「革命女傑」再探俄國革命者「蘇菲亞」形象在日本與中國的流播與轉化(1881-1911)

Revisiting the“Revolutionary Heroine”: The Dissemination and Transformation of the Image of the Russian Revolutionary“Sophia”in Japan and China (1881-1911)

本文從跨文化傳播與翻譯的視角，探討19世紀俄國革命者書寫的《地下的俄羅斯》以及其所描述的「蘇菲亞」形象，如何在日本的政治小說《鬼啾啾》、歷史學術著作《近世無政府主義》、中國的小說《東歐女豪傑》、傳記〈俄國虛無黨女傑沙勃羅克傳〉等著作中，因應著國家面臨的現代政治轉型而不斷被轉化。本文分為四個部分：第一部分討論俄國革命者司特普尼亞克撰寫《地下的俄羅斯》的動機、策略，以及「蘇菲亞」在其著作中的形象與意義；第二部分探討日本民權運動家宮崎夢柳改編的《鬼啾啾》所呈現的「蘇菲亞」形象；第三部分探討歷史學者煙山專太郎《近世無政府主義》內「蘇菲亞」的形象轉化；第四部分聚焦中國知識人根據日人著作所譯述的「蘇菲亞」形象的特色和政治意義。追索「蘇菲亞」的事蹟及其形象的源流，當更能清楚勾勒其形象在數種文化脈絡中的意義轉化，同時也能呈現在19世紀末至20世紀初全球化脈絡下政治宣傳、文化詮釋與象徵彼此交織的圖景。

The present article examines, from the perspective of cross-cultural translation, how the character Sophia in Underground Russia, a work written by Russian revolutionary Sergey Stepniak-Kravchinsky (1851-1895), has been continually transformed in various works to respond to modern political shifts, such as the Japanese political novel Kishushu鬼啾啾and the historical academic work Kinsei museifushugi近世無政府主義(Modern Anarchism) as well as Chinese novels and biographies including Dong Ou nühaojie東歐女豪傑(Heroines of Eastern Europe) and“Eguo xuwudang nüjie Shaboluoke zhuan”俄國虛無黨女傑沙勃羅克傳(“The Biography of Russian Nihilist Heroine Sophia Perovskaya”). The article is divided into four parts: The first discusses the motivations and strategies of Stepniak in writing Underground Russia, along with the image and significance of Sophia in his work. Secondly, the portrayal of Sophia in Kishushu, adapted by Japanese civil rights activist Miyazaki Muryu宮崎夢柳(1855-1889), is explored. The third part delves into the transformation of Sophia’s image in historical scholar Kemuyama Sentarou’s煙山專太郎(1877-1954) Modern Anarchism. Finally, the fourth focuses on the characteristics and political significance of the image of Sophia as translated and interpreted by Chinese intellectuals based on Japanese works. By tracing the deeds of Sophia and the evolution of her image, we can more clearly outline the transformation of her significance in various cultural contexts, as well as presenting a picture of the interweaving of political propaganda, cultural interpretation, and symbolism within the global contexts of the late 19th and early 20th centuries.