张爱玲“烬余录”的日语初译与昭和前期的灾难文化

The Earliest Japanese Translation of Eileen Chang’s Work“Jin yu lu”and the Disaster Culture in the Early Show a Era

1944年2月,“烬余录”于《天地》杂志发表。同年6月,该文便被上海最大的日侨报纸《大陆新报》翻译连载,是为张爱玲作品最早的日译本。本文围绕译者室伏克拉拉、媒介载体《大陆新报》,以及评论家(读者)若江得行三个角度,初步还原了翻译事件的历史原貌,揭示出张爱玲最早的日本接受与日本灾难文化之间的关系。“烬余录”中作家个人的灾难意识构成一种异文化的镜像,在镜像中,身在海外的日侨读者不惟照见了关东大震灾的公共灾难体验,更通过建构民族审美独特性的方式,参与到近代日本一元化国族认同的形成过程之中。

The earliest Japanese translation of Eileen Chang’s work is“From the Ashes”(Jin yu lu),published in The Tairiku Shimpo.Focusing on the translator,media carrier and critic(reader)of the work,this study tries to restore the original history of translation and reveals the relationship between Eileen Chang’s earliest Japanese acceptance and the Japanese Disaster Culture.The writer’s sense of disaster in“From the Ashes”constitutes a mirror image,in which Japanese readers can not only see the public disaster experience of the Great Kanto Earthquake,but also understand the uniqueness of national aesthetics represented by“Mono no aware”,and participate in the process of unified national identity.