《西线无战事》:20世纪30年代前后的“抢演”“银星”与“风化”

All Quiet on the Western Front:"A Contest for Translation Copyright","Movie Stars"and"Morals"around the 1930s

雷马克的《西线无战事》在1930年代前后的热译是一个颇耐人寻味的跨文化事件。较之作品译介本身,本地化的戏剧、电影传播格外具有意义。话剧改编的“抢演”与对“银星”的追慕是《西线无战事》轰动一时的重要推手。戏剧、电影改编的“即视感”深化了作品主旨,“银星”也成为延伸作家及其作品的重要导引。而围绕影戏可能“有伤风化”的“非议”不仅稀释了文学作品浓重的“非战”意味,也赋予了文本更为丰富的现代意涵。在本地化权利协商中,西方文学经典与戏剧、电影改编的互动为我们展现了戏剧、电影如何建构同时解构文学经典性的复杂辩证关系。它不仅是对文学现代发生的意识形态化阐释倾向的质疑,更是对现代文学多元簇生的文化生态的正视。

The hot translation of Remarque's All Quiet on the Western Front in the 1930s was a thought-provoking cross-cultural event,while compared with the translation itself,the localized drama and film dissemination are particularly meaningful.The"contest for translation copyright"of the drama adaptation and"the admiration for the movie star"also became important sensational elements of All Quiet on the Western Front.The adaptations of drama and movie deepen its theme,and the admiration for the"movie star"becomes an important guide for a further promotion of the writer and his works.The criticism surrounding its potential harm to the"morals"not only weakens the strong"anti-war"connotations,but also endows the text with richer modern connotations.During the negotiation of how to localize it,the interaction between Western literary classics and adaptations of drama and film has displayed how drama and film can construct and deconstruct the complex dialectical relationship of literary classics.It is not only a questioning of the ideological interpretation of modern literature,but also a confrontation with the diversified cultural ecologies in modern literature.