荡向无何有之乡的轻舟:陈季同的跨文化交流愿景与书写

The Boat Bound for Utopia: The Intercultural Communication Vision and Writing of Tcheng Ki-tong

在译介学文化转向的脉络中,解析陈季同对唐传奇《霍小玉传》的跨语际改写,以及李华川对陈季同法文小说Le Roman de l'Homme Jaune的中译,凸显的是一系列潜隐的文化权力结构问题。李华川的译作《黄衫客传奇》应视为译者在本土语境中的再创造,它具有不同于原作的新的意义和文学价值。陈季同以法语/法国文化为视野和导引,以一种中西混杂的文体风格,再现了他心中的故乡,这种书写风格正是他复杂的社会文化身份和生存经验的再现。陈季同重绘"中国"图像的努力,意在文本中构建一个"无何有之乡"般的世俗"中国"形象,"反写"西方关于中国的刻板印象。

In the perspective of the cultural turn of Medio-translatology, the analysis of Tcheng Ki-tong＇ s cross-language adaptation of Huo Xiaoyu, a legend of Tang Dynasty, and Li Hua-chuan＇s Chinese translation of his French novel Le Roman de l ~Homme Jaune foreground a series of problems of the implied cultural power structure. Li＇ s translation can be considered as a recreation in the native context, displaying new significance and new literary value. Taking French language/French culture as his horizon and guidance, Tcheng Ki-tong represents the hometown in his mind in a style mingling both the Chinese and the western, which is the embodiment of his complex social and culture identity and life experience. By representing a new image of China, he wants to construct an image of secular China as a Utopia, and to reverse the West＇ s stereotyped image of China.