作 者：崔琦 机构地区：华北电力学院人文大学 出 处：《中国比较文学》2017年第3期87-99,共13页Comparative Literature in China 基 金：中央高校基本科研业务费专项资金项目“译者的主体性--周氏兄弟文学翻译实践探讨”（编号2017QN18） 摘 要：“余裕”和“低徊趣味”是中国现代文学史曾反复借用的两个日语汉字词汇，其基本涵义“缓缓的。从从容容的赏玩人生”是经由周作人对日本文学的译介最终确定，而其在夏目漱石文学理论中的本来面貌，却旨在倡导一种对事件真相的趣味。本文通过追溯这一文学批评概念在旅行过程中发生的变化，日语毕业论文，以及夏目漱石被“误译”背后的真相．讨论译者对知识的采纳与挪用与译者所身处的现实语境之间的密切关联。As the borrowings from Japanese, 余裕 and 低徊趣味 were repeatedly used in modem Chinese literature. And its basic meaning was a kind of leisure lifestyle, which was first used by Zhou Zuoren in his introduction to Japanese literature. However, its original meaning in the literary theory of Natsume Soseki was to advocate a kind of interest in the truth of reality. By tracing the change of the critical concepts during the travel between Chi- na and Japan, and the ＂mistranslation＂ of Natsume Soseki, the paper tries to discuss the intimate relationship between the adoption and appropriation of knowledge by translator and its social context. 关 键 词：周作人 夏目漱石 分 类 号：I313.074[文学—其他各国文学] ，日语论文题目 |
