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译林出版社于 2 0 0 1— 2 0 0 2年推出了一套 1 9种《世界英雄史诗译丛》 ,大部分由原文新译。中外几位比较文学与口传文学研究者就此进行了座谈。他们认为 ,现在从事某一国家或民族文学的探讨 ,没有世界的眼光 ,没有适当的参照系和“研究平台” ,简直无法进行。史诗 ,作为原生的口传文学 ,本来是“不确定”和开放的 ,活生生的和立体的 ,“记录的文本只是药渣” ;史诗艺人 ,本身就是神启的巫师或战士 ,智者或哲学家。今天的研究 ,除了要重视其展演或讲唱的语境或情境之外 ,还要努力发掘或复原它的鲜活性、开放性和立体性。当今世界的潮流都在“追溯”或“回归”。史诗在后殖民语境里是文化多元性和文化相对主义的强大证明。
Yilin Press published a set of 19 “World Heroes Collection of Epics” from 2001 to 2002, mostly from the original translation. Several Chinese and foreign literary and oral literature researchers discussed this issue. They think it is simply impossible to conduct any discussion of a country or ethnic literature nowadays without the vision of the world and without an appropriate frame of reference and “research platform.” Epic, as a native oral literature, was originally “uncertain” and open-ended, living and tridimensional. “The recorded text is just dregs.” Epic artists are themselves divine wizards or warriors, wise men, or philosophers. In addition to emphasizing the context or context of its performance or speech and singing, today’s research must also strive to discover or restore its freshness, openness and solidity. The tide of today’s world is “tracing back” or “returning”. Epic in the post-colonial context is a strong proof of cultural pluralism and cultural relativism.