横光利一在中国的译介和形象建构

Yokomitsu Riichi in China: Translation and Construct of Image

横光利一是日本新感觉派的旗手,自1928年梁希杰首次将其作品《街之底》翻译到中国算起,横光在中国的译介已有90多年的历史。结合相关史料和研究成果来看,横光在中国的翻译接受有三个明显的分期:第一阶段横光以新感觉派作家的身份进入中国,对作家的翻译活动也很快进入高潮期,其主要小说均被翻译到中国,读者将他视为都市现实主义作家;第二阶段因中日两国关系的变化,对作家的翻译主要发生在沦陷区,且以散文和随笔居多,读者将其视为日本文学传统的继承者;第三阶段,伴随着改革开放后中国文坛对现代派的关注,大陆对横光利一的翻译重新活跃起来,读者将其视为日本现代作家的悲剧性代表。鉴于时代语境的变迁,对横光利一及其作品在中国的译介和评价仍是一项值得继续探究的课题。

Yokomitsu Riichi was a standard-bearer for the Japanese New Sensation School. Since Liang Xijie first translated his The Bottom of the Street into China in 1928, the history of the Chinese translation of Yokomitsu Riichi’s works has been more than 90 years. Based on the relevant historical materials and research results, the reception history of Yokomitsu Riichi’s works can be divided into three period.In the first period, Yokomitsu Riichi was introduced as a writer of the New Sensation School, and the translation of his works quickly reached a climax with his main novels being translated into Chinese and readers regarding him as an urban realist writer. In the second period, due to the changes in the relationship between China and Japan, Yokomitsu Riichi was translated mainly in the occupied areas,most of which were prose and essays, and he was regarded as a successor of Japanese literary tradition. In the third period, with the Chinese literary world’s attention to modernism after the reform and opening up, Yokomitsu Riichi became popular again in the Mainland of China, and readers regarded Yokomitsu Riichi as a tragic representative of modern Japanese writers. Such an unbalanced reception history of Yokomitsu Riichi in China implies that there are many issues remaining open to research and research.