出其不意的助澜人——萧三与中苏文学交流

卡特琳娜·克拉克

doi:10.19857/j.cnki.ICL.20225201

出其不意的助澜人——萧三与中苏文学交流

doi: 10.19857/j.cnki.ICL.20225201

卡特琳娜·克拉克^,

耶鲁大学

详细信息

作者简介:
卡特琳娜·克拉克,耶鲁大学比较文学和斯拉夫语言文学B.E.贝辛格教授,澳大利亚人,曾在纽约州立大学布法罗分校、卫斯理大学、德克萨斯大学奥斯汀分校、印第安纳大学和加州大学伯克利分校任教。她的新著《欧亚无国界》着眼于几十年来与反殖民事业密切相关的共同体的研究。此处的"共同体"在现代意义上指的是一个世界范围内的社区,人们参与讨论、游说、写作或电影制作,致力于为共同的目标而努力。该书探究了两次世界大战期间欧洲文化生产者与亚洲同行(主要是土耳其、波斯、阿富汗、北印度、中国、日本和蒙古)之间的互动,分析了两者以推进共同事业为名产生的作品。

通讯作者:
卡特琳娜·克拉克,E-mail:katerina.clark@yale.edu

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出版历程
- 收稿日期: 2022-05-11
- 录用日期: 2022-06-10

The Accidental Facilitator: Xiao San's Outsized Role in Sino-Soviet Literary Exchanges

Katerina Clark^,

Yale University

摘要

摘要: 语言障碍是任何文学实现国际化的常见障碍。而文化融合的另一大障碍则是亚洲各国迥异的书写系统，以及普遍存在的文盲现象。许多欧洲和苏联知识分子曾以建立共同文化的名义努力克服语言差异。在革命后国际化程度较高的最初几年里，苏联的许多机构与知识分子致力于推广他们所谓的“国际语言”。在苏联先锋派中，国际主义的拥护者大多以欧洲为中心，然而在两次世界大战期间确实出现了一种类似于文学互联网的东西，尽管并不是很稳固。这在20世纪30年代体现得最为明显。鉴于两国悬殊的文学传统，以中国为落脚点将中国文学与欧俄文学融为同一种文学进行考察显然是一个颇具争议的案例。另一个复杂因素是中国的象形文字系统阻碍了识字率的提升，如果中国群众要参与文学共享，这一点至关重要。而事实上在亚洲，与欧洲文学相比中国左翼文学与苏联文学更为相近。本文着眼于中国诗人兼翻译家萧三（萧子暲）的职业生涯，并认为，萧三试图将自己塑造成一名作家和政治活动家；但事实证明，比他的作家身份本身更重要的是他在苏联和中国文坛之间扮演的中间人角色。
- 萧三 /
- 中苏 /
- 文学交流
Abstract: The language barrier was a recurrent impediment to realizing any literary international. In addition to this, there was also the problem of the lack of a common language in the more extended sense, of a lack of mutual cultural referents and tropes. Further obstacles to amalgamation were the very different writing systems in Asian countries, and widespread illiteracy, especially in Asia, which made it less realistic that throughout Eurasia leftists would be generating and reading common literary texts, let alone the masses. Despite these problems, in Europe and Soviet Russia many intellectuals strove to overcome language differences in the name of establishing a common culture. In the Soviet Union, in the initial and more internationalist post-revolutionary years, Soviet bodies and many intellectuals promoted what they called an "international language." Among the Soviet avant-garde, leading enthusiasts for internationalism were mostly also distinctly Euro-centric, although some of its members sought to include Asian languages in their messianic scenarios for a world literature. Nevertheless, during the interwar years something like a litintern did emerge, if in faltering fashion. It was most in evidence in the 1930s, when the need to unite the cultural forces of the left gained a new urgency. After the Nazi takeover in Germany in 1933, followed by the Spanish Civil War in 1936-39 and the SinoJapanese War of 1937-1945, writers all over the world were moved to join literary organizations linked with the Comintern. The author points out that China was obviously a particularly problematic case for melding its literatures with the Euro-Russian in a single literature, given the very different literary traditions of the two. A further complication is that the Chinese hieroglyphic writing system proved an impediment to spreading literacy, which was essential if the Chinese masses were to participate in the literary commons. Yet within Asia-and actually, as compared with European literatures as well-Chinese leftist literature came closest to fusing with the Russian Soviet. The article looks at the career of the figure who played an outsized role in bringing together the Soviet and Chinese leftist literatures, the Chinese poet and translator Xiao San 萧三(Xiao Zizhang 萧子暲, 1896-1983). It argues that-as is indicated in the name he adopted for himself in the early 1920s and used in the Soviet Union, Emi Xiao-Xiao identified with Émile Zola and sought to project for himself an identity as a writer and political activist;but even more consequential than his role as a writer per se proved to be the part he played as a broker between the Soviet and Chinese literary worlds.
- Xiao San /
- Sino-Soviet /
- literary exchanges

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