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中国现代文学名家名作的海外认知调查分析survey and Analysis on the Overseas Cognition of Chinese Modern Litera

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中国现代文学名家名作的海外认知调查分析survey and Analysis on the Overseas Cognition of Chinese Modern Litera 中文教学现代化学报 The Journal of Modernization of Chinese Language Education JMCLE 中国现代文学名家名作的海外认知调查分析 白 微 鲁东大学 国际教育学院 @qq.com 摘要：当前学者对中国文学传播的研究有两点亟需得到学界重视，一是26理4论02有5余而实证不足，二是重视译介而忽视 外国学习者这一传播媒介。针对这一现状，本2文65以4中03国5现80代9文学的名家名作为研究对象，通过对外汉语教材的数据 统计分析、中高级汉语水平来华外国汉语学习者的问卷调查以及中外汉语教师的访谈，提出了以下几个方面的完善 意见：汉语文学教材和综合教材呈阶梯状、点面结合设置；提高汉语教师的文学素养和文学普及意识；有效利用互 联网进行文学的海外传播。 关键词：中国现代文学名家名作；来华外国汉语学习者；现代文学教学；汉语教材设置；文学“走出去” Survey and Analysis on the Overseas Cognition of Chinese Modern Literature Masters and Masterpieces Bai Wei Ludong University International Education Institute， Abstract: At present, scholars’ research on the dissemination of Chinese literature has two points that need to be 264025 paid attention to by the academic circles. First, there is more than enough theory and insufficient evidence. Second, it emphasizes translation but neglects the way to communicate through foreign students. In view of this situation, we take masterpieces of modern Chinese literature as the research object, and adopt empirical investigation methods, such as statistical analysis of the textbooks of Chinese as a foreign language, the questionnaire survey of foreign Chinese learners in the middle and advanced Chinese level, and the interviews of domestic and foreign Chinese teachers. According to the survey results, we have put forward the following suggestions: Chinese literature textbooks and comprehensive textbooks are arranged in a step-by-step manner, with the combination of points and faces; improving the literacy and Chinese literature awareness of Chinese teachers; and effectively using the Internet for overseas dissemination of literature. Key words: Masterpieces of Modern Chinese Literature, Foreign Chinese learners in China, Modern literature teaching, Chinese textbook settings, Chinese literature “going out” 1 研究现状 随着“一带一路”倡议的进一步跟进，中国文化“走出去”进入热潮阶段，文学的意识形态 性再一次被提上议程，于是以文学为中介进行中国文化的海外传播成为一大议题。一直以来，学 者们对于这个议题各抒己见，既互相争鸣，又相互补充，不断提出一系列的解决方案，试图从各 个角度更好地促进中国文学的海外传播。 1.1 中国现代文学的“全球本土化”研究 “全球本土化”是为了纠正“全球化”这个术语造成的“趋同性”“同质性”，甚至“化西” 等错误认识而形成的一个新词，杨四平（ ）、王宁（ ）两位学者在其著作《海外认同与 现代中国文学输出》和《中国现当代小说与世界文学》中论及“全球本土化”的过程、产生的问 题并提出了合理建议。但他们更多的是从译20介14的角度来谈2论0这18个问题，“全球本土化”的范围不仅 限于此，它还涉及中国现代文学与世界文学之间以及来华留学生与中国现代文学的传播之间的关 系问题，相关研究如下： . 对中国现代文学“走向世界”的认识研究 “走向世界”四个字涵盖了太多的不确定性，比如“走向”的起点是什么？“世界”这个终 点1 1有1何标准？是否以某一地区的文学为宗？中国现代文学要“走”到何种程度才能达到“全球本 JMCLE Vol. No. June. PP. - ©Association for Modernization of Chinese Language Education ~11~ 8 1 2019 11 29 中文教学现代化学报 The Journal of Modernization of Chinese Language Education JMCLE 土化”的最终目标？对于前两个问题，顾文艳（ ）有比较明确的认识，首先，她认为“‘走 向世界文学’同近年来海外传播研究中以“走出去”为目的的文学推广观是截然相反的。”1也就 是说，“走出去”致力于中国文学的海外推广，而2“0走18向世界文学”则关注的是中国文学本身的发 展，它是否能在世界文学中产生影响力，而非单是将其推向世界文学的竞技场上任其自生自灭。 其次，她将“世界文学中的中国文学”看成是一个动态的进程，特别强调中国文学在世界文学范 围内的交流与对话。著名学者、任教于美国戴维斯加州大学的奚密教授在接受访谈时也提到“整 个华文文学界的交流是很必要的”。[ ]杨四平（ ）进一步提出“在中外文学交流的过程中， 我们只有彼此都保持‘适度’的主体2性，像当年美日之间进行的有效的跨文化交流那样，真正掀 起双向的或多向的译介、传播与接受风潮，规避2文01化4冲突和文化霸权，才能使中外文化产生互荣， 造福于人类。”2黄立（ ）更是提出应构建“期待—选择—锤炼—对话”的中国文学海外传播 体系。 学者们在研究中发2现01人6们对第三个问题有诸多错误性理解，程光炜（ ）分析了当代文学 海外传播的几个问题，其中有一些“错位式理解”值得整个中国文学的海外传播引以为鉴。一是 中国文学作品的多种译本以及叠杂的译本序让很多人认为中国文学在世界2上01很2多国家已经广为传 播，也就是达到了“走向世界”的程度，这是对中国文学缺乏自我定位造成的；二是作家在国外 参加的讲演和各种活动经常被放大，造成莫须有的“文学化”效果，对中国文学的发展和传播都 造成了很大的影响。三是西方读者会将大量增加的异识文学作品中的描写当作中国的真实情况， 歪曲了中国形象。关于这一个问题的解决，杨四平（ ）认为“中国古典文学传统与西方现代 文学传统的融合，文学的民族性与世界性的有机统一，是现代中国文学‘走向世界’并最终‘融 入世界’的要件。”3 2014 . 关于中国现代文学如何走向世界的研究 关于此议题的研究主要集中于翻译，主要涉及翻译内容、翻译者和接受者三部分。在翻译内 容1 1方2面，很多学者研究中国现代名家名作的翻译问题，研究最多的是鲁迅的作品，曹文刚（ ）、 易彬（ ）分别分析了鲁迅作品在法国和荷兰的翻译情况，而黄立（ ）则另辟蹊径，认为 中国当代的译介体系更应该有中国学者研究成果的译介，中国学者可以充当外国读者的中2国01文6学 引路人2，0让18他们根据自己的兴趣爱好在浩浩汤汤的文学作品中选择自己2喜0欢16的作品，以更好地了 解中国文学。翻译者是否具有权威性、能否将中国文学及其文化精髓传达出来对文学传播起着重 要的作用。值得注意的是，霍艳（ ）、王祥兵（ ）高度赞扬了海外民间网络翻译组织— —纸托邦（Paper Republic），母语国民间译者的优势在于能够比较便捷地掌握两国的文化动态及 市场。耿强（ ）以政府译介模2式01下6的“熊猫图书2”01为5 例对其传播领域与接受效果进行分析， 找出政府译介模式存在的问题，从而为中国文化更好地走出去起到很好的推动作用。由此看来， 海外民间翻译与20国14内政府译介交相辉映，是中国文学走向世界的一个良好的开端。布小继、李全 华（ ）从作家自译和他译两方面论析张爱玲、鲁迅、老舍及其作品在欧美的传播，并提出了 卓有见地的结论：“一部文学文本在跨文化语境中能否被有效地、广泛地传播，绝不仅仅取决于翻 译者2的0主14观意愿，更取决于传播链终端的参与者/接受者的意愿。唯有通晓二者之间的复杂而丰富 的互动关系，才有可能使其作品在跨文化语境中得到传播。”4 相较于翻译，英文原创作品在中国文学传播过程中更具有优势性，但学者的研究相对较少。 张树艳（ ）对有着独特身份的赛珍珠、林语堂、汤亭亭三位流散作家的英文作品中的中国文 2015 1 顾文艳.汇入世界文学的中国文学[J].文艺报， ( )。 2 杨四平.跨文化的对话与想象:现代中国文学海外传播与接受[M].上海:东方出版中心， 。 2018 2 3 杨四平.海外认同与现代中国文学输出[J].南方文坛， ( )。 2014 4 布小继、李全华. 世纪 — 年代中国现代文学的欧美传播论析——以张爱玲、鲁迅、老 舍及其作品为中心[J]. 云南师范大学学报（哲学社会科2学01版4），4 ， （ ）： — 。 20 50 70 2014 46 2 125 130 JMCLE Vol. No. June. PP. - ©Association for Modernization of Chinese Language Education ~12~ 8 1 2019 11 29 中文教学现代化学报 The Journal of Modernization of Chinese Language Education JMCLE 化符号在西方的传播为例，提出流散作家在中国文化传播过程中的重要性以及其作品中经典人物 形象的传承性，认为英文原创作品的传播效应优于翻译作品，有利于让我们看到文学对于传播中 国文化的中介作用。肖百容（ ）以鲁迅在越南和林语堂在美国的传播为典型案例，通过比较 分析，试图展示某些共同趋向，揭示 世纪中外文学交流的国际语境、民族国家特征以及时代 条件和局限。郑朝然（ ）2以01林3语堂的《京华烟云》为例，探讨《京华烟云》及其译本在海外 的传播与评价，提出了中国文学在“走20出去”的浪潮中应如何把握方向的问题。朱双一（ ） 对陈季同、辜鸿铭、林2语0堂18三位作家的英文原创作品中的“中国形象”的传译进行比较，在指出 其对中国文学传播的巨大作用的同时，对其“矫枉过正”的弊端也略加指摘。 2019 还有一种传播方法容易被人忽略，即通过来中国学习汉语的外国留学生这个媒介，杨四平 （ ）首先发现这一主体也“为现代中国文学的发展贡献了才智和力量”，但对这一主体的研 究仍然是一块有待开垦的处女地，更多研究者是从对外汉语课程和教材编写着手，王安琪（ ） 从留20学14生中高级阶段设置的中国现当代文学课入手，分析其困境形成的原因并提出解决问题的相 应手段。二是通过留学生的非文学课程，研究这方面的文献主要以综合课教材为研究对象，20研17究 教材中文学作品的选编情况，米兰（ ）对作品选编分体裁、分来源进行统计分析并在增加文 学体裁种类和作品比重方面提出了建设性的意见，黄发庆（ ）、龙伊人（ ）通过对三本 主流高级汉语精读教材中中国现当代2文0学15作品选编情况的比较找出存在的问题，对日后教材的修 订提出了一定的原则和建议。 2012 2014 1.2 中国现代文学的海外书写研究 关于中国现代文学海外书写，研究者虽较多涉及，但由于这个术语并没有权威性的解释或明 确定义，故在研究中出现了两种不同的含义：一是指中国现代作家旅居海外进行创作，侯桂新 （ ）便如是定义。一是海外编撰的中国文学史中对中国现代作家的书写。古大勇（ ） 以《剑桥中国文学史》和《哥伦比亚中国文学史》为中心，分析了这两本著作中中国现代经典六 大家20“14鲁郭茅巴老曹”的地位，发现其“去中心化”和“去经典的等级化”的两个特点，2这01与8国 内奉为经典的钱理群、温儒敏所编《中国现代文学三十年》的认知迥然不同，既让我们看到了中 国现代经典在海外研究者眼中的地位，也让我们认识到它们在整个中国文学框架体系中的地位远 低于古代文学经典这一现状。范劲（ ）探讨了德国所编写的六部中国文学史，发现它们的特 点是“古代”色彩浓厚，“以陈旧的精神史框架来化简中国文学的丰富性，造成中国文学在精神 上永远滞留于 ‘古代’。”5而“文学中20国18”内在结构的构成是离不开古代和现代的交织的。 1.3 现代中国形象的塑造研究 文学作品中的国家形象是指作品的题材、人物、环境、主体唤起人们对一个国家社会生活的 印象、评价和想象。6（帅巍巍， ）姜智芹（ ）认为中国形象与中国文学的海外传播之 间既有重构性也有复杂性，并从“拿”和“送”两个主渠道探讨中国形象的塑造问题。姜智芹（ ） 进一步探讨了当代文学传播与中国20形11象塑造的双向2作01用4 ，通过对“军人英雄形象”“时代农民形象” “知识女性形象”的延续与重塑，缩小国内、域外对中国形象认识与评价的反差，形成自塑20与17他 塑一致的完美中国形象。帅巍巍（ ）认为当代中国文学应该构建倡导核心价值观、体现中国 文化精髓的国家形象。方爱武（ ）以王蒙、莫言、苏童为例，探讨中国当代文学中中国形象 建构现状、问题及未来发展方向，2从0他11塑与自塑、跨文化传播接受度的角度进行分析，旨在于世 界范围内树立与时俱进的中国形2象0。16除了文学作品中塑造的国家形象，杨洪承（ ）研究了现 代中国文学社团或流派的“中国形象”，认为它们“在某种意义上是从其他形象、语境中重构而来, 她既是主体又是客体, 其生态结构的构成创造了一种概念的、空间的、存在的多2种01形0象互动影响 5 范劲.“文学中国”的内在结构:德国的中国文学史书写[J].文学评论， ( )。 6 帅巍巍. 文学作品中的中国国家形象及其当下建构[D]. 江西师范大学， 。 2018 6 2011 JMCLE Vol. No. June. PP. - ©Association for Modernization of Chinese Language Education ~13~ 8 1 2019 11 29 中文教学现代化学报 The Journal of Modernization of Chinese Language Education JMCLE 的文化对话新平台”7 1.4 研究述评 中国现代文学在以中国文学为中介进行海外传播的趋势中可以说处于一个比较尴尬的位置： 古代文学源远流长，代表的是中国的经典和传统，国外编写的中国文学史下笔之深者亦在于此； “走出去”是在当代提出来的，当代文学又是可以代表不断发展的中国形象最好的媒介，故学者 对当代文学的研究不胜枚举；而说到现代中国，“引进来”“拿来主义”一定会率先充斥我们的认 知视野，它不复传统、不复经典，经历了“西化”“社会主义化”“大众化”，所以中国现代文学“走 向世界”的任务变得异常艰巨，但学者的目光却极少聚集于此。或者直接将文学传播等同于翻译， 但翻译只能是传播的一条途径，杨四平教授的在其专著《跨文化的对话与想象: 现代中国文学海 外传播与接受》中做了全面而深入的探究，也提到了文学传播的另一条途径——通过“来华留学 生”这一主体。然而不管是杨教授还是研究中国文学的诸多学者，大多是从理论探讨入手进行调 查研究，尤其是对“来华留学生”的调查研究却几乎没有，缺乏实证性。 本文将在学者们的理论研究的基础上，以山东烟台鲁东大学、北京语言大学、首都师范大学 等高校的外国汉语学习者为研究对象，从学习者文学课程的设置、文学教材的编写、学习者对中 国现代文学的认知度、学习者对中国现代文学的推广情况以及国际汉语教师在现代文学传播中的 作用几个方面进行问卷和访谈调查，并进行统计分析，以期为中国现代文学的传播方向提供依据， 同时为更好地通过外国汉语学习者这一途径进行中国文学以至中国文化“走出去”献计献策。 2 外国汉语学习者文学课程设置与教材编写情况的调查 汉语国际教育脱胎于对外汉语，汉语类课程是留学生的主课，文学类课程占比较少，那么， 汉语国际教育领域是如何对待中国现代文学的？在文学课程设置和文学教材编写两方面又是如何 体现中国现代文学的地位的？我们以山东烟台鲁东大学国际教育学院以及几本颇负盛名的对外汉 语教材为例进行调查统计和数据分析。 2.1 文学课所用文学教材的调查 关于文学教材，我们重点对鲁东大学国际教育学院现当代文学课程所用的教材（黄悦、宋长 宏编著，北京语言大学出版社出版的《 世纪中国文学史纲》）进行调查分析，同时选取了几本 文学作品选作为参考，对其中选编的现代文学名家名作进行统计和比较。这几本文学作品选分别 是：卢铁澎、金戈主编，人民文学出版社20出版的《中国现代文学选读》；李宏祥、李清宇编写，华 东师范大学出版社出版的《中国文学》；唐建清、李彦选编，南京大学出版社出版的《中国文学选 读》（中英双语）。 《 世纪中国文学史纲》（以下简称《史纲》）是一部中国现当代文学史教材，题目采取了钱 理群、黄子平、陈平原提出的“二十世纪中国文学”这一概念，使用这个概念涵盖的更多是中国 文学的2民0族性，而掩盖了中国文学与政治的显性联系，对于外国汉语学习者对中国文学整体的理 解和中国文学传播的正确方向起到了很大的作用。 纵观二十世纪中国文学，前后约一百年的历史，《史纲》是如何处理这漫长的进程的呢？我们 看到，它一共有五编，分别论述了文学改良时期、文学革命时期、革命文学时期、抗战以后、新 中国成立以来五个文学发展阶段的文学，这个体例明显可以看出作者用了四分之三左右的篇幅在 论述前四十年的文学，而后六十年却只用一编呈现其概貌，并用关键词的形式对这段历史阶段出 现的文学现象加以简述，也许是由于该书编写较早，对于后六十年的文学研究还不够，这也的确 是值得改进的地方，由于涉及当代文学，本文不加论述。 在重点论述的前四十年中，单独成章的作家有鲁迅、茅盾、巴金、老舍、曹禺、沈从文，单 独成节的作家有郭沫若、李金发、周作人，着重介绍的还有闻一多、徐志摩、冰心、朱自清。这 7 杨洪承.中国现代作家群体生态与“中国形象”结构研究[J]齐鲁学刊， ( )。 2016 6 JMCLE Vol. No. June. PP. - ©Association for Modernization of Chinese Language Education ~14~ 8 1 2019 11 29 中文教学现代化学报 The Journal of Modernization of Chinese Language Education JMCLE 与钱理群先生《现代文学三十年》（以下简称《三十年》）的格局大体吻合。与《三十年》相比， 除了语言更加简单易懂、重点突出、点面结合以外，《史纲》中还引用了大量的原著选段，与论述 的内容相得益彰。这样排版的好处是可以使学生从理性和感性两个角度理解作家作品，但最好还 是和文学作品选结合起来，不然会导致学生的理解不全面。 《史纲》还有一个值得注意的地方是对文本的注释内容具有针对留学生的汉语教育的特点， 一是简单易懂，二是重视语言层面的解释，如在引用鲁迅先生的“他得像热烈地主张着所是一样， 热烈地攻击着所非”这句话时，对“所是”的注释为：“是”，对，正确，意思与“非”相反。“所” 在这里是一个特殊的代词。“所是”等于说正确的事物。下面的“所非”也等于说不正确的东西， 正是用切分语素的方法进行解释的。 在三本文学作品选中都出现的现代作家有：鲁迅、沈从文、徐志摩，而且都选取了徐志摩的 诗歌《再别康桥》。其次出现的作家有：朱自清、冰心、老舍、曹禺、张爱玲。其中张爱玲的《封 锁》、朱自清的《背影》、曹禺的《雷雨》、沈从文的《萧萧》在两本文学选中出现。鲁迅的作品中 入选三本文学选的有《狂人日记》《风波》《孔乙己》和《祝福》，涵盖了农民、知识分子、传统女 性三类二十世纪中国文学最常塑造的人物形象典型。《封锁》是对男女之间“性”的描写。而《萧 萧》描写的中国农村“童养媳”的习俗则是从中国的现实出发，文字清新，读来也毫无沉重感。 《中国现代文学选读》还选了鲁彦《菊英的出嫁》、柔石《为奴隶的母亲》两篇小说，分别写的是 “冥婚”和“典妻”的习俗。总体来说，三本文学作品选所选的作家作品能够代表中国现代文学， 也便于理解。另外值得一提的是，后两本文学选是基于整个中国文学，故对现代文学侧重不大， 但相对于国外编写的中国文学史来说情况要好一些。具体作品选用情况见表 。 表 1 三本文学作品选作品选编情况 《中国现代文学选读》 《中国文学》 《中国文1学选读》 鲁迅 《狂人日记》《风波》 《孔乙己》 《孔乙己》《祝福》 郭沫若 《天狗》《天上的市街》 茅盾 《子夜》（节选第七章） 巴金 《爱尔克的灯光》 老舍 《骆驼祥子》 《断魂枪》 曹禺 《雷雨》 《雷雨》 沈从文 《萧萧》 《边城》（一三、一四） 《萧萧》 朱自清 《背影》 《背影》《荷塘月色》 冰心 《分》 《小桔灯》 张爱玲 《封锁》 《封锁》 徐志摩 《再别康桥》 《雪花的快乐》《偶然》《再别康 桥》 2.2 非文学课程中的文学因素的调查 JMCLE Vol. No. June. PP. - ©Association for Modernization of Chinese Language Education ~15~ 8 1 2019 11 29 中文教学现代化学报 The Journal of Modernization of Chinese Language Education JMCLE 我们选择了北京语言大学出版社出版的《发展汉语》中、高级综合教材共四册，对这四册书 选用的课文有多少是中国现当代作品进行了分类统计，每一类所占比例如表 和图 所示： 表 2 《发展汉语》课文来源调查 2
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