在文学文本的跨文化旅行中,《浮生六记》自林语堂首译至今已有14种外国文版,也有辅以英、法文字幕的昆曲版在海内外演出。这些版本海外流传较广,接受度较高。《浮生六记》在海外主要译学、文学和文学外三大“观法”。在译学“观法”中,翻译评论、出版与馆藏情况等成为考察译作接受情况最重要的维度,而在中国文化“走出去”的宏观语境下,服务于汉学目的的“厚重翻译”成为一种可行的翻译策略;在文学“观法”中,《浮生六记》的文体属性、现代性特征、叙事结构、女性角色等成为争鸣焦点;在文学外“观法”中,性别身份、性别空间、情感传统等成为该作品新的介入视角。这三类“观法”可较为完整地呈现《浮生六记》在英语世界的接受生态,还可为中国文学经典海外接受提供一种研究范式。

In its cross-cultural journey as a literary text, Fu Sheng Liu Ji, since its English translation by Lin Yutang, has been rendered into 14 Languages and adapted into Kunqu Opera bearing the same title performed with English or French captions, indicating its wide appreciative reception overseas. There are three major types of conception of Fu Sheng Liu Ji in the English-speaking world: translational, literary and extra-literary. The translational conception of the work can be evaluated on the basis of the work’s translation review, foreign-language publication and library collection, the most significant factors in gauging the reception of the translated work. In the macro context of Chinese culture “going global”, “thick translation”, which better serves Sino-logical purposes, has become a workable strategy. The literary conception of the work is revealed in arguments with regard to the work’s genre, modern feature, narrative structure, female roles, etc. The extra-literary conception of the work is centered on sexual identity, sexual space, emotional tradition, etc., which are fresh generative insights into the work. These conceptions combined present a fairly complete ecology of the work’s reception in the English-speaking world, and may also paradigmatically inform and inspire studies of the reception of Chinese literary works overseas.