汪詩珮。〈文本詮釋與文化翻譯：元雜劇《老生兒》及其域外傳播〉。《民俗曲藝》189 (2015.9): 9-62。
Wang
Shih-pe. “Textual Interpretation and
Cultural Translation: Yuan Drama Lao
Sheng Er and Its Transmission to England
Abstract
元雜劇《老生兒》為「家庭劇」，呈現彼時人情世態的悲歡離合，探討中國文化「不孝有三，無後為大」的子嗣繼承觀，連帶展現古人的家庭觀、宗族觀與祭祀觀，可視為表達其時社會風俗與民情的浮世繪。然或因其主題之保守性，近代以降此劇於討論、搬演、研究上皆乏人問津。值得注意的是，《老生兒》也是首部直接從中文原典譯為英文的元雜劇，由英人德庇時（John
Francis Davis, 1795–1890）於1817年譯出，並寫了一篇長序，介紹中國戲劇及劇場展演。德氏為何挑選《老生兒》作為第一本中國戲劇譯作？其擇選的眼光、翻譯的手法、處理文化差異的方式，能否回應「跨文化交流」之初的磨合？本文第一部份將從《老生兒》的文本詮釋出發，探討不同版本的變化如何影響劇本的人物、敘事與主題；第二部分則討論德庇時的譯本，兼及他看待中國戲劇的眼光，試圖從文化翻譯的角度，理解中西早期戲劇交流與跨文化閱讀時的觀點與側重。
Yuan
zaju Lao Sheng Er is a family play,
exhibiting “the joy and sorrow, the separation and reunion” of the common life
during 13th and 14th century. This play depicting the lack of a son as a breach
of filial piety in Chinese culture, gives shape to the concepts of the lineage,
the patriarchy, and the ancestor worship in the ancient society. Due to its
seemingly conservative theme, very little scholarly attention has been paid to
it. However, it is noteworthy that Lao
Sheng Er is the first Yuan play which was translated into English directly
from the Chinese text, by John Francis Davis (1795-1890) of Britain Davis
Also
in Journal of Chinese Ritual, Theatre and
Folklore:
汪詩珮。〈再論《張協狀元》――兼及戲文的發展與主題〉。《民俗曲藝》140 (2003.6): 47-81。
Wang
Shih-pe. “Re-examination of Chαng Hsieh chuαng-yüαn with Some
Problems about Hsi-wen.” Journal
of Chinese Ritual, Theatre and Folklore 140 (2003.6): 47-81.
汪詩珮。〈文人傳統與女性意識的對話：《青塚前的對話》中的兩種聲音〉。《民俗曲藝》159 (2008.3): 205-47。
Wang Shih-pe. “Between the Literati
Tradition and the Women's Consciousness: Two Voices from The Dialogue in front of the Green Grave.” Journal of Chinese Ritual, Theatre and Folklore 159 (2008.3):
205-47.
汪詩珮。〈文心百變與經典轉化：從《荊釵記》到《比目魚》〉。《民俗曲藝》167 (2010.3): 221-70。
Wang Shih-pe. “The Transformation
of the Classics and the Invention of Playwriting: From Jingchaiji to Bimuyu.” Journal of Chinese Ritual, Theatre and
Folklore 167 (2010.3): 221-70.