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本文仔细梳理了《被开垦的处女地》(第一部)在中国的传播与影响,分析了土改小说、新中国农业合作化小说对其的借鉴、模仿,发现由于苏、中集体化的国情背景迥然不同、文学传统和文学精神的差异、翻译借鉴的有意筛选遮蔽,《被开垦的处女地》(第一部)在接受的过程中存在严重的误读。其在精神层面不但未对它的译者周立波发生影响,也未对深受其影响的丁玲、柳青、刘绍棠等的创作发生精神上的触动,只是在技术操作层面上为他们提供了经验。另外,通过《创业史》与《被开垦的处女地》(第一部)的比较,首次厘清了《创业史》艺术上的师承。
This paper carefully sorts out the spread and influence of the Reclamation of Virgin Land (Part One) in China, analyzes the reference and imitation of the land-based novels and the new China’s agricultural cooperative novels, and finds that due to the national conditions of the collectivization in the Soviet Union and China The differences between literary tradition and literary spirit, the intentional screening and shadowing of translation and borrowing, and the “Reclamation of Virgin Land” (Part I) have serious misinterpretation in the process of acceptance. On the spiritual level, it not only affected Zhou Libo, its translator, but also touched the creation of Ding Ling, Liu Qing, Liu Shaotang and other artists deeply influenced by it, only providing them with experience in technical operation. In addition, for the first time, through the comparison between “business history” and “land reclaimed by virgin land” (the first part), it is the first time to clarify the artistic commitment of “business history”.