Leftist Literature

作为一篇多重语境下诞生的作品，伪满洲国和青岛的创作语境以及上海的接受语境对《生死场》有着同样重要的影响，此前研究对前者关注不足。引入萧红的早期创作和伪满洲国初期文坛同代人的同题材写作，有助于我们对这部作品的独特性形成更为准确的理解。作为《生死场》前身的《麦场》面对着具体的东北问题，首先内在于殖民地语境中。这一语境规范了小说的结构，决定了萧红综合描摹东北情状的表述方式。而在青岛的续作与此前部分并不是断裂的关系，作家、作品由关外到关内的跨域流动实则激活了原先结构。《生死场》的写作是前后两部分呈现出一定张力关系的、具有总体性的文本，其独特性只有在文学跨域流动的意义上才能得到诠释。

The Chinese modernist writers, deeply inspired by the Western modernist literature, translated Russian–Soviet literature and literary theories when the Leftist literary trends quickly swept across the world in the 1920s. From the vision of the European intellectuals, they saw the growing paths of both Russian and international Leftist literature after the October Revolution. In 1932, the prominent modernist poet, Dai Wangshu, relay– translated into Chinese the French Le Train blindé numéro 1469, a novel originally written by a “fellow-traveller” writer Vsévolod Ivanov (1895–1963) in 1922. Dai Wangshu was of the view that Ivanov himself “only had some basic knowledge of revolution,” and “he could have never understood the truth of revolution; he had never wanted to.” However, his fiction, “based on a simple story, creates successfully the exact chaotic atmosphere of a rebellion.” The French translation of Le Train blindé numéro 1469 published while a debate on the relationship between revolution and literature was aroused in the French Leftist intellectual circle. Dai Wangshu’s relay–translation of this work was also closely related to his reflection on the proletarian literature promoted by the Soviet Communist Party and the Chinese League of the Left-Wing Writers. With knowledge derived from French Leftist newspapers and periodicals in the 1920s, this paper will investigate how the French Leftist intellectuals perceived Ivanov and introduced his works to their home country. This paper will also re-examine the significance of exotic elements and cosmopolitan ideas in Le Train blindé numéro 1469 in the Chinese translation.

二十世紀二十年代全球左翼文藝思潮迅速發展下，被視為深受西方現代主義影響的中國現代派作家，參與譯介俄蘇文學及蘇共文藝理論。他們甚至通過歐洲左翼知識分子的視野，理解十月革命以後蘇聯以至國際左翼文藝的發展。1932 年現代派詩人戴望舒從法文轉譯屬於「同路人」的蘇聯作家伊凡諾夫 (Vsévolod Ivanov, 1895– 1963) 小說《鐵甲車》(Le Train Blindé Numéro 1469, 1922)。詩人認為伊凡諾夫「對於革命，對於一切，都祇有根據本能的認識」，「他不能真正地把握到革命的真諦，並且他也沒有想去把握」，然而小說卻成功地「在這單純的故事之外創造出一種環繞暴亂四周的空氣來。」《鐵甲車》法文翻譯出版之時，法國左翼文壇正反複思考文學與革命的關係；而戴望舒對《鐵甲車》的選譯，也聯繫著詩人自身對蘇共以及左聯主張無產階級文學的反思。本文將借助二十年代法國左翼報刊資料，探討蘇聯作家伊凡諾夫如何被法國左翼知識分子理解和譯介，並將小說文本中的異國情調以及複雜的國際主義思想重置於《鐵甲車》中文翻譯的具體歷史語境，重新審視。