莎士比亚“四大悲剧”在中国的译介(20世纪初期至60年代)

On the Four Tragedies of Shakespeare in China:Translation and Introduction(1900s to 1960s)

莎士比亚“四大悲剧”自译入中国之日起,紧随中国时代变迁而“变脸”,积极参与中国文化的构建,塑造了属于自己的“中国身份”。根据译介的身份特征,20世纪初至60年代,“四大悲剧”的中国译介可分为“人本主义休闲佳品”“人文主义现实宣言”和“人民性政治话语”三个阶段。本文从译介学的角度对“四大悲剧”三阶段的“中国身份”进行梳理,可以展现20世纪初至60年代“四大悲剧”的中国形象演进史,有助于理解“四大悲剧”与中国文化之间的动态关系。

After the four tragedies of Shakespeare were translated and introduced into Chinese,they have been participating in the construction of Chinese culture from time to time and shaping its own“Chinese identities”positively.In terms of the identity of its translation and introduction,from the early 20th century to the 1960s,the journey of the four tragedies in China can be divided into three phases:the phase of“humanistic literature of leisure”,the phase of“realistic declaration of humanism”,and the phase of“political discourse of affinity to the people”.By examining the“Chinese identities”of the three-phase four Tragedies in Chinese from the perspective of translation studies,this paper presents the history of evolution of the images of the four tragedies in China in order to understand the dynamic relationship between the four tragedies and the Chinese culture.