自我视域中的他者与他者镜像中的自我——美国《文心雕龙》翻译文本中的“经典重构”问题

The Other in the View of the Self and the Self in the Horizon of the Other: The “Reconstruction of Canon” in the Translations of Literary Mind and the Carving of Dragons in American Scholarship

经由跨文化翻译改写而完成的美国《文心雕龙》流传文本,是《文心雕龙》源文本在异质文化空间中全新的"经典重构"。正是通过施友忠、宇文所安、杨国斌等美籍学者在翻译实践中对源文本所作的语境还原、副文本形式重构与中西范畴互文性比堪,《文心雕龙》翻译文本才超越本土文学的"经典"身份而实现了在美国文学语境中的"经典重构"。这种"经典重构",既是异质文学交流中"边缘文学文本"抛弃"他者"身份而努力成就"自我"的技术策略,也是"中心文学文本"俯就"边缘文学文本"来延拓并创新自我的文化宿命。

This article discusses a basic literary question: suppose there is an original text which is an authorized canon,then is its translated text still a canon? The circulation of Literary Mind and the Carving of Dragons in American scholarship is an example. Those translated texts,rewritten through cross-cultural translation,deviate from the original because they were reconstructed in a heterogeneous cultural context. With three kinds of research methods,including contextual reduction of the original text,form reconstruction of the paratext and comparison of intertextuality between Chinese and Western versions,Vincent Yu-chung Shih,Stephen Owen and Yang Guobin succeeded in reestablishing the canonical status of Literary Mind and the Carving of Dragons in American scholarship,which is obviously distinct from the original text. This article concludes that the "new canon"is not only the technical achievement of the native Literary Mind and the Carving of Dragons as"peripheral literary texts"in America literary context that shift from an identity of "the Other"to "the Self",but also the product of cultural exchange where American"central literary texts"absorb Chinese"peripheral literary texts"for innovation.