Proust, China and Intertextual Engagement

Transcription

1 Proust, China and Intertextual Engagement

2 Shuangyi Li Proust, China and Intertextual Engagement Translation and Transcultural Dialogue

3 Shuangyi Li Lund University Lund, Sweden ISBN ISBN (ebook) DOI / Library of Congress Control Number: The Editor(s) (if applicable) and The Author(s) 2017 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Cover credit: Renato Granieri / Alamy Stock Photo Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Springer Nature Singapore Pte Ltd. The registered company address is: 152 Beach Road, #21-01/04 Gateway East, Singapore , Singapore

4 To my parents, who dreamt of a university education

5 Acknowledgements Writing this book has been an emotionally and intellectually rewarding journey. It would have been unthinkable without the following people, to whom I am deeply indebted. I must thank Prof. Marion Schmid for inspiring this book in the first place and for being the constant reader of my emotions, thoughts, and intellectual works since my time as an undergraduate; Prof. Joachim Gentz for his careful guidance in the areas of traditional and modern Chinese thought, as well as contemporary Chinese fiction, which were almost entirely new to me at the beginning of this project; Maram for being the constant guardian of my general well-being; and my parents and my sister, Linwen Li Wei Li Xia Li who have always believed in me and supported me unconditionally all these years. This book has benefited from comments and suggestions made by Prof. Peter Dayan and Dr. Sarah Tribout-Joseph from the French Department of the University of Edinburgh, and Prof. Mary Orr whose vast knowledge of critical theory is an intellectual inspiration. My doctoral research, which laid the foundations for this book, was significantly enriched during my stay at the École Normale Supérieure (Paris), where I was able to participate in the seminars organized by the Proust research team at L Institut des Textes et Manuscrits Modernes (ITEM) and meet many eminent Proust scholars. I received special help from Pyra Wise and Prof. Annick Bouillaguet and had fruitful communications with Dr. Tu Weiqun visiting from the Chinese Academy of Social Sciences. I must also acknowledge Dr. Young-Hae from Yonsei vii

6 viii Acknowledgements University in Seoul, Dr. Yuji Murakami from Collège de France, and Dr. Yuri Cerqueira Dos Anjos from the University of São Paulo, for their help with bibliographic details. I would like to thank Dr. Peter Bland- Botham, Dr. Mary Rigby, and Michael Paparakis for their meticulous readings of various sections of the book. A condensed version of Chaps. 1 and 2 from Part I have appeared in Comparative Critical Studies ( (2014), ), and some materials on François Cheng in Part II have been used for an article in Forum for Modern Language Studies (53.2 (2017), ). I am therefore grateful to both journals for giving me permission to recycle the published materials. Finally, I am very grateful to and proud of my close circle of friends whose paths have crossed mine in various parts of the world, and whose inspiring, cosmopolitan values seem to have come regrettably under attack by our current political affairs: Xiaofan Amy Li, Peter Cherry, Alex Collins, Claire Ménard, Vincent Gélinas-Lemaire, Christian Vázquez Dietiker, Véronique Desnain, Charlotte Bosseaux, Edouard Notte, Fabien Arribert-Narce, and Ileana Daniela Chirila. I deeply appreciate our intellectual discussions, and I thank you for your courage and encouragement, as well as your drinks, chocolate, dinners, banter, laughter, dance moves, and parties.

7 Contents 1 Introduction 1 Part I The Reception of Proust in China 2 Proust and the Chinese Translations 19 3 Proust and Mainland Chinese Writers: La Recherche and Its Postmodern Hypertexts 85 Part II Proust in the Chinese Diaspora: François Cheng s Le Dit de Tianyi 4 Intertextual and Paratextual Relations Between La Recherche and Le Dit Traits Chinois/Démarche Proustienne 153 Conclusion 233 Index 243 ix

8 Abbreviations For greater clarity in in-text citations, the following abbreviations of primary texts have been adopted in this book. Full publication details of the editions cited can be found in the general bibliography. RTP I IV PT I VI FT I III (or the First Translation) ES (or the Essential Selection) XT I IV (or Xu s Translation) ZT I, II, V (or Zhou s Translation) Huhan Cries The new Pléiade edition of À la recherche du temps perdu ( ) in four volumes The Penguin English translation of La Recherche as In Search of Lost Time (2002) in six volumes The first Chinese translation of La Recherche in full in three volumes ( ) The abridged Chinese translation of La Recherche (1992) by SHEN Zhiming The new unfinished individual Chinese translation of La Recherche ( ) by XU Hejin in four volumes The new unfinished individual Chinese translation of La Recherche ( ) by ZHOU Kexi YU Hua s Chinese novella Zai xiyu zhong huhan (1991) The English translation of Huhan as Cries in the Drizzle (2007) xi

9 xii Abbreviations Cris DT (or Le Dit) RB TY The French translation of Huhan as Cris dans la bruine (2003) François CHENG s Le Dit de Tianyi (1998) The English translation of Le Dit as The River Below (2000) The Chinese translation of Le Dit as Tianyi yan I need to add a special note on the use of capitalization for Chinese surnames, as well as their order of appearance in relation to first names. According to the Chinese convention, surnames are usually placed in front of first names. However, some Chinese authors have chosen to present their names in the Western convention (i.e. first name followed by surname). In some cases, this choice reflects the author s insistence on or attitudes to their Chinese or Western identities and readerships. This is why I have kept the original order of appearance of Chinese names in this book (e.g. François CHENG, Yinde ZHANG, and GAO Xingjian). To avoid confusion, I have capitalized the Chinese surnames at their first appearances in this book.

10 List of Tables Table 5.1 Corresponding artist-characters in La Recherche and Le Dit 177 xiii