20世纪中叶中国语境下的安徒生童话

Andersen's Fairy Tales in the Mid-20th-Century Chinese Context

安徒生是中国读者所熟知的作家,他的童话自1913年第一次被周作人介绍到中国后,一直受到中国读者的喜爱。在近百年的对安徒生童话的接受和阐释中,本文选择了从20世纪50年代到80年代这一时期的接受和阐释进行探讨。在中国社会、政治、文化的背景下,这一时期的安徒生童话区别于丹麦文化下的安徒生童话,体现了形象学理论中的异国形象。在这一时期,对安徒生童话的解读特色主要体现在人物被划分为不同阶级,童心、幻想与诗意被遮蔽,基督教因素被剔除。中国语境中的安徒生童话是自我在言说他者的时候,却言说了自我。

Andersen is a writer familiar to the Chinese readers. His fairy tales have been liked by Chinese readers ever since they were first introduced by Zhou Zuoren in 1913. This paper attempts to study the Chinese reception and interpretation of Andersen＇s fairy tales in the period from 1950s to 1980s and argues that in the social,political and cultural background of this period Andersen＇s fairy tales wereno longer the fairy tales in the Danish culture; they were the fairy tales in the Chinese context,which present a foreign image invisible. In this period,the characters of Andersen＇s fairy tales were classified into two opposite classes; childlike innocence,imagination,and poetic flavour were covered; Christian elements were omitted. Andersen＇s fairy tales in the Chinese context of this period showed that when the self was interpreting the other,it was interpreting itself as well.