水上勉文学的翻译与莫言

Mo Yan and the Translations of Tsutomu Minakami’s Literary Works

莫言在《影响我的十部短篇小说》一书中,选入了水上勉描写贫穷农村弃婴风俗的《桑孩儿》,这其中包含了1980年代中国译者的眼光与莫言的文学趣味。译文可以为重新解读原文提供不同角度,经由中文译者与莫言这一特别读者的视角,我们得以发现水上文学中重复出现的"死亡与再生"这一主题。在他们以故乡为背景的小说里,都描写了轻易跨过生死边界的孩子和女人,带着罪与赎罪意识活着的成年人,以及生死循环的自然界。水上文学表现手法明快、作品世界结构稳定,而莫言80年代的短篇小说自然描写真实且具象征风格,二人在风格上虽大异其趣,但"罪与赎罪、赦免"却是他们共同的主题。作为翻译作品对原作带来全新解释的个案,本文从水上文学的接受者--莫言的文学视角出发,对水上文学进行重新解读,并考察水上文学中的独特主题及意义。

Tsutomu Minakami’s work,Sang Hair,which depicts the practice of infanticide in a poor village,was cited by Mo Yan as one story in his Ten Short Stories Affecting Me.In this context,the translators’ eye for certain works should be appreciated in regard to the Chinese society of 1980s and Mo Yan’s own particular interest in Minakami’s work.Accessing a work through translation sometimes sheds light on the original work from different angles.Reinterpreting Minakami’s Sang Hair from the perspectives of Chinese translators and Mo Yan as a special reader,it is found that the motif of "death and regeneration" looming in the context repeatedly.Hometown rooted novels by both Minakami and Mo Yan depict,children and women who easily cross the boundary between life and death,adults who carry a sense of guilt and atonement in their lives,and a natural world repeating death and regeneration.Minakami’s literary works,which invite readers to the world of fiction with bright expressions and a stable background,differ greatly in style from Mo Yan’s literary works in the 1980s,comprising well-defined short stories with realistic as well as symbolic depictions of nature.However,both adopt the themes of "sin,atonement,and forgiveness".As a case study of original works endowed with new interpretation by translation works,proceeding from the perspective of literary works by Mo Yan as a recipient of Minakami’s works,this paper intends to reinterpret Minakami’s works and investigate the unique motif and ideology in Minakami’s literary works.