雙層贊助、內部發行與錯位詩學──《麥田裡的守望者》在1960年代大陸

The Catcher in the Rye in the Mainland During the 1960s: Double-Deck Patrons, Internal Circulation, and Discordant Poetics

一九六○年代，為滿足中蘇論戰間反資批修的需要，《麥田裡的守望者》（The Catcher in the Rye）（塞林格，1951／1963）在政府部門與出版單位的雙層贊助下被首度引入大陸並受到嚴格管控，其內部發行的漢語譯本也就此構成了社會主義現實主義這個本土主流詩學體系的負面參照。但在小說譯介的政治考量和詩學衝突背後，還潛藏有更加複雜的互動機制。從贊助角度看，正因為作家出版社取得了政府贊助人下放的文本選擇權，社內的編輯兼譯者施咸榮才能訴諸體制授權，合法地挑中了《麥田裡的守望者》作為譯介對象，不過譯者的擇取標準未必就呼應著反資批修的政治號召，而可能是源自對小說藝術價值的肯定與恢復美國真容的企望。在詩學意義上，社會主義現實主義從抒情到象徵的話語動態交替歷程，召喚出圍繞該翻譯小說的跨境批判，這些批判又轉而透過對集體象徵的鞏固介入了持續流變的本土詩學，並最終助力於社會主義現實主義遵循著某種克服與超越的現代性脈絡不斷地推展。本文透過對有關史料的抽絲剝繭，力圖廓清小說在1960年代大陸的贊助機制和錯位詩學，進而呈現出小說譯本、意識形態及主流詩學的相與交雜，由此為內部發行的文化現象鉤沉起曾被忽略的個案細節，同時就翻譯文學的歷史書寫展開了一定程度的理論反思。

To facilitate criticism of Western capitalism and Soviet revisionism during the 1960s Sino-Soviet dispute, The Catcher in the Rye was translated and published internally in the Mainland under the double-deck patronage of Chinese government agencies and the Writers Publishing House. The novel’s strictly regimented translation constituted a text subversive to socialist realism, the highly politicized poetic ordinance that governed the Chinese literary system at the time. Behind the political motive for patronizing this translation and the ensuing poetic conflict, however, lie much more complex dynamics. Which foreign literature to translate was largely left to the discretion of the Writers Publishing House by Chinese government agencies, and the editor and translator Xianrong Shi was able to take advantage of institutional power and select The Catcher in the Rye for translation. Shi’s personal motives to translate it had little to do with the widespread antirevisionist and anticapitalist sentiments in the 1960s; rather, they had much to do with his appreciation of the novel’s artistic value and hopes for an undemonized view of the United States. By placing the novel’s transcultural journey within the discursive transition of socialist realism from romantic to symbolic, moreover, it is seen that socialist realism’s collective symbolism called forth the Chinese criticism of The Catcher in the Rye in translation, reinforcing this symbolism and ultimately promoting the incessant evolution of socialist realism along certain lines of modernity. Through a detailed analysis of historical sources, this research explores how the novel’s first Chinese translation was patronized by a double-deck mechanism and interwoven into socialist realism, thus revealing the dynamics between literary translation, political ideology, and dominant poetics in the Mainland during the 1960s. The authors contribute to research on internally circulated renditions as a transcultural phenomenon and the historiography of translated literature in contemporary China.