论朱光潜对西方美学的翻译与引进

【作者】 高金岭；

【导师】 马龙潜；

【作者基本信息】 山东大学 ， 文艺学， 2005， 博士

【摘要】 朱光潜的美学研究与翻译活动长达五十多年,其研究范围贯通古今中外,而尤以西方美学的翻译与研究为根本。朱光潜学术研究中涉及到的西方美学家不计其数,从柏拉图、黑格尔、歌德、尼采、克罗齐到维柯,大凡西方重要的美学家都是他翻译引进的对象。在对中国现当代美学史的研究中,美学界研究朱光潜的论著很多。但是有关他西方美学翻译引进的专题研究却几成空白。朱光潜不仅是一位有重要影响的美学家,他还是一位当之无愧的美学翻译家,《朱光潜全集》有三分之二的篇幅都是朱光潜的译作。因此,只研究朱光潜的美学思想,而不研究他的美学翻译,我们不可能真正把握其思想体系的真谛,也不可能揭示朱光潜何以在中国现当代美学史上具有如此崇高的地位。 朱光潜的美学翻译与他的美学研究是密不可分的,朱光潜在翻译各种西方美学经典著作的同时也是在对它们所包含的美学思想进行学习与研究。本文作者认为朱光潜选择的是一条把翻译与研究紧密结合在一起的学术路径。朱光潜在中国现当代美学发展中巨大而持久的影响,很大程度上要归功于对这种学术路径的选择。朱光潜的思想之所以显得既博大精深又复杂多样,就在于他的著作不但记录了他成熟的思想,也记录了其走向成熟的矛盾过程。朱光潜的翻译与研究是一个有机整体,只孤立地研究其中的某一方面,我们无法把握朱光潜思想发展的内在规律。只有对朱光潜独特学术路径中翻译与研究之间的关系进行辩证分析,我们才能发现朱光潜思想体系的特色所在。要了解朱光潜对中国现当代美学发展的独特贡献,我们也需要通过分析朱光潜学术路径的本质特征来寻找答案。 本文以朱光潜西方美学的翻译引进为对象,欲以此为突破口,把握美学翻译在朱光潜学术活动中的地位及其对中国美学发展的影响。朱光潜的文学翻译与关于文学翻译的思想不是本文研究的重点,只是作为其西方美学翻译引进的一个参照系。为此,本文共分四章,分别研究了朱光潜的生平、朱光潜翻译与研究相结合的学术路径、朱光潜西方美学翻译的理论与实践以及朱光潜西方美学翻译引进在中国现当代美学发展中的意义与影响四个方面的问题。其中第二章朱光潜翻译与研究相结合的学术路径与第三章朱光潜西方美学翻译的理论与实践,是本文研究的重点。前者侧重于朱光潜西方美学的研究路径问题,也就是如何使翻译的西方美更多还原

【Abstract】 Zhu Guangqian (Chu Kwang Tsien) , an important aesthetician and aesthetic translator, was noted in Chinese modern and contemporary aesthetic history for his aesthetic theories as well as his large amount of translating works. Zhu Guangqian’s study and translation of western Aesthetics lasted for over fifty years, whose object of study covered almost all the important figures in western aesthetic history from Plato, Croce, Hegel, Vico, Goethe to Marx. But his major concern was given to the comparative study of Chinese classic Aesthetic thoughts and western Aesthetic thoeries, based on the materials translated all by himself. In fact, more than 70% of his Collective Works of Zhu Guangqian are translating works. So translation played an important part in his academic career. The study of his translation was necessary to understand the mystery of his great importance in Chinese Aesthetic history.The object of the present thesis is the studies of Zhu Guangqian’s translation and study of Western literary criticism and Aesthetics. To be specific, the thesis focuses itself on how the translated and borrowed western aesthetic resources give impetus to Chinese classic literary criticism for its smooth modern transition. We make ourselves avail of the distinction between translating and borrowing solely for the convenience of study, in fact they are but the two sides of the same coin.In the paper the translating and borrowing of Western literary criticism and Aesthetics by Zhu Guangqian is thought to be one of the motive power to Chinese aesthetics. And its functioning principles, channels and prerequisites are the focuses of the study. The prerequisites for the translated and borrowed western resources to be most effective are two-fold: the transitory period of Chinese classic literary criticism to its modernity and the favorable cultural pressure. The channels are classified in three aspects: new modes of thinking, new series of categories and the related concepts, fresh aesthetic experiences. The functioning principles in Zhu Guangqian’s translating and borrowing career are quite outstanding: the translator, student and scholar is all but one person in the hand of Zhu Guangqian. That is to say. he learns by doing translating and researching; it is also true to say that his researches are embodied in his translation; in other way, his translation is the direct result of learning and researching. This special way of translating and borrowing partly reveals the secret of the deeper and more lasting influence than other translator in the same field. To sum up, the outstanding influence ofZhu Guangqian’s job lies in the fact that it is not his separate translation like other translators but his unified system resulted from his special researching methodology that greatly spurred the transition of Chinese aesthetics from the classicality to its modernity.The thesis consists of four parts involving four important aspects of Zhu Guangqian’s life and academic career to translate western Aesthetics.Chapter one deals with the life of Zhu Guangqian, recording all his important experiences, such as his family life, education, academic career and social activities.Chapter two is focused on the analysis of the mechanism of Zhu Guangqian’s special way of doing translating work and research, namely, the way of incorporating learning, translating and research for the purpose of borrowing western Aesthetic thoughts to spur and accelerate the development of Chinese Aesthetics. A case study is given to reveal its inner mechanism.Chapter three tackles with the translating practices in western aesthetics and the translating theories of Zhu Guangqian. The unity of thought and language, one of the innovative theories of Zhu Guangqian, is thought to be the starting point of his translating practice. This theory is the key to understand the mystery of Zhu Guangqian’s translating theories, such as translating criterion, translating techniques and translatability.Chapter four studies the impact of Zhu Guangqian’s translating achievement on the development of Chinese aesthetics by way of borrowing western aesthetic ideas, materials and methodologies.It is worth to be noted that in the thesis under the concept of translation we make an important distinction between translating and translating variants, each with its own advantages and disadvantages. By the latter we mean those translations done by giving much liberty to the translator to make free alterations on the original works by means of adding, editing, incorporating, clarifying, revising and annexing; while the former is translating in the normal sense without abridgement except for some minor changes and necessary notes. A further distinction is made in the thesis between literary and nonliterary translation for a better scrutiny of the present study object of Zhu’s job that is surely placed in the latter field. Due to the above distinction, there is a great difference of focuses in translation: meaning or significance. All other differences in the two kinds of translation are consequences of the above shifting of focuses.For all the above distinctions and studies to hold water the theory of the unity of thought and language is introduced and fully testified. Only when this is true can we account for the great influence exerted on the development of Chinese Aesthetics bytranslating and borrowing of western resources. For it is plain fact that what confronts the translator is above all the foreign language, and the direct result of the translator’s creative endeavor is the transformed works in the target language. It is also quite obvious that the influence of translation is not restricted to language but the mode of thinking; concepts, genres and the aesthetic experiences are enriched and even replaced by the borrowed western resources. The only correct answer to this puzzle is the unity of thought and language, that is to say, when language is changing, so is the mode of thinking, concepts and the aesthetic experiences, and vice verse. Here lies the origin and foundation of the motive power on Chinese aesthetic development by the very act of translating and borrowing of western literary criticism and aesthetic thoughts.更多还原