Reception of Du Fu in the Anglophone World and the Issue of Poetic Transparency

英語世界的杜甫接受以及詩之透明

10.6184/TKR201412-8

Ji Hao

杜甫 ； 中國傳統詩歌 ； 英語世界的接受 ； 詩之透明 ； 跨文化闡釋 ； Du Fu ； traditional Chinese poetry ； reception in the Anglophone world ； poetic transparency ； cross-cultural interpretations

Tamkang Review

45卷1期（2014 / 12 / 01）

151 - 169

英文

本文審視了英語世界中杜甫接受的歷史，並專就「詩之透明」這一問題進行了討論。隨著二十世紀中期杜甫研究及其詩歌翻譯的顯著提升，以洪業為代表的學者們開始觸及這一在傳統中國中頗具影響力的詩歌閱讀模式。二十世紀八十年代以來，杜甫研究中比較及理論方法的進一步引入使得「詩之透明」這一問題更具爭議。宇文所安對於杜甫和華茲華斯的比較閱讀凸顯了中國傳統詩歌閱讀中的透明與非虛構性，並將其與西方傳統中視詩歌為虛構產物的重要理念進行對比。儘管宇文所安借助充滿矛盾和複雜性的閱讀模式巧妙地規避了特定的闡釋危險，仍有一些學者指出在運用「詩之透明」來區分中西方詩學假設的實踐中潛在的文化相對主義威脅。本文以閱讀杜甫為例，在「詩之透明」的閱讀模式上構建一場跨文化的對話，進而展現這一閱讀方式在傳統中國杜甫闡釋中的活力。文章認為我們既不應當將這一閱讀模式單純地視為傳統中國中存在的真實歷史現象，也不應當將其視為一種有缺陷的閱讀模式而予以排斥。為了能夠公正地對待「詩之透明」所具有的複雜性，我們應當將其置於特定的歷史文化語境中，探索這一閱讀模式在傳統中國中的不同功用。

This paper examines the history of reception of Du Fu in the Anglophone world, with particular emphasis on the issue of ＂poetic transparency.＂ Along with significant improvement in both Du Fu studies and the translation of his poems in the middle of the twentieth century, scholars such as William Hung began to touch on this influential mode of reading poetry in traditional China. Since the 1980s, the issue of ＂poetic transparency＂ has become more controversial with further incorporation of comparative and theoretical approaches into Du Fu studies. Stephen Owen's comparative reading of Du Fu and Wordsworth highlights ＂poetic transparency＂ and the non-fictionality in traditional Chinese poetry as opposed to one dominant conception of poetry as a fictional product in Western tradition. Although Owen skillfully skirts certain interpretive dangers through a mode of paradoxical and complex reading, other scholars still identify the potential threat of cultural relativism in the practice of using poetic transparency to distinguish Chinese and European poetic assumptions. This paper initiates a cross-cultural dialogue on ＂poetic transparency＂ in the case of reading Du Fu and exposes the dynamics of this approach implied by the hermeneutics of Du Fu in traditional China. It argues that we should neither confirm poetic transparency merely as a historically true phenomenon in traditional China nor dismiss it as a defective interpretive practice. Instead, in order to do full justice to the complexity of ＂poetic transparency,＂ we should situate it into the specific historical and cultural context and explore various functions of such a mode of reading poetry in traditional China.

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