| Summary: | 博士 === 輔仁大學 === 比較文學研究所 === 97 === This dissertation tries to revisit the canon of translated literature history of China-- Bali Chahwanü Yishi, cotranslated by Lin Shu and Wang Shouchang and published in 1899. Combining the methdology of comparative literature and cultural studies with translation/ rewriting studies as well as journal studies, I intend to expand the research on the translation Bali Chahwanü Yish not only“intercultural” translations known as “translation” , but also “intracultural”translations, which Susan Bassnett and André Lefevere propose to call “rewritings”, such as histories, critical articales, commentaries, anthologies, anything that contributes to constructing the “image”of a writer and/or a work of literature.
On Bali Chahwanü Yishi’s case, I examine Lin’s translation, namely “intercultural”translation first. Including his translation style, how he transforming his sorrow of losing wife into words and rewriting La Dame aux Camélias into classical Chinese short story. I also discuss the conditions which new translations emerged. Based on the May Fourth generation’s new norms of translation, Lin’s translation soon turned to be the object attacted by new translators.
Second, in my“intracultural”translations studies, I explore two genre (drama and fiction), mainly focus on four domains which intellectuals participated in during early 20th century China (1899-1929). They are the groups of students abrord, actors, courtesans, and newspaperman.
Part one focuses on drama’s discussion. I try to present drama reform plans and to examine actors’ practices. On Chunliushe’s adapting Bali Chahwanü Yishi, Li Shutong, combining his Shanghai Hu Society’s (滬學會) experiences with Japan’s Literature and Art association’s（文藝協會）assertions, created the first Chinese modern drama. On Shanghai New Stage’s case, Twentieth Century New Camélias created a brand new meaning when the actors actually participated in the Xinhai Revolution. From this viewpoint, the historic significance of the actors’ performance lied in both their fulfillment of reform plans and their eminent contributions in building a new country--The Republic of China.
Part two focuses on fiction’s discussion. Standing on rereading Hongloumeng’s viewpoint, I try to demonstrate that in the process of imitating Bali Chahwanü Yishi, known as western Hongloumeng, Zhong Xinqing’s New Camélias have created cultural translation between 19th century Shanghai’s foreign settlement and 18th century Paris. On Xü Zhenia’s Yulihun, we see oriental Dumas have been born. Xü Zhenia wrote down his confessional fiction based on his own affair by combining the image of Daiyü’s burying flowers in Hongloumeng with the arrangement of Marguerite’s diary appeared in last two chapters of Bali Chahwanü Yishi .
Here comes my conclusions: 1. Lian Qichao as the son of public opinion in late Qing period caused huge influence on rewriting texts ; 2. Different horizons created diverse literary rewriting modes ; 3. The whole early 20th century China’s culture and society as a text is the dynamic power of rewriting ; 4. The translation Bali Chahwanü Yishi is effective catalyzer and the afterlifes of the translation are the field mingled with historical reality and social ideology ; 5. We must revalue late Qing’s translations and reconsider the status of transalted literature in literary history of China.
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