〈送報伕〉在中國：《山靈：朝鮮台灣短篇集》與楊達小說的接受

“Newspaper Man” in China: The Reception of Mountain Spirits: Selected Short Stories from Korea and Taiwan and Yang Kui’s short story

楊逵的小說〈新聞配達夫〉（中文譯名〈送報伕〉），是台灣文學史上首先發表於日本文學雜誌的小說，也是第一篇以中文和世界語被譯介到中國的台灣小說。它於殖民統治下的台灣受到禁止，為突破封鎖投稿日本，打開了台日左翼作家的交流，繼而被胡風介紹到中國，又於戰後初期台灣與省外作家交流上起過重要作用，在左翼文學交流史上極為重要。從〈新聞配達夫（前篇）〉到〈送報伕〉胡風譯本，銘刻一部殖民地小說在東亞旅行的過程。本文以版本與文藝接受脈絡的考察為方法，分析流通於台、日、中的〈送報伕〉在中國場域的接受情況，並藉由中、日文壇不同接受脈絡的釐清，理解楊逵在東亞左翼文化走廊中扮演的角色。筆者將以〈新聞配達夫（前篇））（初刊版）、〈新聞配達夫）（全篇版）和〈送報伕〉胡風譯本（胡風版）三種最早版本為對象，首先探討這篇小說在台灣的原初發表背景；其次考察胡風譯本出現於《世界知識》、《弱小民族小說選》、《山靈：朝鮮台灣短篇集》的脈絡；最後說明三０年代上海盛行的弱小民族文學譯介風潮，如何影響了中國文壇對台灣左翼小說的接受與詮釋。

Yang Kui’s short story “Newspaper Man” is extremely important in the history of the exchange of left-wing literature, for it is not only the first short story in the history of Taiwan literature published in a magazine of Japanese literature, but also the first Taiwanese short story translated into Chinese and Esperanto and introduced to China. The course from “Shimbun Haitatsu Fu (Prequel)” to “Newspaper Man” translated by Hu Feng inscribes the journey in East Asia taken by a short story of the colony. The paper analyzes the reception of “Newspaper Man” in China, a short story circulated in Taiwan, Japan, and China, by investigating the contexts of editions and literary reception and scrutinizes the role Yang Kui played in the left-wing corridor in East Asia by examining different reception contexts in the literary circles in China and Japan. Focusing on the three earliest editions, “Shimbun Haitatsu Fu (Prequel)” (first edition), “Shimbun Haitatsu Fu” (full edition), and “Newspaper Man” translated by Hu Feng (Hu Feng’s edition), I first explore the background of this short story when it was originally released in Taiwan; next, I examine the contexts when the edition translated by Hu Feng appeared in World Knowledge, Selected Short Stories from Minor Cultures, and Mountain Spirits: Selected Short Stories from Korea and Taiwan; finally, I explain how the trend of translating minor literatures prevalent in Shanghai in the 1930s influenced the reception and interpretation of Taiwan left-wing short stories in the literary circle in China.