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中国现代长篇小说在1937~1952年间的域外传播接受呈现出不同的接受样态:欧美国家出于对变革中的中国社会的认知和对中国现代小说的关注需求,译介《骆驼祥子》及《八月的乡村》等长篇,但也不可避免地出现“误读”现象;苏联及东欧社会主义国家出于相似的意识形态诉求,认同《子夜》《太阳照在桑干河上》《李家庄的变迁》等的社会意义与“范本”价值,其接受与传播评价体系呈现出高度一致性,但也遮蔽了其他视阈生成的可能;战后日本对中国抗战小说的译介则具有“文化反省”的意义,《引力》《四世同堂》等抗战小说在日本的流传是战后日本人心态逆转在文学上的投影,由竹内好等发起的“国民文学”论争又使以《李家庄的变迁》为代表的“人民文学”进一步为日本读者所熟悉。这也是日本文学界重塑“国民文学”理念,寻找精神救赎之路的必然反应。
The reception of extraterritorial communication in modern Chinese novels from 1937 to 1952 showed different acceptance patterns: the European and American countries, for their cognition of the changing Chinese society and their concern for modern Chinese novels, translated “Camel Xiangzi” and “The Village in August” is a long story, but inevitably there is a phenomenon of “misreading”. For the similar ideological appeals of the Soviet Union and Eastern European Socialist countries, they agree that “Midnight” “the sun shines on the Sanggan River” The social significance of “Lijiazhuang’s change” and “model” value are highly consistent with the evaluation system of their reception and dissemination, but they also obscure the possibility of other visual thresholds. The post-war Japanese translation of Chinese anti-Japanese war novel The significance of “cultural introspection”, “gravity” and “four generations of the same age” and other anti-Japanese novels circulating in Japan are the literary projection of postwar Japanese mentality reversal, initiated by Takenaka et al. “The controversy has also made” People’s Literature “represented by” changes in Lijiazhuang “more familiar to Japanese readers. This is also an inevitable response of the Japanese literary community to reshape the concept of ”national literature" and find the way of spiritual salvation.