诗意童心的东方文化之旅——安徒生童话之中国百年接受与传播考论

On the Acceptance and Dissemination of Andersen’s Fairy Tales in China

中国现代儿童文学乃至现当代文学深深烙下了安徒生童话的印记。“五四”时期,安徒生童话被介绍到中国。鉴于当时中国社会变革之需要,学者主要从“童心”和“儿童本位”基点去阐释、接受和传播安徒生童话,凸显了对儿童自然个体的强调,呼应了梁启超“少年中国”的理想。这种接受和传播不仅对中国现代儿童文学的发生产生积极影响,而且对中国社会与文化的现代化也有推进作用。随着社会情势的变化,此后相当长时期内对安徒生童话的接受和传播出现转向:侧重于现实性、批判性角度,其本源性的“童话”因素在一定程度上被遮蔽。改革开放后的接受与传播回归童心和童话,并且有了更全面、更广阔的理解与阐发。安徒生童话具有丰富内涵与人性意蕴,其诗意童心在中国的文化之旅柔化了几代人的心灵。

Contemporary children’s literature in modern China has been heavily influenced by Danish author Hans Christian Andersen’s fairy tales,even the entire modern and contemporary Chinese literature has branded the mark of“Andersen’s fairy tales”.Andersen’s stories were first introduced in China a decade before the May 4th movement of 1919,they were mainly interpreted,accepted and spread from the perspective of“childlike innocence”and“children’s standard”,highlighting the emphasis on the natural individual of children,while echoing Liang Qichao’s ideal of“Young China”.This kind of acceptance and dissemination not only had a positive impact on the occurrence of modern Chinese children’s literature,but also promoted the modernization of Chinese society and culture.Since the Reform and Opening Up of 1978,perspectives like“childlike innocence”have been brought up again with broader understanding and interpretation.Rich in connotation and human nature,the Andersen’s Fairy Tales,with its poetic childlike innocence,have softened the hearts of generations in China in the process of its eastward journey.