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汪曾祺把寻求现代意识作为《聊斋新义》的立意根柢,在遵循“参以己意,使成新篇”的前提下,从哲学的高度、审美的视角对《聊斋志异》进行了一次现代性的改写。就改写过的《石清虚》、《黄英》等作品来看,汪氏对原作有的几乎没有什么改动,有的则进行了创造性的深度加工,从而使原作中的“石能择主”、“人即是花”等具有现代意识的思想主题得以彰显。这样的改写与其说是蒲松龄具有“相当现代”的思想,毋宁说是汪曾祺和原作者共同合谋的产物,或者径可认为是汪曾祺对原作进行有意识的“误读”的结果。概括地看来,汪氏对《聊斋志异》的改写方式主要表现为两种情形:一是对原著所具有的“现代”思想表示认同,并在重写中强化这一立意;二是转换角度对原著进行重新审视,使改作的立意焕然一新。这种换一副眼光对旧小说进行重新定位和解读的做法不仅是旧篇新译式的语言转化,而且是旧貌换新颜的再创造。汪曾祺的《聊斋新义》在《聊斋志异》的传播史上自有其不可替代的价值。
Wang Zengqi took the modern consciousness as the gist of “Liao Zhai Xin Yi Yi”. Under the premise of “taking what one wants, making a new one”, from the philosophical height and aesthetic angle, A rewrite of modernity. On the rewritten “Shi Qingxu”, “Huang Ying” and other works of view, Wang almost did not make any changes to the original, while others carried out a creative depth of processing, so that the original “ The theme of modern thought, such as ”Lord“, ”Man is Flower,“ can be highlighted. This rewriting is not so much a matter of Pu Songling’s idea of ”rather modern“, but rather a product of the common conspiracy between Wang Zengqi and the original author, or the result of Wang Zengqi’s conscious ”misreading“ of the original. To sum up, Wang’s rewriting of Strange Stare of Liaozhai mainly manifests in two situations: first, he agrees with the original idea of ”modern“ and reinforces this conception in rewriting; secondly, Is a conversion perspective on the original re-examine, so that the idea of changing to a new look. This kind of change of vision to reposition and interpret the old novels is not only the translation of the old version of the new translation of language, but also to create a new look of the old appearance. Wang Zengqi’s ”Liao Zhai Xin Yi“ has its own irreplaceable value in the transmission history of ”Liao Zhai Zhi Yi".