19世紀 Aesop’s Fables 中譯本的譯介與傳播硏究

吳淳邦(Soon-Bang Oh),高飛(Bee Go) 중국어문논역학회 2012 中國語文論譯叢刊 Vol.0 No.30

The first Chinese translation of Aesop’s Fables-Kuang Yi 《況義》 appeared in the 17th century. More than two centuries later, an English merchant Robert Thom, in the thirties and forties of the 19th century, cooperated with his Chinese teacher in translating Aesop’s Fables into the second Chinese version. From the wonderful life experience of Robert Thom and his academia-recognized achievements in Chinese language, the second Chinese version of Aesop’s Fables cannot be regarded as merely a historical accidental fruit of his. The author, with the Chinese Repository-a monthly English news which had a huge influence in South China in the middle of the 19th century as the thread, deduced the first version of Robert Thom’s Chinese translation of Aesop’s Fables, was YiShiMiZhuan 《意拾秘傳》. It was published in between 1837 and 1838. It is the former version of YiShiYuYan 《意拾喩言》 of 1840(82 stories). So we shall combine YiShiMiZhuan and YiShiYuYan to figure out the intention of Robert Thom’s translation, summing up as: to input a literary style-fable into the minds of Chinese readers, and embed preaching and satirizing into a pleasant reading; in the meantime what is strongly emphasized is the function of facilitating foreigners’ learning of Chinese language. Marked as the “ladder to Chinese way”, YiShiYuYan of 1840 was issued, spreading the Chinese translation of Aesop’s Fables, by the hand of Robert Thom, into southeast and north China, and even to foreign countries as Singapore and Japan. This version has various forms such as a single Chinese language, Chinese dialects and multi-languages. The Chinese translation of Robert Thom is the Chinese version of the earliest, most influential, and most penetrated in the 19th century. The title of the translation had been changed several times, but its intrinsic satirizing and preaching features of Aesop’s Fables never left its Chinese version. Taking a pleasing literary form, it is escalated in turns to the social and political height of “drum to warn the world, and bell to break the dream”. Viewed from his intention of the translation, Robert Thom’s Chinese version can be called a door-knocking brick to import western values and thoughts. Because of its influence, an important place shall be reserved in the early modern history of Chinese translation as well as in the history of the communication between Chinese and western culture.

≪聊斋志异≫的政治寓托与政治观照

LIU Yue-hui(刘跃辉),Go Bee(高飛) 한국문화융합학회 2019 문화와 융합 Vol.41 No.5

The study of the history of Chinese literature has always had the tendency to disregard historical evidence or to be one-sided, especially the study of Pu Songling and his work, Strange Tales of Liao-Zhai. Based on historical evidence, this article makes a detailed textual research analysis of Pu Songling’s family background and the course of the imperial examination. The article holds that Pu Songling’s success in the imperial examination when he was young and his later self-indulgence by seeking the ancient route and deviating from the path and goal of the imperial examination are the main reasons for his ultimate failure in the examination and his complete disconnection from his official career. However, Pu Songling had a strong sense of self, preserved his mind, indulged his feelings, and was satisfied with life in the countryside. Moreover, he had a clear self-cognition and was not addicted to imperial examinations. He inherited the tradition of Chinese literati since the Pre-Qin dynasty, which involved paying attention to themselves and their lives. His Strange Tales of Liao-Zhai is a collection of literature and thoughts based on humanity in the late Ming dynasty, which is a reverse extension of self-consciousness development in other places from the suppression of the early Qing society. The book is full of praise for people in the world and for true love and the simple concept of equality, which is intended to benefit Confucianism and political rule, hoping to use Taoism to help the world, and to put forward political views on the basis of the people. In the dull literary world of the early Qing dynasty, this book was a dazzling brilliance of human nature. 中国文学史研究,历来有脱离史证形而上的倾向,对蒲松龄与≪聊斋志异≫的研究尤为如此。 文章立足史证,对蒲松龄家世背景与科考历程进行了细致考辨,认为蒲松龄少年科场得志,随性纵情,旁求古道,不务科考,是其屡试不第,仕途中绝的主要原因。 蒲松龄有着强烈的自我意识,率性纯真,全性任情,悠然于田园之间,他有着清醒的自我认知,未尝沉迷于科场。 蒲松龄继承了先秦以来中国文人关注自我、 关注生活的传统,他创作的≪聊斋志异≫,是明末“人”的文学与思想的集大成者,是自我意识发展在清初社会受到压制,而在“他界”的逆向伸展。 书中充满了对人与人世的赞美与肯定、 对真情真爱的歌颂以及朴素的平等观念,意求“有功名教”、 以道济世,以“人”为中心对现实社会提出政治观照。 在清初沉闷的文坛中,闪出了耀眼的人性光辉。

An Analysis on Chinese Imitation of Aesop`s Fables - WuGan by Li Shi Xiong in the end of Ming dynasty

오순방 ( Oh Soon-bang ),고비 ( Go Bee ) 한국중국어문학회 2017 中國文學 Vol.92 No.-

천주교 예수회신부 니콜라스 트리고(Nicolas Trigault, 金尼?, 1577-1629)가 口述하고 중국인 신자 張?이 筆錄하여 1625年에 출간된 《況義》는 중국에서 첫 번째로 中譯된 이솝우화집이다. 《況義》의 飜譯은 이솝우화를 證道故事(선교용 이야기)로 천주교 선교저작 중에 삽입하여 서술했던 《畸人十篇》과 《七克》등의 서술방식에서 벗어나 이솝우화를 비교적 원전에 가까운 형태로 중국인에게 소개해 주었는데, 중국의 전통우언과는 다른 새로운 寓言樣式을 구현해 내었다. 당시의 우언문학은 수용과 모방을 통하여 이런 새로운 樣式을 창작해 내었는데, 明末文人 李世熊의 《物感》은 이런 문학환경에서 탄생되었다. 《物感》은 서술방식과 등장인물, 故事의 구조적 측면에서는 《況義》의 특징을 수용하였지만 證道故事의 特徵을 갖춘 서술형식과 寓意의 전달방식은 李世熊이 모두 배제시켜 버렸다. 李世熊은 창작과정 중에서 중국 傳統諷刺寓言의 특성을 수용하였지만 중국의 전통우언과는 다른 새로운 우언작품을 기술해 냄으로써 中西의 문학양식이 융합된 李世熊만의 독특한 寓言風格을 구축해 내었다. 《況義》는 출간된 뒤 작품이 널리 전파되지 않았고 영향력도 별로 대단치가 않았다. 하지만 서방의 고전문학이 종교의 지지를 받아 중국에 진입한 일종의 시범적인 케이스였는데, 李世熊은 文學家 특유의 예리한 필치로 《況義》의 이러한 특성을 흡수하고 《況義》에 나타난 종교적 證道故事의 경직된 방식을 배제시킨 뒤, 중국본토의 寓言風格을 융합시켜 《物感》이란 작품을 완성하였다. 《物感》은 中西文學의 文化交流에 있어 첫 번째로 성공한 시범작이라 할 수 있으며 中西寓言이 상호 교류한 뒤 태어난 최초의 걸작이기도 하다. 《物感》은 寓言史에 있어 중요한 지위를 차지할 뿐만 아니라 東西比較文學의 연구측면에서도 중요한 자료를 제공하는 초기의 經典이라 하겠다. In 1625 KuangYi as the first chinese translation of Aesop`s Fables was published in China, which was dictated by Nicolas Trigault(金尼?, 1577-1629), also recorded by ZhangGeng. KuangYi as the first chinese collection of Aesop`s Fables shew the general outlook of western fables to Chinese readers. KuangYi has held an unshakeable place in the history of Chinese translation literature. Unique heterogeneous culture (literary, religious) factors enrich the Chinese fable and directly contribute to the birth of WuGan, an imitation works with the combination of Chinese and Western. During the process of imitating KuangYi, Lishixiong(李世熊, 1602-1686) got rid of religious factors and combined the western literary factors with satire of chinese traditional fables to form his own style of writing fables. Nowadays, we take WuGan by LiShiXiong as the early model for the integration of Chinese and Western literature.

宋初文禁政策与李煜研究 - 以文学史史料学研究为中心

刘,跃,辉,(LIU Yue-hui),高飛(Go Bee) 한국문화융합학회 2020 문화와 융합 Vol.42 No.4

The lack of textual research on Li Yu in the history of literature since modern times has a direct impact on the evaluation for Li Yu character, ideological, and also for his work interpretation. Moreover, a huge loss of historical materials about Li Yu and his works, the distortion of the characters’ images and the shaping of “political masks” were all closely associated with the harsh cultural autocratic policies in the early Song dynasty. So, the political culture in that time was full of despotism and violence. And the early Song dynasty pushed the cultural autocracy to an unprecedented level through a softer and more euphemistic way and more strategic political means than the previous dynasties. These include: cultural monopoly, central engraving, tamper with history according to the emperor s will, widely developed literary inquisition, established secret services, and so on. This paper discusses the policy of banning literature in early Song dynasty, which proves that the history of this dynasty is mostly false and falsified, and the historical materials of former dynasties are greatly disturbed by it. In the study of Li Yu and the Southern Tang dynasty’s historical material and literatures, we must pay attention to the distinction, on the basis of searching for historical materials, try to trace back to the original historical materials, follow the method of textual criticism, try our best to restore and close to the true literary characters and works, give their due evaluation, and promote the development of the literary history in a scientific way with reflection and criticism. 近世文学史之李煜研究, 皆失于考据, 这直接影响到其人物评价、 作品解读与思想评价。 而李煜史料与作品的大量散佚, 人物形象所受到的歪曲、 丑化及政治脸谱的形成, 与宋初严酷的文禁政策有着密切的关联。 宋初的政治文化在“斯文之盛”的背后, 充满着专制与暴力。 北宋通过较前代更为柔婉的方式, 运用更富策略的政治手段, 隐秘含蓄的推进着文化专制达到空前的地步, 包括:文化垄断、 中央刻书、 承旨修史、 大兴文字狱、 特务政治等等。 文章以较多篇幅论述宋初的文禁政策, 足以证明宋史多虚妄, 及前代史料受其干扰之甚。 在李煜与南唐文史研究中, 必须注意分辨, 在着力搜求史料的基础上, 努力回溯原始史料, 遵循考据学方法, 尽力还原并接近本真的文学史人物及作品, 给予其应有的评价, 在反思与批判中推动文学史学科的科学发展。