本文是一篇英语论文，本研究运用比较文学变异理论对曹顺庆的创作叛逆进行了资料检索和分析，旨在阐释这些作家在翻译《辛戈》剧作时的创作叛逆，尤其是误译和改编。首先，本研究发现郭沫若在1920第一次认识John Synge。在田汉的推荐下，郭沫若认识了这位剧作家，并在同一年写了一些关于爱尔兰的诗。1924年，郭沫若在日本读了辛格的戏剧集，回到上海后开始翻译他的作品。1926年，他的译本出版了。通过对《唐棣之花》及其译本的分析，作者还发现了《唐棣之花》与辛戈戏剧翻译中的创造性叛逆之间的密切关系，尤其是对《唐棣》和《唐棣》形象的误译。接着，本文进一步研究了辛戈在日本的发展，发现那些将爱尔兰文学和辛戈介绍到中国的中国作家都受到了日本爱尔兰爱好者的影响。而这些日本作家在翻译和译介《诗经》时也表现出了自己的创造性叛逆。从而进一步解释了中国作家引进和翻译爱尔兰文学和句法的原因。
CHAPTER ONE INTRODUCTION
1.1 Research Background
Tracing back history, Irish literature is by no means irrelevant to the modernization of Chinese literature. As early as the May Fourth New Culture Movement, instead, many famous writers have introduced Irish literature to China, such as Guo Moruo, Tian Han, Mao Dun, Lu Xun, etc. Besides, influenced by the Irish Literary Revival, the National Drama Movement led by Zhao Taimou and Yu Shangyuan has also left its own marks on the history of the Chinese play. John Millington Synge, as a representative playwright of the movement in Ireland, also was introduced to the China. As the first and only author who has translated Synge‘s all Plays, Guo Moruo led the attention of the Chinese writers to the playwright, depending on his unique aesthetic taste and pragmatic spirit.
1.1.1 Introduction of John Synge
John Millington Synge, an Irish playwright and prose writer, was a key figure in the Irish Literary Revival and one of the co-founders of the Abbey Theatre. Born in Dublin, Synge studied in Trinity College in 1888, starting his literary production after graduation. In 1896, Synge met W. B. Yeats in Paris, who encouraged him to live a while in Aran Islands to look for something to write about. The life in Aran Islands brought him a lot of inspirations, helping him become an outstanding realistic dramatist. Synge‘s literary career, unfortunately, was not long, lasting only about a decade, and then he died in 1909, leaving the world 6 plays.
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1.2 Literature Review
As the first one introducing Synge‘s plays into China, the literary relationship between the two writers deserves analysis and investigation. Since the 1980s, the study of foreign literature in China has gradually resumed, bringing scholars‘ discussion between Guo Moruo and Synge.
Although the number of the studies about the literary relationship between the two writers at home and abroad is not up to our expectations, there are still some research achievements. Most of the studies are based on the perspectives of comparative literature, while others focus on the translation. The previous researches are summed up as follows:
(1) On the aesthetic purports and creative ideas
Some researchers tend to analyze the aesthetic purports and creative ideas shared between the two dramatists. For example, Liu Jue (1986) pointed out that the bond between Guo Moruo and John Synge was their common points in their theatrical aesthetic ideal and dramatic artistic temperament. While Zhong Dehui (1984) mentioned that Guo Moruo believed that Synge‘s sympathy with the lower classes made his dramas outstanding. In addition, Yuan Diyong (1993) considered that the factors of realism existing in Synge‘s works were the motivation for Guo to translate those plays.
(2) Synge‘s influence on Guo Moruo
Analyzing the impact of Synge on Guo is still a hot spot for some researchers. In the master's thesis, Yan Biyu (2009) pointed out that the colloquial words used by Guo to express the character‘s moods are influenced by John Synge, and Yan Biyu also noted In the Shadow of the Glen as well as the blind person in Nie Ying as examples to support the point. Besides, in another master thesis, Yan Xiaoying (2007) pointed out that the symbolism in Guo Moruo‘s play Morning, was influenced by Riders to the Sea, which is one of the representatives among symbolism dramas.
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CHAPTER TWO CREATIVE TREASON IN THE VARIATION THEORY OF COMPARATIVE LITERATURE
2.1 The Variation theory of Comparative Literature
The variation theory of comparative literature is a new field in the comparative literature. The proposal of this theory forms the third stage of the world comparative literature, the Chinese school. This school focuses on heterogeneity and variation. The first school, the French school, mainly about the influence study, focuses on the empirical study. The second school, mainly constituted by the American school, is featured by the parallel study and interdisciplinary study.
With the development of world comparative literature, Chinese school put forward the variation theory of comparative literature. In 2005, Professor Cao Shunqing put forward the concept at the eighth Annual Conference and International Symposium of Chinese Comparative Literature in 2005. In his The Study of Comparative Literature (2010) and a series of other articles and books, he has gradually built up the Variation Theory. In 2013, he published the book The Variation Theory of Comparative Literature, systematically presenting the theory to the international community。
This book systematically talks about the theory. In the book, this theory is defined as: on the basis of crossing and literariness, the Variation Theory of Comparative Literature is the study on variations of the literary phenomena of different countries with or without factual contact as well as the comparative study on the heterogeneity and variability of different literary expressions in the same subject area so as to achieve the goal of exploring the patterns of intrinsic differences and variability (2013: 32).
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2.2 Creative Treason
In the perspective of the Variation Theory, the core of Medio-translatology is Creative Treason. In fact, Medio-translatology is developed by professor Xie Tianzheng in China. And Professor Cao Shunqing applied Xie‘s ideas in his book. Cao Shunqing defined Medio-translatology that:
Strictly speaking, Medio-translatology is a study of literature and culture instead of a study of language, because its concern is the loss, distortion, addition, and extension of the original information in language transmission instead of the transformation between foreign and native languages, and it is concerned with what is the unique value and significance of translation (literary translation) as an activity in intercultural communication (2013: 133).
In fact, according to Cao Shunqing, the core of Medio-translatology is Creative Treason. It was firstly put forward by Robert Escarpit, which means:
Translation puts works into a completely unanticipated reference system; people say translation is creative, because it gives the works brand-new looks and broadly provides the readers brand-new literary communication, and also because translation prolongs the life of the work and gives it another life ( 2013: 34).
In Professor Cao‘s eyes, the essential characteristic of Creative Treason is that it introduces a text to a different environment of acceptance and changes its form by the author. The research on the Creative Treason from the perspective of Variation Theory has shifted the research emphasis from the translator self to the ways, reasons, effects and culture, expanding the horizon of the study. Analyzing the creative treason of literary phenomena from the variation theory not only pays much attention to the variation in linguistic level, but also aims to deep the cultural background and internal reasons which lead to the variation.
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CHAPTER THREE THE JOURNEY OF GUO‘S TRANSLATION AND INTRODUCTION OF JOHN SYNGE ............................ 12
3.1 Irish Literature and Synge in the May Fourth New Culture Movement ................... 12
3.2 Guo Moruo and John Synge .................................. 15
3.2.1 Discovery of Synge .......................................... 15
3.2.2 Synge’s Influence and Guo’s Creative Treason ........................ 19
CHAPTER FOUR SYNGE IN JAPAN ................................ 27
4.1 Irish Literary Revival in Japan ..............................27
4.1.1 Irish Literature in Meiji Period(1895-1912) ..........................................27
4.1.2 Irish Literature in Taisho Period (1912-1926)........................... 29
CAPTER FIVE COMPARISON BETWEEN GUO MORUO AND JAPANESE WRITERS ..................................... 42
5.1 Chinese Writers‘ Acceptance of Irish Literature and Japan ....................................... 42
5.1.1 The Influence of Japanese Writers on Chinese Writers .................................... 42
5.1.2 The Orientation of Chinese Writers .................................... 43
CHAPTER FIVE COMPARISON BETWEEN GUO MORUO AND JAPANESE WRITERS
5.1 Chinese Writers’ Acceptance of Irish Literature and Japan
Irish Literary Revival was famous in the early 20th century, so many writers in different countries put their eyes on the achievements of this movement. In the Far East, Japanese writers and Chinese writers shows some differences and similarities among their attitude and acceptance of Irish literature and Synge. Thus, analyzing their apposite attitudes towards Synge not only deepen researchers understanding of Guo Moruo‘s introduction of Synge, but also is helpful to realize Chinese writers‘ uniqueness.
5.1.1 The Influence of Japanese Writers on Chinese Writers
Since the late 19th century, the Irish Literary Revival has gradually attracted the world's attention. Japan in the East Asia firstly showed concern for and absorption of Irish literature. The "Irish fever" in Japan naturally attracted the attention of a group of Chinese students who studied in Japan, thus promoting Chinese writers‘ attention to Irish literature during China's May Fourth New Culture Movement. In other words, Japan serves as a bridge between China and Ireland in the early 20th century. Interestingly, there are similarities and differences between Chinese and Japanese writers in absorbing Irish literature.
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CONCLUSION
6.1 Findings of the Thesis
As one of the representatives of Irish Literature, John Synge has been introduced to China for about one hundred years, and he is still being discussed by many Chinese researchers. However, there are still some parts remaining to be researched. For Chinese researchers, discussing Synge‘s development in China is necessary and meaningful.
During the material search and analysis of the different translations of Synge‘s plays, this research applied Cao Shunqing‘s Creative Treason from the perspective of Variation Theory of Comparative Literature, to explain those writers creative treason in their translations of Synge‘s plays, especially the mistranslation and adaptation.
Firstly, this research found that Guo Moruo firstly knew John Synge in 1920. With Tian Han‘s recommendation, Guo knew the playwright and wrote some poems about Ireland in the same year. In 1924, Guo read Synge‘s drama collections in Japan, and began to translate his works after he came back to Shanghai. In 1926, his translation published. Through the analysis of his The Flower of Tang Di and his translations, the author also found the tight relationship between The Flower of Tang Di and his creative treason in the translation of Synge‘s plays, especially the mistranslation in the image of ―Tang Di‖ and ―Di Tang‖. Then, this thesis further studied Synge‘s development in Japan at that time, finding that those Chinese writers who introduced Irish literature and Synge to China had been influenced by Japanese Irish lovers. And these Japanese writers show their own creative treason in their translation and introduction of Synge. Thus, it further explains the causes of Chinese writers‘ introduction and translation of Irish literature and Synge. At last, through the comparisons of Chinese writers, especially Guo Moruo and some Japanese writers, this thesis found that Guo Moruo‘s acceptance of Synge is different from Japanese writers, which contributes him to become the leading role in the trend of introducing Synge at that time. Chinese writers did not accept Synge in Japanese writer‘s preference. On the contrary, Chinese writers represented by Guo Moruo holded an idea of ―use for me‖ as well as their consideration of China at that time in the introduction of foreign literature. Through the researches above, this thesis also owns its significance. It is of great significance and value to discuss the causes and consequences of Guo Moruo's introduction of Synge's plays and compare the different preferences of Chinese and Japanese writers on Synge. This paper not only provides more materials for domestic researchers to research Irish literature. In addition, by comparing the similarities and differences between Chinese and Japanese writers in introducing Irish literature and Synge's works, the research further finds out the unique points of Chinese writers in introducing Synge's plays. Finally, through such comparative studies, materials combing and close reading of the text, the paper reveals the shining points of Guo Moruo in the translation and introduction of Irish literature, so as to realize its practical significance.
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