题目：《呼啸山庄》在二十世纪中国的接受

专业：比较文学（上海外国语大学硕士学位论文）

作者：朱瑞党

指导教师：谢天振 教授

时间：2003年

目  录

中文摘要

Abstract

第一章  建国前 (1900—1949)《呼啸山庄》在中国的接受                                                                                                      

第一节  建国前 (1900—1949)《呼啸山庄》在中国的接受概貌

第二节 《呼啸山庄》在同时期西方的解读与接受                                                                                                        

第三节       对中西方在《呼啸山庄》接受中不同倾向的探讨

第二章  建国十七年间 (1949—1966)《呼啸山庄》在中国的接受                                                                                                                    
        第一节  建国十七年间 (1949—1966)《呼啸山庄》在中国的接受概貌                                                                                                    
        第二节  建国十七年间 (1949—1966)中国读者的期待视野                                                                                                           
        第三节  对《艾米莉·勃朗特的〈呼啸山庄〉》一书的剖析

第三章新时期 (1976—2002)《呼啸山庄》在中国的接受

第一节  新时期 (1976-2002)《呼啸山庄》在中国的接受概貌

第二节  新时期之初关于《呼啸山庄》的批评

第三节       多元文化批评关照之下的《呼啸山庄》

结语    从接受者与接受环境的创造性叛逆看《呼啸山庄》在二十世纪中国的接受

参考书目

《呼啸山庄》在中国接受研究资料辑录 (按出版时间的先后顺序排列)

一、《呼啸山庄》的中文译本

二、《呼啸山庄》评价文章

三、《呼啸山庄》的专著和收录有《呼啸山庄》的书目

中文摘要

本论文主要以接受美学与译介学为理论基石，对《呼啸山庄》在二十世纪中国的接受进行了纵向考察，同时将《呼啸山庄》与《简爱》在中国各个不同时期的接受概貌进行了横向比较，并分析得出了两部小说在各个时期接受中不同倾向的深层内因。从而揭示了接受者与接受环境的创造性叛逆所导致的《呼啸山庄》在我国各个时期接受中产生的文化变形。

    鉴于本论文的时间跨度较大，因此在论文的撰写中基本上是按照文学界常沿用的时间划分将论文共分为三个时期，每个时期分一章来撰写。即建国前这一时期(1900——1949)，建国十七年时期(1949——1966)，新时期(1976——2002)。

首先，在第一章里，文章分三节对《呼啸山庄》的接受概貌以及其成因进行了考察。第一节对《呼啸山庄》在建国前中国的接受概貌进行了梳理，得出了这—时期我国轻视《呼啸山庄》而重视《简爱》这一倾向。第二节横向考察了《呼啸山庄》在同时期西方的接受，这一时期西方对《呼啸山庄》有着与中国截然相反的接受态度。本章的第三节则是从文化语境以及读者的期待视野剖析了中西方对《呼啸山庄》不同接受倾向的深层动因。

    第二章主要探讨了建国十七年时期 (1949——1966)《呼啸山庄》在中国的接受概貌及其成因。由于政治环境的影响，读者期待视野的转移，这一时期《呼啸山庄》得以和《简爱》并驾齐驱地在我国得到了接受，但在这种接受中呈现出一种较为复杂的面貌。文艺界对《呼啸山庄》忽冷忽热，既爱又恨与青年学生对《呼啸山庄》的极大喜爱形成了鲜明的对比。本章最后一节通过对《论艾米莉·勃朗特的〈呼啸山庄〉》一书的深入剖析更为清晰地反映出了建国十七年间文艺界对《呼啸山庄》所持的态度以及复杂感情。

第三章通过对新时期《呼啸山庄》在中国接受概貌的考察，以及对新时期《呼啸山庄》的批评由单一的社会一历史批评转向多元化、多角度的批评这一发展趋势的揭示得出这一时期《呼啸山庄》已经超越《简爱》，更受读者喜爱和评论界的青睐。这也预示着《呼啸山庄》的接受将是一个不断向前延伸、发展的轨迹。

    结语部分应是本文的点睛之处。先是提纲挈领地概括了中国在二十世纪三个不同时期对《呼啸山庄》接受的不同面貌，然后以译介学中接受者与接受习；境的创造性叛逆为理论依据，揭示了与之相关连的我国各个不同时期文化语境特色并指出了创造性叛逆使《呼啸山庄》在接受中出现文化变形，在中国各个不同历史时期的接受中展现出了迥然相异的面貌。

Abstract

    Based on the reception theory and medio-translatology theory, this thesis observes the reception history of Wuthering Height in China in the 20th century in accordance with the time order. Meanwhile, it also compares Wuthering Height' reception overlook with that of Jane Eyre in different period of the 20th century in China and reaches the inner reason for which there is a variety of differences in the two novels' reception. Thus reveals it is the creative treason by receptors and reception contexts that brings about the cultural misrepresentation of Wuterhing Height in its reception in China.

    In consideration of the thesis's being involved with such a long time, it is divided into three chapters with each chapter mainly discusses one period respectively.

Chapter one analyses the overlook of Wuthering Height's reception in China from the year 1900 to 1949 and its reception in the same period in western countries. Notably, The reception tendency of China and the western countries to Wuthering Height and Jane Eyre are completely different. The former drew little attention of the Chinese people from 1900 to 1949, while the latter was highly spoken of. By comparison, the western countries had a totally opposite attitude. The reasons are well prepared to be examined at the end of this chapter.

Chapter two mainly discusses the overlook of the novel's reception in China from 1949 to 1966 and for what reason comes up such phenomenon. The influence of the political environment and the shift of the readers' expectation gave rise to the novel's reception, which enabled Wuthering Height to acquire the same acknowledgement in its reception as Jane Eyre. Whereas, there was a rather complicated phenomenon in its reception. Facing the novel, the literary circle blow cold and hot,  they both cherished it and criticized it. On the contrary, the youth at that time showed a great interest to the novel. The manifestation to the pamphlet On Emily Bronte' Wuthering Height published in 1958 can serve as a guide and will give a better understanding about the attitude held and the subtle feeling conceived by the literary circle to Wuthering Height.

   Chapter three deals with the reception of the novel from 1976 to 2002 and explores the fact that the comments on this novel in this period have been developing from a single traditional social historical criticism to a variety of criticism. And points out the novel has gone beyond Jane Eyre in China's reception in this period, which in return indicates Wuthering Height's reception is bound to extend forward ceaselessly.

   The conclusion summarizes the novel's different reception in the three different periods in China.  This part is mainly based on the creative treason  by  receptors  and  reception  contexts  theory  in Medio-translatology and reveals the relevant cultural features in different period. Moreover, it concludes that it is the creative treason by receptors and reception contexts that brings about the cultural misrepresentation and its remarkably different reception overlook in China.

                                                             扫描：张小懿