever since the mid-80s, the Beat literature was comprehensively approached from different perspectives, historically, literarily, socially and culturally. And the translation of the Beat literature has already obtained its independent status as a kind of literary form. Many important Beat works have been translated into Chinese and published during this period.Chapter Three examines the relationship between the Beat literature and contemporary Chinese literature. During the period of the pre-Cultural Revolution and the Cultural Revolution, in the course of reading the translated works of the Beat writers, the participants of underground literary saloons and the members of the literary groups of the "Educated Youth" identified themselves with the Beat Generation. The sentiments and rebelliousness manifested in the Beat works thus arouse a strong consonance of feelings in them. They in turn expressed their strong feelings in their literary creation. But the literary differences between the two are just obvious, which is carefully examined in this chapter. In the mid-80s, the so-called Post-Ambiguity poets, who ran away from the doctrine of the Ambiguity poets, have adopted an anti-cultural and anti-heroic stance. They cultivated an individualized literary style which rejects loftiness and heroism In addition, their poetic language, rhythm and form share many similarities with the Beat works. An inherent spiritual connection can be found between the two.There exists a very clear thematic plot in the Beat works, especially in Kerouac's fiction, that is, alienation-pursuit-disillusionment. Interwoven in this plot are themes of rebellion, sex and religion. Similar themes are also found in cotemporary Chinese fiction, and this offers us a starting point of thematic analysis of the Beat literature and contemporary Chinese fiction. In this light, Chapter Four makes a comparative studies of themes of the Beat literature and contemporary Chinese literature from five aspects, that is, that of alienation, of rebelliousness, of sex, of pursuit, and of religion, intending to reveal some of the thematic similarities and differences between the two different literary forms.Chapter Five closely studies the two groups of characters found in contemporary Chinese fiction, that is, the so-called "Lost Generation" and the decentralized. The first group of characters felt lost when confronted with the drastic social changes. Without the support of idealism and profound self-contemplation, they felt helpless and incapable as well. They deal with their rootlessness and helplessness by adopting an appreciative and self-harming strategy. They were the first "Beats" in contemporary Chinese literature and we give them the ready-made title, the "Lost Generation". The second group of characters are the decentralized and they can be further divided into two subgroups. One is the
hooligans, the other is the roamers. The former is a group of social rebels who have lost themselves, do not have a clear life goal besides seeking materialistic satisfaction. They assemble the American Beats outwardly, but in essence, they are miles apart. The latter is represented by characters in Gao Xingjian and Ma Jian's works. They take to the road and try to establish a unique experience of life and pursue a spiritual elevation by wandering around. They resemble the American Beats in spirit. By revealing the similarities and differences between the Beat Generation and the two groups of characters in contemporary Chinese fiction, we can have a better understanding of the Beat literature and contemporary Chinese literature.The Afterword briefly introduces the present situation of the Beats studies. It also summarizes the legacy that the Beat Generation has left behind, including its illusory impact upon the writers of the so-called "Chinese Beat Generation" at the end of the 20th century.
全文分为七个部分。
导论部分分析了新中国成立以来美国文学翻译的阶段性特征,以及它与中国当代文学和文化的相互关系。美国文学翻译对象的选择、对翻译作品的批评和接受,都明显受到中国当代政治、文化和文学环境的深刻影响,烙上深深的时代痕迹。新中国成立到70年代末、80年代初,美国文学的译介是一种有计划的政治行为,文学话语被屏蔽,文学译介偏离了文学自身的轨道,因此美国无产阶级文学作品的翻译备受重视,译本数量巨大,反映美国社会现实、具有批判意义的现实主义作品也是翻译的重点对象,而美国现代主义文学和先锋文学翻译备受冷遇。同时,对美国翻译文学的解读和评论也主要采取社会历史和阶级论的分析方法,为政治意识形态所左右。到了80年代,美国文学翻译空前活跃起来,翻译对象的选择标准也发生了变化,开始重视翻译作品的艺术性和创新性,同时也重视那些关注人与社会矛盾冲突的文学作品的翻译,这是符合当时中国社会心理和社会意识形态的实际情况的。作为这种转变的具体体现,美国现实主义文学、现代主义文学以及大批文化局外人作家的作品被大量翻译过来。
第一章对“垮掉的一代”进行了严格的界定,并将研究的对象局限在克鲁亚克、金斯伯格以及巴罗斯三个代表作家上。本章还从道德、政治、宗教、文学、出版等几个方面论述了“垮掉的一代”的另类和异端品质。最后,从历史文化传统、传统文学的影响、社会现实因素等几个方面阐述了“垮掉的一代”的兴起和发展过程。本章研究吸收了国内外的研究成果,将“垮掉的一代”放在几百年的美国文学文化大背景下来考察,既有宏观的勾勒,也有微观的探究,有许多新的发现。
第二章论述了“垮掉的一代”文学在当代中国的翻译、介绍和批评的历史过程。1960年代至1970年代,“垮掉派”及其文学作为资本主义社会腐朽、没落的标本而受到全面的批判,“垮掉派”作品的翻译是以“黄皮书”的形式出现的,仅供批判之
This dissertation tries to figure out in outline the historical process of the translation and reception of American literature after the founding of New China in 1949, and probe into how contemporary Chinese literature has dealt with the translation and criticism of the Beat literature. On this basis, by applying the approaches of both influence analysis and parallel analysis, the dissertation analyzes the relationship between the Beat literature and contemporary Chinese literature.This dissertation is composed of seven parts.The Preface defines the several distinctive phases and the characteristics of the translation of American literature after the founding of New China. The relationship between the translation of American literature and contemporary Chinese culture and literature is also deliberated in this part. This dissertation points out that the choice of translation targets, the criticism and reception of translated texts are all conditioned by the political, cultural and literary milieus of contemporary China. Before the 1980's, the translation and introduction of American literature were politically motivated and carefully planned. For this reason, great importance was attached to the translation of American proletarian literature. American modern literature and avant-garde literature were ignored. Meanwhile, the interpretation and criticism of translated American literature were solely carried out by means of socio-historical methods and class analysis. In the 1980s, translation of American literature was prospering. The standard of choice of translation targets also underwent changes. Literary artistry and creativity were put before everything else in choosing which texts to translate. Meanwhile, those literary works which reflect the conflicts between human beings and society were also among the list of first choice. As a definite manifestation of this shift, lots of works by American cultural outsiders were translated and published.The first chapter gives a narrow definition of the Beat Generation, and limits the scope of examination to the three important Beat writers, Jack Kerouac, Allen Ginsberg and William Burroughs. This chapter also examines its hereditary and avant-garde features of the Beat Generation from various aspects. The rising and development of the Beat Generation and its literature is also studied in detail in this chapter.The second chapter explores the historical process of the translation, introduction and criticism of the Beat Generation and its literature. From the 1960s to the 1970s, the Beat Generation and its literature were sharply criticized as a sample of the corruption and decadence of the capitalist society. From the end of the 1970 to the middle part of the 1980s, socio-historical approaches were adopted to criticize and analyze the Beat literature,
focusing on its pragmatic function of reflecting and revealing the reality of American society. The artistic features of the Beat literature were totally denied. The translation of the Beat literature was nothing but a complement to the study of American literary history and criticism. Ever since the mid-80s, the Beat literature was comprehensively approached from different perspectives, historically, literarily, socially and culturally. And the translation of the Beat literature has already obtained its independent status as a kind of literary form. Many important Beat works have been translated into Chinese and published during this period.Chapter Three examines the relationship between the Beat literature and contemporary Chinese literature. During the period of the pre-Cultural Revolution and the Cultural Revolution, in the course of reading the translated works of the Beat writers, the participants of underground literary saloons and the members of the literary groups of the "Educated Youth" identified themselves with the Beat Generation. The sentiments and rebelliousness manifested in the Beat works thus arouse a strong consonance of feelings in them. They in turn expressed their strong feelings in their literary creation. But the literary differences between the two are just obvious, which is carefully examined in this chapter. In the mid-80s, the so-called Post-Ambiguity poets, who ran away from the doctrine of the Ambiguity poets, have adopted an anti-cultural and anti-heroic stance. They cultivated an individualized literary style which rejects loftiness and heroism In addition, their poetic language, rhythm and form share many similarities with the Beat works. An inherent spiritual connection can be found between the two.There exists a very clear thematic plot in the Beat works, especially in Kerouac's fiction, that is, alienation-pursuit-disillusionment. Interwoven in this plot are themes of rebellion, sex and religion. Similar themes are also found in cotemporary Chinese fiction, and this offers us a starting point of thematic analysis of the Beat literature and contemporary Chinese fiction. In this light, Chapter Four makes a comparative studies of themes of the Beat literature and contemporary Chinese literature from five aspects, that is, that of alienation, of rebelliousness, of sex, of pursuit, and of religion, intending to reveal some of the thematic similarities and differences between the two different literary forms.Chapter Five closely studies the two groups of characters found in contemporary Chinese fiction, that is, the so-called "Lost Generation" and the decentralized. The first group of characters felt lost when confronted with the drastic social changes. Without the support of idealism and profound self-contemplation, they felt helpless and incapable as well. They deal with their rootlessness and helplessness by adopting an appreciative and self-harming strategy. They were the first "Beats" in contemporary Chinese literature and we give them the ready-made title, the "Lost Generation". The second group of characters are the decentralized and they can be further divided into two subgroups. One is the
hooligans, the other is the roamers. The former is a group of social rebels who have lost themselves, do not have a clear life goal besides seeking materialistic satisfaction. They assemble the American Beats outwardly, but in essence, they are miles apart. The latter is represented by characters in Gao Xingjian and Ma Jian's works. They take to the road and try to establish a unique experience of life and pursue a spiritual elevation by wandering around. They resemble the American Beats in spirit. By revealing the similarities and differences between the Beat Generation and the two groups of characters in contemporary Chinese fiction, we can have a better understanding of the Beat literature and contemporary Chinese literature.The Afterword briefly introduces the present situation of the Beats studies. It also summarizes the legacy that the Beat Generation has left behind, including its illusory impact upon the writers of the so-called "Chinese Beat Generation" at the end of the 20th century.
引文
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23.刘武:《理想的迷惘—论<无主题变奏>、<你别无边择>、<我们这个年纪的梦>》,《当代文艺思潮》1986第1期。
24.绿原:《社会主义精神文明建设的组成部分—谈谈人民文学出版社十年来的外国文学出版工作》,《世界文学》1987第1期。
25.卢亚林:《反叛与妥协:<在路上>主题研究》,《当代外国文学》2004.
26.茅盾:《夜读偶得》,《文艺报》1958第1、2、8、10期。
27.彭子:《<嚎叫>:嬉皮士的歌》,《河南大学学报(哲学社会科学版)》1990第2期。
28.钱中文:《论当前文艺理论中的现代主义思潮》,《文学评论》1984第1期。
29.孙午:《关于“异化”和文艺问题的争论综述》,《作品与争鸣》1984第6期。
30.田鹰,侯新民:《意在言外义在象中—<在路上>解读》,《西安外国语学院学报》2003.
31.王惟苏:《“垮掉的一代”文学和克鲁阿克》,《花城》1983第4期。
32.王元陆:《“垮掉”精神管窥—评析<在路上>的主人公狄安·莫里亚蒂》,《国外文学》2001年第1期。
33.王文彬:《当代西方文学中的异化问题》,《外国文学报道》1984第6期。
34.吴湘毅:《从没有未来的憧憬走向毁灭—杰克·凯鲁亚克与小说<在路上>的现实意义》,《韩山师范学院学报》2001年
35.西川:《美国文坛怪杰艾伦金斯伯格》,《环球》1987第4期。
36.肖明翰:《垮掉的一代的反叛与探索》,《外国文学评论》2000第2期。
37.肖明翰:《金斯伯格的遗产》,《外国文学》2000第3期。
38.肖复兴:《崔健的意义》,《随笔》2000第2期。
39.许纪霖:《启蒙的命运—二十年来的中国思想界》,《二十一世纪》1998第12期。
40.徐海昕:《艾伦·金斯伯格谈诗》,《世界文学》1985第1期。
41.徐敬亚:《圭臬之死》,《鸭绿江》1988第7、8期。
42.王若水:《谈谈异化问题》,《新华日报(文摘版)》1980第10期。
43.王大路:《“新新人类文学”现象分析》,《新华文摘》2000第9期。
44.文楚安:《“垮掉的一代”、凯鲁亚克和<在路上>》,《当代文坛》2000.
45.文楚安:《不可不说的金斯伯格》,《中华读书报》2000年12月27日。
46.文楚安:《久违了,金斯伯格—论金斯伯格的中国诗组》,《外国文学》1984第5期。
47.文楚安:《金斯伯格及其在中国的接受》,《外国文学》1984第5期。
48.文楚安译:《美詹姆斯阿特拉斯评金斯伯格》,《外国文学动态》1985第10期。
49.文楚安:《近半个世纪的回声:“垮掉的一代”和金斯伯格》,《当代文坛》1997第4期。
50.文楚安:《走进金伯格》,《诗刊》2000第6期。
51.吴智斌:《无根的写作:卫慧、棉棉作品对“父亲”的解构》,《当代文坛》2001第2期。
52.严峻、徐奕琳:《本刊与摇滚巨星崔健的对话》,《今日青年》1999第10期。
53.闫晶明:《无望的欲望及其他一从<上海宝贝>和<糖>说起》,《文艺报》2000年4月4日。
54.闫晶明:《顽主与都市的冲突—论王朔小说的价值选择》,《文学评论》1989第6期。
55.袁可嘉:《略论美英“现代派”诗歌》,《文学评论》1963第3期。
56.袁可嘉:《腐朽的“文明”,糜烂的“诗歌”—略谈美国“垮掉派”、“放射派”诗歌》,《文艺报》1963第101.
57.袁可嘉:《“新批评派”述评》,《文学评论》1962第2期。
58.袁可嘉:《托·史·艾略特—美英帝国主义的御用文阀》,《文学评论》1960第6期。
59.应雄:《意义的消失:从反抗小说到娱乐电影—谈作为小说和电影的<摇滚青年>》,《当代文坛》1989第3期。
60.勇弗:《马雅科夫斯基看到的美国》,《世界文学》1960第7期。
61.游宇明:麦当娜路线:文学的末路—谈棉棉和卫慧的小说》,《文艺报》2000年5月23日。
62.余彪:《美国的“垮掉的一代”》,《光明日报》1961年7月22日。
63.赵越胜:《关于多余人、局外人及其他》,《北京大学校刊》1986年4月22日。
64.赵一凡:《”垮掉的一代”—当代西方文学流派讲话之四》,《飞天》1981第2期。
65.赵一凡:《“垮掉的一代”述评》,《当代外国文学》1981第3期。
66.赵毅衡:《神性的证明:面对史铁生》,《开放时代》2001第7期。
67.周伦佑:《第三代诗论》,《艺术广角》1989第1期。
68.周扬:《关于马克思主义的几个理论问题的探讨》,《人民日报》1983年3月16日。
69.朱世达:《反英雄与亚文化—美国战后避世时代作家与王朔比较研究》,《美国研究》1994第1期。
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25.卢亚林:《反叛与妥协:<在路上>主题研究》,《当代外国文学》2004.
26.茅盾:《夜读偶得》,《文艺报》1958第1、2、8、10期。
27.彭子:《<嚎叫>:嬉皮士的歌》,《河南大学学报(哲学社会科学版)》1990第2期。
28.钱中文:《论当前文艺理论中的现代主义思潮》,《文学评论》1984第1期。
29.孙午:《关于“异化”和文艺问题的争论综述》,《作品与争鸣》1984第6期。
30.田鹰,侯新民:《意在言外义在象中—<在路上>解读》,《西安外国语学院学报》2003.
31.王惟苏:《“垮掉的一代”文学和克鲁阿克》,《花城》1983第4期。
32.王元陆:《“垮掉”精神管窥—评析<在路上>的主人公狄安·莫里亚蒂》,《国外文学》2001年第1期。
33.王文彬:《当代西方文学中的异化问题》,《外国文学报道》1984第6期。
34.吴湘毅:《从没有未来的憧憬走向毁灭—杰克·凯鲁亚克与小说<在路上>的现实意义》,《韩山师范学院学报》2001年
35.西川:《美国文坛怪杰艾伦金斯伯格》,《环球》1987第4期。
36.肖明翰:《垮掉的一代的反叛与探索》,《外国文学评论》2000第2期。
37.肖明翰:《金斯伯格的遗产》,《外国文学》2000第3期。
38.肖复兴:《崔健的意义》,《随笔》2000第2期。
39.许纪霖:《启蒙的命运—二十年来的中国思想界》,《二十一世纪》1998第12期。
40.徐海昕:《艾伦·金斯伯格谈诗》,《世界文学》1985第1期。
41.徐敬亚:《圭臬之死》,《鸭绿江》1988第7、8期。
42.王若水:《谈谈异化问题》,《新华日报(文摘版)》1980第10期。
43.王大路:《“新新人类文学”现象分析》,《新华文摘》2000第9期。
44.文楚安:《“垮掉的一代”、凯鲁亚克和<在路上>》,《当代文坛》2000.
45.文楚安:《不可不说的金斯伯格》,《中华读书报》2000年12月27日。
46.文楚安:《久违了,金斯伯格—论金斯伯格的中国诗组》,《外国文学》1984第5期。
47.文楚安:《金斯伯格及其在中国的接受》,《外国文学》1984第5期。
48.文楚安译:《美詹姆斯阿特拉斯评金斯伯格》,《外国文学动态》1985第10期。
49.文楚安:《近半个世纪的回声:“垮掉的一代”和金斯伯格》,《当代文坛》1997第4期。
50.文楚安:《走进金伯格》,《诗刊》2000第6期。
51.吴智斌:《无根的写作:卫慧、棉棉作品对“父亲”的解构》,《当代文坛》2001第2期。
52.严峻、徐奕琳:《本刊与摇滚巨星崔健的对话》,《今日青年》1999第10期。
53.闫晶明:《无望的欲望及其他一从<上海宝贝>和<糖>说起》,《文艺报》2000年4月4日。
54.闫晶明:《顽主与都市的冲突—论王朔小说的价值选择》,《文学评论》1989第6期。
55.袁可嘉:《略论美英“现代派”诗歌》,《文学评论》1963第3期。
56.袁可嘉:《腐朽的“文明”,糜烂的“诗歌”—略谈美国“垮掉派”、“放射派”诗歌》,《文艺报》1963第101.
57.袁可嘉:《“新批评派”述评》,《文学评论》1962第2期。
58.袁可嘉:《托·史·艾略特—美英帝国主义的御用文阀》,《文学评论》1960第6期。
59.应雄:《意义的消失:从反抗小说到娱乐电影—谈作为小说和电影的<摇滚青年>》,《当代文坛》1989第3期。
60.勇弗:《马雅科夫斯基看到的美国》,《世界文学》1960第7期。
61.游宇明:麦当娜路线:文学的末路—谈棉棉和卫慧的小说》,《文艺报》2000年5月23日。
62.余彪:《美国的“垮掉的一代”》,《光明日报》1961年7月22日。
63.赵越胜:《关于多余人、局外人及其他》,《北京大学校刊》1986年4月22日。
64.赵一凡:《”垮掉的一代”—当代西方文学流派讲话之四》,《飞天》1981第2期。
65.赵一凡:《“垮掉的一代”述评》,《当代外国文学》1981第3期。
66.赵毅衡:《神性的证明:面对史铁生》,《开放时代》2001第7期。
67.周伦佑:《第三代诗论》,《艺术广角》1989第1期。
68.周扬:《关于马克思主义的几个理论问题的探讨》,《人民日报》1983年3月16日。
69.朱世达:《反英雄与亚文化—美国战后避世时代作家与王朔比较研究》,《美国研究》1994第1期。
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