从《包法利夫人》看李劼人的文学接受观

An Analysis of the Acceptance by Li Jieren of "Madame Bovary" by Flaubert

《包法利夫人》作为十九世纪法国伟大的文学家福楼拜的代表作于1925年传入中国,它的第一位译者是当时的留法青年学者李劼人、后来的川籍乡土作家、大河小说家。李劼人为国人了解福楼拜的写作特点及现实主义文学创作风格做出了巨大贡献,但长久以来他对这部法国名著的接受特点及其自身文学创作风格研究并未得到应有的重视。本文旨在通过对李劼人的代表作《死水微澜》与福楼拜的《包法利夫人》进行简要分析与比较,找到李劼人的文学接受特点。

Madame Bovary by Flaubert, a great French litterateur in the 19th century, was introduced into China in 1925 as Flaubert＇s representative work. It was first translated by Li Jieren, a young scholar studying in France at that time, who was later known as Sichuan local writer and ＂Da - he＂ novelist. Although Li Jieren contributed significantly to the Chinese people for their realization and understanding of writing characteristics and realism style of literature creation reflected in Flaubert＇s work, his translated books and literary works have been overlooked and underestimated for a long time. The present article aims to present a brief analysis and com- parison of Li Jieren＇s representative Ripples in the Stagnant Water and Flaubert＇s Madame Bovary in order to find out the acceptance features in literature by Li Jieren.