「演繹／譯」唯美：論林微音之譯作《馬斑小姐》與創作《花廳夫人》

A Different Aestheticism: A Study of Lin Weiyin's ＂Madame de Salon＂ and His Translation of Gautier's ＂Mademoiselle de Maupin＂

10.29912/CTR.201209.0003

陳碩文(Shuo-Win Chen)

林微音 ； 上海唯美文藝思潮 ； 花廳夫人 ； 馬斑小姐 ； Lin Weiyin ； Aesthetics in Shanghai ； Madame de Salon ； Mademoiselle de Maupin

編譯論叢

5卷2期（2012 / 09 / 01）

61 - 81

繁體中文

林微音（1899-1982）是在三十年代上海以提倡唯美文學為人所知的現代小說家，在寫作詩歌、小說以外，他也翻譯、評論，並任報刊編輯。《花廳夫人》咸被認為是他的小說代表作。論者多指出，這本小說與他所翻譯的法國唯美主義詩人戈蒂耶（Théophile Gautier，1811-1872）的《馬斑小姐》（Mademoiselle de Maupin）十分相似，以為深受影響。然比對林微音的這篇譯作以及小說創作，並據此進一步深入探索上海的唯美主義文學如何受到英法唯美文學影響的研究，則一直以來付之闕如，殊為可惜。本文採翻譯研究之取徑，將文學譯作、以及在同樣文學經典影響下產生的衍生性創作視為是對原作的演繹，集中探討林微音所譯的《馬斑小姐》與戈蒂耶的Mademoiselle de Maupin原著所存在之差異，並比較林微音所作的《花廳夫人》與Mademoiselle de Maupin之情節安排、內容主題與表現方式，以及此差異背後所蘊含的文化意涵。本文以為，這群上海唯美文人擁抱新鮮、多管齊下的唯美演「譯／繹」，非但展現出現代上海文學的獨特性格，由翻譯到再創作，牽涉到生活在國際大都會的三十年代上海文人想像異地、寫作本土的文化實踐，其中所展現的「異地現代性」，即為我們現今研究其文學翻譯與再創作之意義。

Scholars have long been interested in Shanghai's modern literary circle of the 1930s, often referred to as the ＂Shanghai school-aesthetic literature＂ to emphasize its affiliation with 19^(th)-century European aesthetics. What kind of aesthetics was then being embraced by intellectuals and artists in 1930s Shanghai? Here I will examine a French novel translated at this time in Shanghai. ＂Mademoiselle de Maupin,＂ written by Théophile Gautier (1811-1872), is a representative and influential masterpiece of French literary aesthetics, whose famous preface preached the doctrine of ＂: Art for art's sake＂. The Chinese translation of this romance is rendered by Lin Weiyin (1899-1982), a member of the prominent Green club in in 1930s Shanghai. Lin's essay, entitled ＂life for art's sake,＂ was published in the journal Green (Lu), and his novel ＂Madame de Salon＂ (Huatingfuren) are both seen as works which were inspired by Gautier's novel. By comparing and examining ＂Mademoiselle de Maupin＂, Lin Weiyin's translated version, and his novel, this paper attempts to present some differences between the aesthetic writings of Shanghai writers of the 1930s and 19^(th)-century French and English aesthetics. In his fiction Lin attempted to promote his ideas concerning the modern woman, and the plot of his novel concerns the conflict between a modern woman and traditional marriage values, at the time a sensational theme in China and one attractive to popular readers. In effect, the anti-morality and anti-utilitarianism aims of 19^(th) century European aesthetics, art and literature had been transplanted to become the 1930s ＂Shanghai school,＂ which tended to advocate greater individual freedom and greater openness with regard to the body and the sensual as well as intellectual and artistic life. This paper then seeks to explore what Lin's ＂life for art's sake＂ manifesto really meant, and to compare it with the more widespread ＂art for life's sake＂ trend of that period in China. Thus at issue here are really the nature and the foundations of Chinese literary modernity.

1. 彭小妍(2006)。浪蕩子美學與越界─新感覺派作品中的性別、語言與漫遊。中國文哲研究集刊，28，121-148。
   連結：
2. 潘少瑜(2011)。想像西方：論周瘦鵑的「偽翻譯」小說。編譯論叢，4(2)，1-23。
   連結：
3. Gautier, T. (1887). Mademoiselle de Maupin: A romance of love and passion. London: Vizetelly.
4. 林微音（1932）。為人生而藝術。《綠》1（2），19。
5. Gaunt, W. (1945). The aesthetic adventure. London: Jonathan Cape.
6. 林微音（1934，1月31日）。藝術即人生論。《申報˙自由談》。
7. 林微音（譯）（1935）。戈蒂耶（Théophile Gautier）（著）。《馬斑小姐》。上海：中華書局。
8. 吳福輝（2007）。海派文學與現代媒體：先鋒雜誌、通俗畫刊及小報。《思與文》網站。取自http://www.chinese-thought.org/whyj/004532.htm，檢索日期：2012年2月1日。
9. Bell-Villada, G. H.(1996).Art for art's sake and literary life: How politics and markets helped shape the ideology & culture of aestheticism, 1790-1990.Lincoln:University of Nebraska Press.
10. Brownson, C.(1991).Les traductions en langue anglais des oeuvres de Théophile Gautier.Bulletin de la Société Théophile Gautier,13,161-216.
11. Brownson, C.(1993).Opportunities in the study of popular translations: The example of Mademoiselle de Maupin.first annual conference of the Society for the History of Authorship, Reading and Publishing
12. Cassagne, A.(1959).La Theorie de l'art pour l'art en France.Paris:L. Dorbon.
13. Derrida, J.(1967).L'écriture et la difference.Paris:Seuil.
14. Des Forges, Alexander(2007).Mediasphere Shanghai: The aesthetics of cultural production.Hawaii:University of Hawaii press.
15. Schäffner, C.(Ed.),Kelly-Holmes, H.(Ed.)(1995).Cultural functions of translation.Clevedon:Multilingual Matters.
16. Shih, S.(2001).The lure of the modern: Writing modernism in semicolonial China, 1917-1937.Berkeley:University of California Press.
17. Spariosu, M.(Ed.)(1984).Mimesis in contemporary theory: An interdisciplinary approach.Amsterdam:John Benjamins Publishing Company.
18. Venuti, L.(1995).The translator's invisibility: A history of translation.New York:Routledge.
19. Wilcox, J.(1953).The beginnings of l'Art Pour L'Art.Journal of Aesthetics and Art Criticism,11(4),360-377.
20. 毛尖譯、李歐梵(2000)。上海摩登：一種都市文化在中國1930-1945。香港:香港牛津大學出版社。
21. 王德威(2011)。現代抒情傳統四論。臺北:臺灣大學出版中心。
22. 吳福輝(2009)。都市漩流中的海派小說。上海:復旦大學出版社。
23. 李今(2005)。海派小說論。臺北:秀威科技出版社。
24. 周小儀(2002)。唯美主義與消費文化。北京:北京大學出版社。
25. 姚玳玫(2004)。想像女性：海派小說（1892-1949）的敘事。北京:中國社會科學出版社。
26. 施蟄存、陳子善編、徐如麒編(2001)。北山散文集。上海:華東師範大學出版社。
27. 張偉(2002)。花一般的罪惡─獅吼社作品評論資料選。上海:華東師範大學出版社。
28. 陳平原(2003)。中國小說敘事模式的轉變。北京:北京大學出版社。
29. 解志熙(1997)。美的偏至：中國現代唯美頹廢文學思潮研究。上海:上海文藝出版社。