摘要
"新闺秀派"女作家凌叔华在其英语自传《古韵》中,借由对早期中文作品的自译行为,重构其在特殊历史时期和时空错位中作为一名女性与中国作者的主体性.对信件与生平的实证考察表明,《古韵》从最初成形到出版,与凌个人进入世界文学的野心,以及在抗日战争和侨居伦敦中经历的身份、文化巨大落差密不可分.在此基础上比照《古韵》中英文本,可以发现凌在《古韵》中,借由对过往文学产出和童年经历的自译,找到了进入译入语文化的写作方式,在与过去的对话基础上产生了合于该文化的新主体;而文本中的矛盾与争议,则反映出一种企图弥合新旧主体间分裂的努力.
Abstract
This article tries to discuss how,through a self-translation writing method to accomplish her autobiography Ancient Melodies,Ling Shuhua has successfully reconstructed her subjectivity in face of the geographical and cultural displacement.The empirical investigation of letters and life shows that the initial formation of this work to its publication is closely related to Ling's personal ambition to enter the world literature,as well as the huge gap of her identity and cultures in the Anti-Japanese War and the overseas residence in London.On this basis,the comparison between the original text and the English version shows that Ling has reconstructed a translated new self in this process to fit into the Western culture.The contradiction and controversy in the text reflect an effort to bridge the division between the old and the new subjects.
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