本文選題：韓國現(xiàn)代文學(xué) + 中國現(xiàn)代文學(xué)��； 參考：《南京大學(xué)》2014年碩士論文

【摘要】：本文以1949年前近代媒體出版或刊載的有關(guān)韓國現(xiàn)代文學(xué)的文章為研究對象,考察韓國現(xiàn)代文學(xué)在近代中國的介紹和傳播情況并把握其大致的變化趨勢；分析中國讀者對韓國現(xiàn)代文學(xué)的認(rèn)識,指出“弱小民族文學(xué)”觀念對韓國現(xiàn)代文學(xué)受用過程中產(chǎn)生的影響。 已有研究成果中,對1949年前以近代媒體形式出現(xiàn)的韓國現(xiàn)代文學(xué)作品或評論文章,尤其是新聞雜志方面的資料收集和考證工作尚未完善。囿于資料視野的狹窄,韓國現(xiàn)代文學(xué)在近代中國的受用情況研究無法充分展開。筆者通過查閱各大期刊目錄叢書和圖書館資料,以及檢索相關(guān)數(shù)據(jù)庫后,收集整理了數(shù)量可觀的資料,包括9本收錄了韓國作家作品的翻譯作品集和72篇登載在各類新聞雜志上的譯作和評論文章.其中以單行本形式出版的翻譯作品集所收錄的譯作大部份取自于此前新聞雜志上登載的文稿。因此,本文將以新聞雜志上登載的相關(guān)文章為主,單行本資料為副,考察解放前韓國現(xiàn)代文學(xué)在中國的傳播與接受情況。 首先,將以整理和介紹1949年前中國近代媒體出版或刊載的有關(guān)韓國現(xiàn)代文學(xué)的文章資料為主,按年代,題材,作者與譯者,刊載媒體四種類別概括資料的分布情況和特點。通過目前收集的資料可知,最早被介紹的韓國現(xiàn)代文學(xué)作品是登載在1926年《東方雜志》第23卷第21號的樸懷月的小說《戰(zhàn)斗》(翠生譯)。進入30年代,韓國現(xiàn)代文學(xué)作品的接受和傳播逐漸增多,除了1932年外,每年均有韓國現(xiàn)代文學(xué)的相關(guān)文章被刊載。這些文章以作品譯作與評論文為主,譯作體裁多樣,涵蓋小說,詩歌,戲劇,文學(xué)批評等：評論文章包括讀后感,文學(xué)動態(tài)消息以及整體介紹韓國現(xiàn)代文學(xué)狀況的評論文。作品被譯介的韓國作家有李光洙,金東仁,李泰俊,玄鎮(zhèn)健,金起林,梁柱東,張赫宙等。尤其值得注意的是,張赫宙的作品被譯介得最多。譯者方面,則以在中國活動的韓國文人志士(如翠生,柳樹人,丁來東等)與通曉日語和世界語的中國文人(如胡風(fēng),葉君健,黃源等)為主。亦有相當(dāng)一部份的作者和譯者身份不明,有待日后進一步調(diào)查。另外,刊載韓國現(xiàn)代文學(xué)相關(guān)作品的新聞雜志共有53種,類型不一,并以上�？袨槎�。 以第一章的資料概況為基礎(chǔ),下面將集中分析韓國現(xiàn)代文學(xué)得以在中國傳播的基本條件和其傳播和接受情況呈現(xiàn)何種變化趨勢。首先,近代中國政治社會狀況的需要,近代傳播體系的建立以及第三語言的中介策略使韓國現(xiàn)代文學(xué)得以克服地理和語言界限,被傳播到中國的文化環(huán)境之中。另一方面,這三類社會文化條件亦極大地參與了韓國現(xiàn)代文學(xué)在中國被傳播和塑造的過程。 總的來說,韓國現(xiàn)代文學(xué)的受用情況呈現(xiàn)了以下三種不同的變化階段：第一階段(1930-1936),受中國左翼文學(xué)思潮的推動,韓國現(xiàn)代文學(xué)初次以普羅進步文學(xué)的姿態(tài)登場,反映社會階級矛盾,飽含革命反抗精神的小說成為被譯介的主要對象。第二階段(1937-1944),日本侵華戰(zhàn)爭爆發(fā),在侵略與反抗的二重權(quán)力對峙語境之下,韓國現(xiàn)代文學(xué)被分化為兩種不同的形象。一方面作為為民族獨立而奮斗的近代國家文學(xué),被中韓文人志士用于表達(dá)抗日救國的反抗精神,一方面則作為歸屬于日本的地區(qū)文學(xué),被日本統(tǒng)治勢力用于強化大東亞共榮圈形象,宣揚以及合理化日本的統(tǒng)治權(quán)威。第三階段(1945-1949),日本戰(zhàn)敗,中韓兩國迎來民族解放的勝利。在初期短暫的和平環(huán)境中,以柳樹人為首的一批中韓文人學(xué)者,為促進中韓文化的交流創(chuàng)辦《中韓文化月刊》,積極介紹韓國現(xiàn)代文學(xué).然而此類良性交流的勢頭曇花一現(xiàn),1948年后隨著兩國政權(quán)之間的意識形態(tài)對立加深,韓國現(xiàn)代文學(xué)的實體被分裂為北朝鮮文學(xué)和南朝鮮文學(xué),前者的翻譯和介紹在新聞雜志上時有出現(xiàn),后者則被剔除在人們視線之外。近代中國的韓國現(xiàn)代文學(xué)介紹受制于劇烈動蕩的東亞政治社會,其過程異常曲折,未及建立起一個穩(wěn)定的主體形象,而是被不同的話語勢力所改寫,分化。 另一方面,盡管可以看出韓國現(xiàn)代文學(xué)在中國的傳播呈現(xiàn)一定的變化趨勢,但不得不承認(rèn)的是,近代中國文人對韓國現(xiàn)代文學(xué)的接觸仍十分有限。這很大程度上導(dǎo)致了近代中國文人對韓國現(xiàn)代文學(xué)的認(rèn)識相對模糊而發(fā)散,但另一方面卻間接觸發(fā)了他們以自身主觀的想象補充和塑造韓國現(xiàn)代文學(xué)的內(nèi)涵。這類主觀的想象并非全是一己之見,它實際上仍然脫離不了近代文學(xué)觀念和民族主義思想的思維框架。在這些思維框架的影響之下,韓國現(xiàn)代文學(xué)被定義為“弱小民族文學(xué)”在中國的傳播和介紹。 這種認(rèn)識框架的作用是多面的。一,它使以下層人民為主人公,反映朝鮮社會問題,具有強烈現(xiàn)實性的韓國近代小說被積極地譯介,并由此強化了韓國現(xiàn)代文學(xué)作為“弱小民族文學(xué)”形象的正當(dāng)性。兼?zhèn)涑r風(fēng)土特色和描述殖民地朝鮮社會慘狀的張赫宙的初期小說受到追捧的原因也在于此。其本人后來加入親日作家行列一事并未引起中國文人的關(guān)注,40年代后其散文集仍被出版等也體現(xiàn)了這種通過作品內(nèi)容構(gòu)建的“弱小民族文學(xué)”形象之牢固。它遮蔽了中國文人辯證地看待韓國現(xiàn)代文學(xué)的視線,令其陷入一種民族主義的迷思。三,它造成了中國近代文人對韓國現(xiàn)代文學(xué)認(rèn)識的單一化,只是停留在關(guān)注現(xiàn)實主題鮮明,情緒化的文學(xué)作品,而缺乏足夠的能動性去了解韓國現(xiàn)代文學(xué)發(fā)展過程的豐富性和獨特性。中國近代文人對韓國現(xiàn)代文學(xué)的總體認(rèn)識只能比較模糊和發(fā)散,有關(guān)30年代現(xiàn)代派文學(xué)的發(fā)展也是鮮有提起。另外,加上文學(xué)進化論的強烈影響,韓國現(xiàn)代文學(xué)的落后形象更加鮮明。中國文人以俄國或日本的作家為參照去描述韓國著名作家李光洙,廉想涉和李泰俊等的方式,令韓國現(xiàn)代文學(xué)的闡釋在先進與落后的二元發(fā)展論的預(yù)設(shè)下喪失了自身的獨立性和自足性。三,它隱秘地附帶了中國文人仍未褪去的本位主義思想,延續(xù)古代中國文學(xué)對韓國文學(xué)的影響論,中國文人眼中的韓國現(xiàn)代文學(xué)的邊緣性被進一步強化�？偟膩碚f,“弱小民族文學(xué)”的認(rèn)識框架為韓國現(xiàn)代文學(xué)在中國的介紹和傳統(tǒng)提供了契機,但長遠(yuǎn)的來說,它極大地限制了韓國現(xiàn)代文學(xué)在中國的受用數(shù)量和范圍,令中國文人缺乏以多元和開放的態(tài)度認(rèn)識韓國現(xiàn)代文學(xué)的具體內(nèi)涵。 綜上所述,近代中國的韓國現(xiàn)代文學(xué)經(jīng)歷了曲折的傳播歷程,被不同的話語權(quán)力所改寫和塑造。在“弱小民族文學(xué)”的認(rèn)識框架下,近代文人認(rèn)識到介紹韓國現(xiàn)代文學(xué)的重要性和價值,也不可避免地簡化了中國文人對韓國現(xiàn)代文學(xué)的認(rèn)識,極大地限制了韓國現(xiàn)代文學(xué)在中國進一步的傳播。但總的來說,韓國現(xiàn)代文學(xué)的傳播是近代文人和讀者克服動蕩不安的社會局勢,尋求各種翻譯和闡釋策略后生成的極具歷史意義的文本。它折射出東亞近代空間里中日韓三國的權(quán)力不平衡所導(dǎo)致的文學(xué)交流不平等狀態(tài)。盡管近代中國形成的韓國現(xiàn)代文學(xué)面貌是支離破碎,淺顯,多義的,韓國現(xiàn)代文學(xué)無法被有效地呈現(xiàn)出本來面貌。然而從中所涌動的交流欲望卻是真實而迫切的。這種交流的欲望指向了中韓兩國關(guān)于建立現(xiàn)代國家的烏托邦幻想。 本研究的意義在于以下兩點：(1)補充和整理解放前在中國出版或刊載的韓國現(xiàn)代文學(xué)資料,并詳細(xì)地考察各時期資料的具體分布情況和譯者,作者,刊載媒體等相關(guān)信息,從而彌補以往研究中資料不足的缺陷,擴大已有的研究領(lǐng)域。(2)以整體的視角把握韓國現(xiàn)代文學(xué)在中國介紹和傳播的歷史輪廓和變化趨勢,并由此進一步分析當(dāng)中反映的近代中國文人對韓國現(xiàn)代文學(xué)的認(rèn)識,有助于我們思考韓國現(xiàn)代文學(xué)在中國的傳播和介紹的動力和運作機理。
[Abstract]:This article, based on the articles published or published by the modern media in 1949, investigates the introduction and dissemination of modern Korean literature in modern China and its general trend of change, and analyzes the Chinese readers' understanding of Korean modern literature, pointing out that the concept of "small and small ethnic literature" is modern in Korea. The influence produced in the process of literary use.
In the existing research achievements, the collection and textual research of modern Korean literary works or commentaries, especially in the news magazines, before 1949, especially in the news magazines, is not perfect. Because of the narrow view of the data, the study of the situation of Korean modern literature in modern China can not be fully expanded. The large periodical catalogue and library materials, as well as the retrieval of the relevant databases, have collected and collated a considerable amount of information, including 9 translated works collection of Korean Writers' works and 72 translations and comments on all kinds of news magazines. The copy is based on the previous articles published in the news magazine. Therefore, this article will take the relevant articles published in the news magazine as the main part, and the documents of the single line will be the deputy to investigate the dissemination and acceptance of the modern Korean literature in China before liberation.
First of all, we will organize and introduce the articles on Modern Korean literature published or published by modern Chinese media before 1949. According to the years, subjects, authors and translators, the distribution and characteristics of the four categories of general information are published. Through the data collected at present, the most early introduced Korean modern literature is published. In 1926, Pu Huaiyue's novel < twenty-third volume twenty-first of the Orient magazine > battle > (Cui Sheng). In 30s, the acceptance and dissemination of modern Korean literary works increased gradually. Except for 1932, the related articles of modern Korean literature were published every year. Poetry, drama, literary criticism, and so on: the review articles include the sense of reading, the literary dynamic news and the review of the state of modern Korean literature as a whole. The translated Korean writers are Lee Guangzhu, Jin Dongren, Li Taijun, Xuan Zhenjian, Jin Lin, Liang Zhudong, and Zhang He Zeus. On the translator's side, the Korean literati (such as Cui Sheng, willow man, Ding Laidong, etc.) in China and Chinese literati who know Japanese and Esperanto (such as Hu Feng, Ye Junjian, Huang Yuan, etc.), and a considerable number of the authors and translators are unidentified and need to be further investigated in the future. In addition, the related works of Korean modern literature are published. There are 53 kinds of news magazines, different types, and more publications.
On the basis of the survey of the first chapter, we will focus on the basic conditions for the dissemination of modern Korean literature in China and the changing trend of its spread and acceptance. First, the needs of the political and social conditions in modern China, the establishment of modern communication system and the intermediary strategy of the third language make Korean modern literature possible. To overcome the geographical and linguistic boundaries, it is spread to the cultural environment of China. On the other hand, these three kinds of social and cultural conditions have also greatly participated in the process of spreading and shaping modern Korean literature in China.
Generally speaking, the situation of the use of modern Korean literature presents the following three different stages: the first stage (1930-1936), driven by the ideological trend of the Chinese left-wing literature, the first stage of the Korean modern literature to appear on the stage of the progressive literature, reflecting the social class contradiction, and the novel which is full of revolutionary revolt has become the main translation. In the second stage (1937-1944), Japan's war of aggression against China broke out, and in the context of the dual power confrontation between aggression and resistance, Korean modern literature was divided into two different images. On the one hand, as a modern national literature striving for national independence, the Chinese and Korean literati were used to express the resistance spirit of resisting Japan and saving the country. The regional literature belonging to Japan was used by the Japanese ruling forces to strengthen the image of the Great East Asian Communist Party, publicize and rationalize the ruling authority of Japan. The third stage (1945-1949), the defeat of Japan, the victory of the national liberation of China and South Korea. In the early and brief peace environment, a group of Chinese and Korean scholars headed by the willow people were promoted. The Sino Korean cultural exchange set up the Chinese and Korean cultural monthly magazine and actively introduced Korean modern literature. However, the momentum of this kind of virtuous communication is a flash in the pan. After 1948, with the ideological opposition between the two regimes of the two countries deepened, the entity of Korean modern literature was divided into North Korean literature and South Korean literature. The former was translated and introduced in the news magazine. The latter has appeared and the latter is excluded from the eyes of the people. Modern Chinese Modern Korean literature is introduced to the political society of East Asia, which is subject to violent turbulence. Its process is unusually tortuous. It has not established a stable main body image, but is rewritten and differentiated by different discourse forces.
On the other hand, although it can be seen that the spread of modern Korean literature in China has shown a certain trend of change, it has to be acknowledged that the modern Chinese literati's contact with Korean modern literature is still very limited. This greatly leads to the relatively vague and divergent understanding of modern Chinese scholars in modern Chinese literature, but on the other hand. They indirectly triggered their own subjective imagination to complement and shape the connotation of Korean modern literature. This kind of subjective imagination is not all one's own opinion, but it can not actually be divorced from the thinking frame of modern literary ideas and nationalist ideas. Under the influence of these thinking frames, Korean modern literature is defined as "Ruo Xiaomin." The communication and introduction of ethnic literature in China.
The role of this cognitive framework is multifaceted. First, it makes the following layers of the people as the protagonist and reflects the social problems of the Korean society. The modern Korean novels with strong realism are actively translated, and thus the legitimacy of the Korean modern literature as a "weak minority literature" is strengthened, and the characteristics of the Korean wind and the colonial North Korea are also described. The cause of the early novels of the social tragedy is also the reason for the popularity of the early novels of the Zhang Hu, which has not attracted the attention of the Chinese literati. After 40s, the collection of his prose is still published, and it also embodies the image of the "weak ethnic culture" constructed through the content of the works. It covers the Chinese literati. Looking at the view of Korean modern literature dialectically, it falls into a kind of nationalist myth. Three, it has resulted in the simplification of modern Chinese literati's understanding of Korean modern literature, but only to pay attention to the vivid and emotional literary works of the realistic themes, but not enough to understand the richness of the process of the development of Korean modern literature. The general understanding of modern Chinese literature in modern Korea can only be blurred and diverged, and the development of the modernist literature of the 30s is rarely mentioned. In addition, with the strong influence of the literary evolution, the backward image of Korean modern literature is more vivid. The Chinese literati are drawing on the reference of Russian or Japanese writers as a reference. The famous Korean writer Lee Guangzhu, Lian Yi, Li Taijun, etc., made the interpretation of Korean modern literature lost its own independence and self-sufficiency under the presupposition of advanced and backward two yuan development theory. Three, it stealthily attached the Chinese literati still unfaded standard thought, and continued the shadow of ancient Chinese literature to Korean Literature. The marginal nature of Korean modern literature in the eyes of Chinese literati is further strengthened. In general, the understanding framework of "weak and small ethnic literature" provides an opportunity for the introduction and tradition of Korean modern literature in China, but in the long run it greatly restricts the amount and scope of the use of modern Korean literature in China. People do not understand the specific connotation of Korean modern literature in a pluralistic and open manner.
To sum up, modern Korean modern Chinese literature has undergone a tortuous course of communication and is rewritten and molded by different discourse powers. Under the framework of "weak ethnic literature", modern literati recognize the importance and value of introducing modern Korean literature, and can not avoid avoiding the recognition of Chinese literati's recognition of Korean modern literature. It greatly restricts the further spread of modern Korean literature in China. But in general, the spread of modern Korean literature is a very historic text created by the modern literati and readers to overcome the turbulent social situation and seek all kinds of translation and interpretation strategies. The unequal state of literary exchange caused by imbalances. Although modern Korean modern literature formed in modern China is fragmentary, shallow and polysemous, Korean modern literature can not be effectively presented. However, the desire to communicate from it is true and urgent. The desire for this exchange points to the Sino Korean relations. The utopian fantasy of building a modern nation.
The significance of this study lies in the following two points: (1) to supplement and collate the data of Korean modern literature published or published in China before liberation, and to examine in detail the specific distribution of the data in various periods, the translator, the author, the publication of the media and other related information, so as to make up for the shortcomings of the previous research and expand the existing research fields. (2) To grasp the historical outline and changing trend of the introduction and dissemination of modern Korean literature in China from a holistic perspective, and to further analyze the reflection of modern Chinese literati's understanding of Korean modern literature will help us to think about the motive and operation mechanism of the dissemination and introduction of modern Korean literature in China.

【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：I312.606

【參考文獻】

相關(guān)期刊論文 前6條

1 郜元寶;尚未完成的“現(xiàn)代”——也談中國現(xiàn)當(dāng)代文學(xué)的分期[J];復(fù)旦學(xué)報(社會科學(xué)版);2001年03期

2 曠新年;文學(xué)革命:進化文學(xué)史觀[J];涪陵師專學(xué)報;1999年04期

3 李大可;;20世紀(jì)30年代中國左翼文藝刊物中的朝鮮聲音[J];山東師范大學(xué)學(xué)報(人文社會科學(xué)版);2008年03期

4 陳平原;;現(xiàn)代文學(xué)的生產(chǎn)機制及傳播方式——以1890年代至1930年代的報章為中心[J];書城;2004年02期

5 曠新年;現(xiàn)代文學(xué)觀的發(fā)生與形成[J];文學(xué)評論;2000年04期

6 李光烈;姚遠(yuǎn);韓雋;;中韓合作抗戰(zhàn)時期韓國在華期刊出版考[J];西北大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2009年03期

，

本文編號：1864817