《红线》(The Red Thread,2000)是澳大利亚小说家尼古拉斯·周思(Nicholas Jose)致敬中国文学经典《浮生六记》的一部作品,因其"误读"中国文化而被指责充满了"东方主义话语"。本文以哈罗德·布鲁姆的互文...《红线》(The Red Thread,2000)是澳大利亚小说家尼古拉斯·周思(Nicholas Jose)致敬中国文学经典《浮生六记》的一部作品,因其"误读"中国文化而被指责充满了"东方主义话语"。本文以哈罗德·布鲁姆的互文理论为框架,分析《红线》对《浮生六记》的误读和修正过程;讨论跨文化小说的创作技巧、主题意义和跨文化作家的文化立场问题。展开更多
In the science fiction novel titled The Planet of the Apes （1963）, Pierre Boulle tells a story about a completely reversed world where the apes dominate the humans. Coming from the normal world that is ours, a small...In the science fiction novel titled The Planet of the Apes （1963）, Pierre Boulle tells a story about a completely reversed world where the apes dominate the humans. Coming from the normal world that is ours, a small group of people is totally embarrassed and confused by observing this strange world. On the planet of the apes that they have discovered, it is the apes that are more intelligent than the humans. On the earth, it was the other way around. That observation results in their perplexity. The two communities, human and simian, bear with one another the relationship that corresponds to what Lotman calls ＂enantiomorphic pairings＂. In this context, a series of questions deserves to be raised： Is a ＂common language＂ possible between the two communities in the enantiomorphic pairings？ If the answer is yes, under what conditions could they succeed in opening up a space where they can have something in common？ In rereading The Planet of the Apes with reference to Lotman＇s semiotics of culture, we would like to formulate a response to those questions. Our claim is that the experience of finitude of one＇s own language can make possible an access to the new form of universality requisite for the cross-cultural communication： commonality without common points.展开更多
A fertile ground is needed for a work to be translated and accepted successfully in the target culture, which includes enough understanding of the ideology and poetics of the source text. Sometimes, a work could be tr...A fertile ground is needed for a work to be translated and accepted successfully in the target culture, which includes enough understanding of the ideology and poetics of the source text. Sometimes, a work could be translated and introduced into a culture too early before the readers there can understand the foreign idea and poetics. The innovative language and narrative experiment in Finnegans Wake are far ahead of the literary tradition in contemporary China, which makes it hard to be understood and accepted wholeheartedly by most Chinese readers. However, such experimental works should not be translated in a domesti- cating way to make them easier. If the experimental poetics in Finnegans Wake were kept in the translation as much as possible, it could advance the acceptance of new ideas and poetics in modem Chinese literature, especially when some efforts are given to make the translated work popular.展开更多
文摘《红线》(The Red Thread,2000)是澳大利亚小说家尼古拉斯·周思(Nicholas Jose)致敬中国文学经典《浮生六记》的一部作品,因其"误读"中国文化而被指责充满了"东方主义话语"。本文以哈罗德·布鲁姆的互文理论为框架,分析《红线》对《浮生六记》的误读和修正过程;讨论跨文化小说的创作技巧、主题意义和跨文化作家的文化立场问题。
文摘In the science fiction novel titled The Planet of the Apes （1963）, Pierre Boulle tells a story about a completely reversed world where the apes dominate the humans. Coming from the normal world that is ours, a small group of people is totally embarrassed and confused by observing this strange world. On the planet of the apes that they have discovered, it is the apes that are more intelligent than the humans. On the earth, it was the other way around. That observation results in their perplexity. The two communities, human and simian, bear with one another the relationship that corresponds to what Lotman calls ＂enantiomorphic pairings＂. In this context, a series of questions deserves to be raised： Is a ＂common language＂ possible between the two communities in the enantiomorphic pairings？ If the answer is yes, under what conditions could they succeed in opening up a space where they can have something in common？ In rereading The Planet of the Apes with reference to Lotman＇s semiotics of culture, we would like to formulate a response to those questions. Our claim is that the experience of finitude of one＇s own language can make possible an access to the new form of universality requisite for the cross-cultural communication： commonality without common points.
文摘A fertile ground is needed for a work to be translated and accepted successfully in the target culture, which includes enough understanding of the ideology and poetics of the source text. Sometimes, a work could be translated and introduced into a culture too early before the readers there can understand the foreign idea and poetics. The innovative language and narrative experiment in Finnegans Wake are far ahead of the literary tradition in contemporary China, which makes it hard to be understood and accepted wholeheartedly by most Chinese readers. However, such experimental works should not be translated in a domesti- cating way to make them easier. If the experimental poetics in Finnegans Wake were kept in the translation as much as possible, it could advance the acceptance of new ideas and poetics in modem Chinese literature, especially when some efforts are given to make the translated work popular.
