本文選題：張愛(ài)玲 + 英文創(chuàng)作��； 參考：《南京大學(xué)》2015年碩士論文

【摘要】：張愛(ài)玲通常以她獨(dú)特的中文創(chuàng)作而為讀者所熟知,而其實(shí)她在英文創(chuàng)作方面的貢獻(xiàn)也不容小覷,英文創(chuàng)作伴隨了她的一生。然而,研究界對(duì)張愛(ài)玲的英文創(chuàng)作本身的關(guān)注和研究尚不多。憑借著為英文月刊《二十世紀(jì)》撰寫(xiě)的多篇清新流麗的散文和影評(píng),張愛(ài)玲建立起最初的寫(xiě)作自信并在上海文壇嶄露頭角。1953年,張愛(ài)玲以其在香港創(chuàng)作的英文長(zhǎng)篇處女作《秧歌》打入英語(yǔ)世界。1955年后張愛(ài)玲移居美國(guó)的作品如《雷峰塔》、《易經(jīng)》、《北地胭脂》等,都與早年的個(gè)體經(jīng)驗(yàn)和家族史記憶相聯(lián)系。即便在美國(guó)用英文書(shū)寫(xiě),張愛(ài)玲仍然不折不扣地從中國(guó)記憶中尋找資源和動(dòng)力,其作品仍以中國(guó)傳統(tǒng)小說(shuō)的敘事構(gòu)架為主,穩(wěn)定的中國(guó)文化心理結(jié)構(gòu)規(guī)約著張愛(ài)玲的思維和表達(dá),以致她的外語(yǔ)作品中也明顯留下了中文思維的痕跡。初登文壇的張愛(ài)玲把林語(yǔ)堂作為參照人物,立志“要比林語(yǔ)堂還出風(fēng)頭”。然而,與林語(yǔ)堂側(cè)重中國(guó)文化的介紹有別,張愛(ài)玲堅(jiān)持呈現(xiàn)一個(gè)真實(shí)的現(xiàn)代中國(guó)。同時(shí),張愛(ài)玲也藉英文文本來(lái)重返過(guò)去的生命場(chǎng)景,不斷將被壓抑的欲望改頭換面,重現(xiàn)字里行間。從《雷峰塔》到《易經(jīng)》,從《色·戒》、《五四遺事》再到《少帥》,張愛(ài)玲創(chuàng)造并同時(shí)拆解有關(guān)中國(guó)家族、歷史傳奇的用心可見(jiàn)一斑。其首次觸碰土改題材的《秧歌》更是以一種逼近真實(shí)的姿態(tài)刻畫(huà)中國(guó)人在時(shí)代轉(zhuǎn)折期的生存和掙扎。然而,無(wú)論是書(shū)寫(xiě)家族文化、歷史事件抑或轉(zhuǎn)向現(xiàn)實(shí)題材,張愛(ài)玲關(guān)懷的焦點(diǎn)始終是人,是男女間的小事情,是意識(shí)形態(tài)的縫隙中沸騰著的民間俗世。作為能同時(shí)運(yùn)用中英文兩種語(yǔ)言寫(xiě)作的作家,張愛(ài)玲的部分英文作品也經(jīng)歷了一個(gè)不斷改寫(xiě)改譯的過(guò)程,從中文到英文,再由英文轉(zhuǎn)回中文。不同語(yǔ)境下的文本改寫(xiě)除了重點(diǎn)考慮讀者和不同意識(shí)形態(tài)的文化環(huán)境,并依此不斷調(diào)整敘事策略外,還歸因于作者晚年生活環(huán)境的變化和文化心態(tài)的調(diào)整。異域?qū)懽骱头悄刚Z(yǔ)寫(xiě)作賦予張愛(ài)玲重新審視自我的視角和空間,因此張愛(ài)玲在進(jìn)行家族史書(shū)寫(xiě)和自我建構(gòu)的時(shí)候,增添了與過(guò)去中文寫(xiě)作不一樣的新鮮因素。張愛(ài)玲在適應(yīng)英語(yǔ)讀者審美需求的同時(shí),也不忘保持寫(xiě)作的獨(dú)立性,美國(guó)文化以及英語(yǔ)寫(xiě)作本身始終不足以對(duì)張愛(ài)玲既成的創(chuàng)作個(gè)性構(gòu)成壓迫。因此,即便張愛(ài)玲的小說(shuō)已占據(jù)美國(guó)文學(xué)史的篇幅,她的那些英語(yǔ)文本仍然頑強(qiáng)地顯現(xiàn)著無(wú)法遮蔽的中國(guó)現(xiàn)代文學(xué)的本性。
[Abstract]:Zhang Ailing is usually known to her readers for her unique Chinese writing, but her contribution to English writing is not to be underestimated. English writing has been with her throughout her life. However, there is not much attention and research on Zhang Ailing's English creation itself. With a number of fresh prose and film reviews written for the English monthly 20th Century, Zhang Ailing built up his initial writing confidence and made his mark in Shanghai's literary world. Zhang Ailing entered the English world with his long English debut in Hong Kong, Yangko. After 1955, Zhang Ailing's works of emigration to the United States, such as Leifeng Tower, the Book of changes, and Beidi Rouge, were all related to the early personal experience and family history memory. Even if written in English in the United States, Zhang Ailing is still looking for resources and motivation from Chinese memory, and his works still focus on the narrative framework of traditional Chinese novels. The stable psychological structure of Chinese culture governs the thinking and expression of Zhang Ailing, so that her foreign language works also leave a trace of Chinese thinking. Zhang Ailing, who first appeared in the literary world, took Lin Yutang as a reference figure and set his mind to be "more prominent than Lin Yutang." However, unlike Lin Yutang's emphasis on Chinese culture, Zhang Ailing insists on presenting a real modern China. At the same time, Zhang Ailing also uses English text to return to the life scene of the past, constantly changing the pent-up desire and reproducing between the lines. From Leifeng Tower to the Book of changes, from Sex and caution, from May 4th Legacy to Shao Shuai, Zhang Ailing's intention to create and dismantle Chinese families and historical legends at the same time can be seen. Yangko, whose first touch on the theme of land reform, is a close to the real attitude to portray the survival and struggle of Chinese people in the turning period of the times. However, whether it is writing family culture, historical events or turning to reality, the focus of Zhang Ailing's concern is always on people, is a small thing between men and women, is a folk world boiling in the ideological gap. As a writer who can write in both Chinese and English at the same time, some of Zhang Ailing's English works have undergone a continuous process of rewriting and translating from Chinese to English, and then from English to Chinese. The rewriting of texts in different contexts not only focuses on the readers and the cultural environment of different ideologies, but also ascribes to the changes of the author's living environment in his later years and the adjustment of his cultural mentality. Foreign writing and non-native writing give Zhang Ailing a new perspective and space to re-examine himself, so when Zhang Ailing writes and constructs his family history, he adds some new factors which are different from the Chinese writing in the past. Zhang Ailing not only meets the aesthetic needs of English readers, but also keeps the independence of writing. American culture and English writing itself are not enough to oppress Zhang Ailing's existing creative personality. Therefore, even though Zhang Ailing's novels have occupied the history of American literature, her English texts still stubbornly show the nature of modern Chinese literature.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類(lèi)號(hào)】：I207.42

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本文編號(hào)：1902228