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C MY K C MY K Východročník IV Číslo 2 2014 C M Y K DálnýRočník IV číslo 2 2014 前言 黄小明 Hongloumeng východ and I: Living with Fiction (Recollections of a Translator) Oldřich Král Main Discoveries from My Scholarly Research Connected with Translation of Cao Xueqin Honglou meng Marina Čarnogurská The Red Chamber Dreams as Part of the Canon of World Literature and some Comparisons with Sorrows of the Young Werther Martin Woesler 英语世界红学研究的高潮：二十世纪七十年代——二十一世纪初英语世界红学研究的历时性评述 王鹏飞 《红楼梦》“神仙”一词多重文化内涵在俄语复译中的体现 刘名扬 二十世纪以前《红楼梦》在越南传播的文化因素——兼比较《金云翘传》和《红楼梦》的传播 夏露 浅谈《红楼梦》韩译本中的译者主体性 高旼喜 《红楼梦》波兰文翻译述略 唐均 Translation of Hongloumeng and Jin Ping Mei into Danish Vibeke Børdahl 斯洛伐克语版《红楼梦》章回目录与中文原版的对照比较 梁晨 红楼梦多义词痴情与风流的含义及解释问题 崔炳圭 海外红学性别研究中的贾宝玉 傅松洁 从中医情志角度立体解读林黛玉 张惠、肖婷 ISSN 1805-1049 • MK ČR E 20430 Honglou meng Topic in Popular Prints Lucie Olivová A Dream of Red Mansions (Hong lou meng) in the Eyes of Illustrator Dai Dunbang Daniela Zhang Cziráková Dálný východ Far East Ročník IV číslo 2 Univerzita Palackého v Olomouci Olomouc 2014 Redakce Vedoucí redaktor: Mgr. David Uher, Ph.D. Členové redakční rady: Prof. Zdeňka Švarcová, Dr., Doc. Lucie Olivová, Ph.D., DSc., Doc. Ing. Ludmila Mládková, Ph.D., Doc. Mgr. Roman Jašek, Ph.D., Doc. Ing. Miloslava Chovancová, Ph.D., Doc. Ing. Jan Sýkora, M.A., Ph.D., Doc. PhDr. Miriam Löwensteinová, Ph.D., Mgr. Ivona Barešová, Ph.D. Adresa redakce: Dálný východ Katedra asijských studií, Katedra aplikované ekonomie Filozofická fakulta Univerzity Palackého v Olomouci Křížkovského 10 771 80 Olomouc www.kas.upol.cz Technická redakce a obálka: Jiřina Vaclová Odpovědná redaktorka: Mgr. Jana Kreiselová Vydala a vytiskla: Univerzita Palackého v Olomouci, Křížkovského 8, 771 47 Olomouc www.upol.cz/vup email: [email protected] Zpracování a vydání publikace bylo umožněno díky finanční podpoře udělené roku 2013 Ministerstvem školství, mládeže a tělovýchovy ČR v rámci Institucionálního rozvojového plánu, programu V. Excelence, Filozofické fakultě Univerzity Palackého v Olomouci: Zlepšení publikačních možností akademických pedagogů ve filologických a humanitních oborech FF UP. ISSN: 1805-1049 MK ČR E 20430 Olomouc 2014 CONTENTS 前言 黄小明 5 Hongloumeng and I: Living with Fiction (Recollections of a Translator) Oldřich Král 6 Main Discoveries from My Scholarly Research Connected with Translation of Cao Xueqin Honglou meng Marina Čarnogurská 16 The Red Chamber Dreams as Part of the Canon of World Literature and some Comparisons with Sorrows of the Young Werther Martin Woesler 31 英语世界红学研究的高潮：二十世纪七十年代——二十一世纪初英语世界 红学研究的历时性评述 王鹏飞 45 《红楼梦》“神仙”一词多重文化内涵在俄语复译中的体现 刘名扬 57 二十世纪以前《红楼梦》在越南传播的文化因素——兼比较《金云翘传》 和《红楼梦》的传播 夏露 70 浅谈《红楼梦》韩译本中的译者主体性 高旼喜 79 《红楼梦》波兰文翻译述略 唐均 96 Translation of Hongloumeng and Jin Ping Mei into Danish Vibeke Børdahl 103 斯洛伐克语版《红楼梦》章回目录与中文原版的对照比较 梁晨 114 红楼梦多义词痴情与风流的含义及解释问题 崔炳圭 121 海外红学性别研究中的贾宝玉 – 3 – 傅松洁 134 从中医情志角度立体解读林黛玉 张惠、肖婷 143 Honglou meng Topic in Popular Prints Lucie Olivová 156 A Dream of Red Mansions (Hong lou meng) in the Eyes of Illustrators Dai Dunbang Daniela Zhang Cziráková 166 Supplementum: 《红楼梦》第一回赏析 孙玉明 191 前言 黄小明 《红楼梦》是中国古典文学中的一部名著和巨著，自古至今，一直吸引着 广大的中外读者去阅读和欣赏，也一直吸引着众多的中外学者去研究和探 索，这其中，不乏辛勤劳作的欧洲各国汉学家们的身影。这些汉学家们凭 着自己对《红楼梦》的喜爱和推崇，不惜花费几年或者几十年，将《红楼 梦》翻译成自己国家的语言，再将《红楼梦》介绍给自己国家的读者， 并由此带来海外红学研究的兴起和发展，仅此一点，就已经使我们非常感 动。 在2014年9月，我们捷克帕拉茨基大学孔子学院借助于孔子学院总部 “孔子新汉学计划”项目(Confucius China Studies Program)的全力支持，与 捷克帕拉茨基大学亚洲语文系、中国艺术研究院红楼梦研究所和中国西南 交通大学外国语学院全力合作，在捷克共和国东部城市奥洛穆茨(Olomouc) 帕拉茨基大学成功举办了“欧洲《红楼梦》多语种译介与海外红学研究 研讨会”(The International Conference of Hongloum eng Translations in Europe)。 在时隔20多年后第二次在欧洲，第一次在捷克召开《红楼梦》多语种译介 与海外红学研究国际学术会，其目的一方面力求为欧洲相关红学专家的相 互交流提供一次难得的机会，另一方面，更希望由孔子学院给欧洲各国汉 学家们搭建一个全新的中国文化高端学术交流平台，从而繁荣欧洲的汉学 研究，也促进中国文化在世界范围内的有效传播和深度交融。我们非常 欣喜地看到来自中国、韩国、捷克、斯洛伐克、丹麦、瑞士、德国等7个 国家13所著名高校或研究机构的18名红学专家和研究者，大家齐聚一堂， 犹如文人雅士再聚大观园，吟诗属对，泼墨挥毫。参会的代表中，包括 《红楼梦》的捷克文、斯洛伐克文、丹麦文和韩文译者，他们的首次相 聚、相识和相知为本次研讨会增添一笔斑斓的色彩。参会论文主题涉及 《红楼梦》的英、俄、韩、丹麦、波兰、捷克、斯洛伐克等7种语言译本， 完全突破了以往英译本为主的译介研究格局，对于以《红楼梦》为代表的 多种中国优秀古典小说在非通用语世界的译介和传播而言尤其具有重要意 义。 如今，欧洲《红楼梦》多语种译介与海外红学研究研讨会的论文即将 在捷克帕拉茨基大学学术期刊《远东》(Dálný východ)上专辑发表，在此， 感谢孔子学院总部对本论文专辑出版的资助，也十分感谢帕拉茨基大学亚 洲语文系吴大伟博士(David Uher)作为主编所做的辛勤工作。 2015年3月3日 捷克奥洛穆茨 黄小明 教授 捷克帕拉茨基大学孔子学院 中方院长 – 5 – HONGLOUMENG AND I: LIVING WITH FICTION Recollections of a Translator Oldřich Král Annotation: This contribution provides a vivid recollection of the work and thought of one European translator of Hongloumeng; in Czech historically, onthologically, and theoretically particular rhetorical situation; as a unique experience of a distant reading of the wrecked writing of genius. Key words: complete translation, implied reader, literariness, rhetorical situation, tongbian 通變, wrecked reading, melancholia, distant reading “In scholarship what is crucial is knowing when to stop.” (Qian Zhongshu, Tan yi lu; 1986) I doubted whether my personal experience would imply any real value for others. I would not dare to conceive and entitle my contribution in this way without being reassured by a certain analogy in the recollections of our colleagues Burton Watson The Shijing and I (In: CLEAR, Vol. 37, 1995), and William Nienhauser Sitting with Sima Qian (Chinese University of Hong Kong International Conference, 2011). 1. It is true that any experience is an individual one, and every single translation is a unique and daring expedition, and as an open action full of doubts and questions it has its at least relative value. While reading and interpreting an original text in its implied ontological, se- mantic and rhetorical situations we bring ourselves to the very experience of another world. And it is only in the formula of “complete translation” that we enable our read- ers to enjoy a certain analogy of ontological experiences, semantic meanings, and rhetorical gestures of Chinese original through the manners and gestures of a target textual field, so that an “implied reader of mine” will enjoy it in a form that reads like a natural Czech idiom of literariness. Of course to do it even slightly successfully means to be prepared to do it. And it looks that it has been a long way to the point at least in my case. 2. My first serious meeting and challenge with classic Chinese lyric narrative happe- ned in the winter semester nineteen forty-nine of the second school year of my M. A. studies at Charles University in Prague. We were reading classic Chinese texts in the course of practical readings with Professor Jaroslav Průšek. – 6 – Ročník IV / číslo 2 / 2014 I remember we started with the Preface to Collected Poems from the Orchid Pa- vilion (Lanting xu 蘭亭序 ) from the memorable textual happening near Shaoxing on April 22, A. D. 353; and I remember that we continued reading Tao Qian’s Song of the Return Home (Guiqilaici 歸去來辭, fall of the fourth century); I remember we concluded with Bai Xingjian’s (白行簡ca. 775–826) short story “chuanqi傳奇” The Story of Li Wa (Li Wa zhuan 李娃傳, beginning of the ninth century). In his reading course Prof. Průšek has been touching on the inward heights of Chinese new age lyrics. He excercised the key pieces of that lyrical metatext, pieces which were seeking the way to the new subjectivity and its intimate experience. After his return from the Far East on the eve of the Second World War Průšek joi- ned the intellectual élite of the “Prague Linguistic Circle” the perspective of Prague structuralism and Russian formalism from which he was reading Chinese classic library with us, so reading traditional literature from the most actual perspective of the new age of Western – European literariness. His special Prague close-readings at that time were quite unique in Sinology. I took it so – as an enthusiastic reader of Viktor Shklovskij’s Theory of Prose and Jan Mukarovsky’s Chapters from Czech Poetics. Frankly speaking only then, during these Průšek’s readings, did I find true meaning in my Chinese studies at all, only then did I grasp what was going on, or at least what might be going on. 3. I was fascinated by The Travels of Lao Can (老殘游記) and much inspired by Průšek’s complete translation of this “Last Chinese Fiction” into Czech (1947). And so, very early I was searching my subject of studies in this direction and from this perspective. And I have realized that among canonical works of Chinese classic fiction was one, Rulin waishi儒林外史, which unlike other great classic Chinese novels, up to my time, not only haven’t any fuller European translation, even any abridged translation, or any other form of adaption. Rulin waishi lacked what accor- ding to Europeans makes a novel, lacked the main story into which frame even the most curious adopted narrative could be tucked away. And I caught it for a lagoon. Professor Průšek accepted my proposal to write my doctoral thesis on Rulin waishi, and after my first presentation he accepted even the theoretical concept ex- pressed by the subtitle “The Formal Devices of the Classic Chinese Novel” suggesting Shklovskij’s definition of literature as a literariness, and literariness as “the sum total of all the stylistic devices employed in it”. It was a clear avowal to the theoretician , who at home – and in our country too – was well-known but slightly prohibited, and who outside his domestic intellectual area was not prohibited but totally unknown simply because of the absence of an English translation. See Hauny Saussy in Comparative Literature in an Age of Globa- lization (The Johns Hopkins Univ. Press, Baltimore 2006), p. 16: “Viktor Shklovskij unwittingly pioneered the genre in 1925 with his Theory of Prose, ... with the thesis of Art as Device ... Here the intellectual leanings of the Formalist critics and the object-hunger of comparative literature are in alignment, or would have been had Shklovskij’s work not been lost in the fog of Russian modern history for forty years...”. – 7 – Dálný východ / Far East Alas, while Prof. Hauny Saussy has been talking about a revealing translation of discovery from the American nineties, there existed in Prague an ingenious Czech translation of the quoted Theory of Prose published in the thirties (Prague 1933), and re-edited, so to say “for my generation” in 1948, translated by Bohumil Mathesius, critic, translator and poet, in addition a close friend of Průšek, and paradoxically most famous man of the Czech Songs of Old China (started 1925).
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