1956年12月,由印度发起的亚洲作家会议在德里召开,这是现代历史上首次由亚洲知识界发起、在亚洲境内举办、以亚洲作家为主体的跨国集会。本文从冷战、文学史、中印文化关系三个向度出发,揭示亚洲作家会... more 1956年12月,由印度发起的亚洲作家会议在德里召开,这是现代历史上首次由亚洲知识界发起、在亚洲境内举办、以亚洲作家为主体的跨国集会。本文从冷战、文学史、中印文化关系三个向度出发,揭示亚洲作家会议的历史意义和研究价值,并提出三个主要论点。首先,会议在尼赫鲁不结盟政策的主导下带有自觉的反冷战意识,但不同力量、主张和诉求在会场内外的合流与碰撞,同时折射出冷战政治对印度及亚洲知识分子或有形或无形的影响。其次,会议对“泛亚洲文学”的畅想和对亚洲新兴民族国家“国族文学”的构建,为随后贯穿20世纪下半叶的亚非作家运动奠定了基础,故应在各参与国及世界文学史上占有一席之地。最后,印度和中国在会议筹办过程中积极参与,密切合作,显示了“中印兄弟”浪漫主义话语的实践空间。会议为两国作家提供了前所未有的专业性多边交往平台,深化了此前双边文化外交的内涵。
The India-initiated Asian Writers’ Conference (AWC), which was held in Delhi in December 1956, marks the first transnational assembly organized by Asian intellectuals, on Asian ground, and with a distinctive Asian subjectivity. This essay investigates the AWC’s historical and academic significance from the perspectives of the Cold War, literary history, and China-India cultural relations, and thus formulates three main arguments. First, the AWC held a self-consciously anti-Cold War position in line with Nehru’s non-aligned policy, but the interplay and conflicts between different forces, outlooks, and demands at the conference reflect the tangible and intangible influences Cold War politics had exerted on the intellectuals of India and Asia alike. Second, the AWC should be given a greater emphasis in literary history because it prepared solid grounds, conceptual and organizational, for the later Afro-Asian writers’ movement by enabling an insightful conceptualization of a “pan-Asian literature” and a construction of “national literature” in the emergent Asian nation-states. Third, the ways in which China and India enthusiastically cooperated in actualising the AWC indicate the ample space for putting the “Hindi-Chini Bhai Bhai” rhetoric into practice. The conference created an unprecedented platform wherein Chinese and Indian writers could interact as professionals and in a multilateral framework, which reinforced the effect of the bilateral cultural diplomacy that had been underway between the two countries since 1950.
本文聚焦中印人文交流中相对鲜被关注的一个面向——中国现代文学在印度的译介与接受。为了更加细致、详实地揭示这一宏观文学现象的微观表现和具体成因,本文将中印两国建交的最初十年作为重点考察时期,以一手... more 本文聚焦中印人文交流中相对鲜被关注的一个面向——中国现代文学在印度的译介与接受。为了更加细致、详实地揭示这一宏观文学现象的微观表现和具体成因,本文将中印两国建交的最初十年作为重点考察时期,以一手译本、媒体报道、统计数据等资料为依据,将该时期印度对中国现代文学的接受模式大体归纳为三类:第一类,以左翼渠道直接引进和阅读中国官方发行的英文外宣书刊;第二类,以印度语言翻译和介绍中方制定的文学“经典”和文学规范;第三类,借助特殊的“跨文化经验”和“政治资本”编纂更具主观色彩的文学选集。在对现象进行归纳的同时,本文还尝试结合政治、意识形态、个人等多重因素,对印方的文本选择和改写等行为进行了初步解析。
19世纪末,孟加拉知识分子以本土萨克蒂信仰为基础,首次将“印度母亲”构建为一个具有民族主义色彩的政治隐喻。20世纪上半叶,世俗民族主义和印度教民族主义两股力量在独立运动的进程中逐渐分化,双方均将... more 19世纪末,孟加拉知识分子以本土萨克蒂信仰为基础,首次将“印度母亲”构建为一个具有民族主义色彩的政治隐喻。20世纪上半叶,世俗民族主义和印度教民族主义两股力量在独立运动的进程中逐渐分化,双方均将“印度母亲”再现为符合自身意识形态的有限的民族主义想象,并通过围绕这一概念开展的一系列意义生产、视觉表达和话语实践,将抽象的民族主义理念转化为可以被民众感知、认同的对象。甘地和尼赫鲁对“印度母亲”的构想具有“去神祇化”的世俗主义倾向,前者以多元宗教的平等共存为核心,后者以广大无产阶级的觉醒进步为标志。相反,以团家族为首的印度教民族主义者强调“印度母亲”作为“印度教特性”化身的神圣性以及作为“印度教徒”母亲的专属性,他们利用图像、建庙、朝圣、口号等手段,不断释放“印度母亲”在强化“印度教徒”文化凝聚力和民族认同方面的潜能。莫迪执政以来,印度教民族主义强势发展,团家族通过策略性地运用“印度母亲必胜”这一口号,在穆斯林“他者”中进一步划分敌友,扩大自身势力,同时对国大党世俗民族主义的传统话语空间造成挤压。本文考察“印度母亲”在不同历史阶段及不同政治语境下的多元构想和表述,旨在从一个文化与政治相结合的视角,增进对印度民族主义演进过程及当代走向的认识。In the late 19th century, intellectuals of Bengal made the first attempt to formulate “Bharat Mata” into a nationalist political metaphor on the basis of Shaktism. As secular nationalism and Hindu nationalism increasingly went on separate ways amid the independent movement of the first half of the 20th century, both forces represented “Bharat Mata” as limited nationalist imagination in accordance with their specific ideologies. Through a series of meaning productions, visual articulations and discursive practices centering on this concept, they transformed the abstract idea of nationalism into a tangible object that common people could perceive and identify with. Mahatma Gandhi and Jawaharlal Nehru conceived of “Bharat Mata” with a distinct secular tendency to “de-deify” this figure: While Gandhi’s conception focused on equal coexistence of multiple religions, Nehru’s was marked by a valorization of the awakening and progress of the proletariat. In contrast, Hindu nationalists headed by the Sangh Parivar emphasized the sacred status of “Bharat Mata” as the avatar of “Hindutva” and its exclusiveness as the mother of all “Hindus”. They constantly released the potentials of “Bharat Mata” to enhance the cultural cohesion and national identification among “Hindus” by means of image, temple, yatra and slogan. The years since Modi came to power saw the mighty resurgence of Hindu nationalism. Thanks to its strategic use of the slogan “Bharat Mata ki Jai”, the Sangh Parivar has increased its power and influence by creating new demarcations between enemy and friend among the Muslim “Other”, and has also posed substantial pressures on the Congress’s conventional discursive space of secular nationalism. This paper examines the complex configurations and articulations of “Bharat Mata” in different historical conjunctures and political contexts. It aims to deepen our understanding of the evolutionary processes and current dynamics of nationalism in India from a perspective that holds culture and politics together.
This paper performs a critical reading of the counter-intuitive inclusion of Zhang Zhaohe, a mino... more This paper performs a critical reading of the counter-intuitive inclusion of Zhang Zhaohe, a minor writer best known as the wife of the great novelist Shen Congwen, in “Modern Chinese Stories”, an English anthology compiled by Indian diplomat K.M. Panikkar. Proposing the concept of “subterranean translation”, this paper shows how the explicit translation of Zhang’ s story functioned as an implicit inclusion of Shen, when he was denied legitimacy by the state’s literary authorities due to his non-compliance. Shen was present in the anthology not through direct translation of his works, but through a strong intertextuality between his real-life predicament and the protagonist’s dilemma in Zhang’ s story. (This essay is originally published at http://www.wls.sav.sk/?page_id=9)
World Literature in Motion: Institution, Recognition, Location. Edited by Flair Donglai Shi and Gareth Guangming Tan. Hanover and New York: Ibidem with Columbia University Press, 2020
From 1980 to 1991, seven titles of Gulshan Nanda’s Hindi popular fiction were translated into Chi... more From 1980 to 1991, seven titles of Gulshan Nanda’s Hindi popular fiction were translated into Chinese without Western involvement, and Kaṭī pataṅg alone spawned nearly twenty adaptations in both theatrical and picture-story book forms. This essay argues that Nanda’s popular fiction contributed to China’s cultural reconstruction in the 1980s by: (a) fulfilling the previously repressed need of Chinese readers for entertaining novels that nonetheless conveyed a desired moral order; (b) by enabling Chinese translators of Indian literature to engage with the wider literary debate about the re-evaluation of popular literature; and (c) by helping revitalize Chinese theatre in a time of crisis. This paper also shows the complexity of transnational flows of popular literature by presenting a Trans-Asian example that relied mostly on the works’ melodramatic appeal, their relevance to local issues, and the scholarly engagement in the host culture, rather than the author’s global stardom or the marketing strategies of multinational publishing companies. (To download the full version of this essay, please go to https://brill.com/view/journals/jwl/4/4/article-p530_5.xml)
This essay examines the ways in which India-related knowledge has been produced and disseminated ... more This essay examines the ways in which India-related knowledge has been produced and disseminated in China since 1950 when diplomatic ties were established between the two nascent nation-states. The examination proceeds along two differing yet intertwined dimensions: academic knowledge and popular knowledge. At the academic level, both traditional and modern Indology in China have undergone remarkable development, which is mainly charasterised by institutional extension, growing multidisciplinarity, and diversification of languages taught and research subjects. However, confined mostly within the intelligentsia, scholarly knowledge has limited impact on shaping China’s public views on India. This task, instead, has been well fulfilled by popular modes of knowledge production that target a wider audience, such as translated literary works, subtitled films, travel writings and media coverage. However, enhancing understanding and prejudice at the same, these mediums have created contested and fragmented images of India which await rectification and neutralisation. Thanks largely to the rise of Internet and social media in China, recent years have seen gradual convergence of the two modes of production of India-related knowledge, with junior academics embracing digital mediums to popularise rational thinking about Indian issues, while non-academics starting to generate well-studied contents in their creative engagement with Indian culture and society. In light of India’s economic growth and China’s increasing emphasis on neighbouring countries and those located along the Belt and Road, China’s demand and supply for unbiased and specialised knowledge about India are anticipated to grow in the future.
印度是域外鲁迅研究版图上较少被关注的一个区域。但事实上,印度对鲁迅的接受由来已久,并由此产生了活跃而丰富的文本迁移和话语实践。本文在现有文献的基础上,借助最新挖掘的印地语、英语、孟加拉语等一手资... more 印度是域外鲁迅研究版图上较少被关注的一个区域。但事实上,印度对鲁迅的接受由来已久,并由此产生了活跃而丰富的文本迁移和话语实践。本文在现有文献的基础上,借助最新挖掘的印地语、英语、孟加拉语等一手资料,旨在系统梳理鲁迅作品在印度译介、传播的历史脉络。文章既在历时层面对各个时期的接受趋势进行归纳描述,也在共时层面对关键文本和中介人加以分析,以便更加清晰地揭示鲁迅在印度的传播机制和文化内涵。
1956年12月,由印度发起的亚洲作家会议在德里召开,这是现代历史上首次由亚洲知识界发起、在亚洲境内举办、以亚洲作家为主体的跨国集会。本文从冷战、文学史、中印文化关系三个向度出发,揭示亚洲作家会... more 1956年12月,由印度发起的亚洲作家会议在德里召开,这是现代历史上首次由亚洲知识界发起、在亚洲境内举办、以亚洲作家为主体的跨国集会。本文从冷战、文学史、中印文化关系三个向度出发,揭示亚洲作家会议的历史意义和研究价值,并提出三个主要论点。首先,会议在尼赫鲁不结盟政策的主导下带有自觉的反冷战意识,但不同力量、主张和诉求在会场内外的合流与碰撞,同时折射出冷战政治对印度及亚洲知识分子或有形或无形的影响。其次,会议对“泛亚洲文学”的畅想和对亚洲新兴民族国家“国族文学”的构建,为随后贯穿20世纪下半叶的亚非作家运动奠定了基础,故应在各参与国及世界文学史上占有一席之地。最后,印度和中国在会议筹办过程中积极参与,密切合作,显示了“中印兄弟”浪漫主义话语的实践空间。会议为两国作家提供了前所未有的专业性多边交往平台,深化了此前双边文化外交的内涵。
The India-initiated Asian Writers’ Conference (AWC), which was held in Delhi in December 1956, marks the first transnational assembly organized by Asian intellectuals, on Asian ground, and with a distinctive Asian subjectivity. This essay investigates the AWC’s historical and academic significance from the perspectives of the Cold War, literary history, and China-India cultural relations, and thus formulates three main arguments. First, the AWC held a self-consciously anti-Cold War position in line with Nehru’s non-aligned policy, but the interplay and conflicts between different forces, outlooks, and demands at the conference reflect the tangible and intangible influences Cold War politics had exerted on the intellectuals of India and Asia alike. Second, the AWC should be given a greater emphasis in literary history because it prepared solid grounds, conceptual and organizational, for the later Afro-Asian writers’ movement by enabling an insightful conceptualization of a “pan-Asian literature” and a construction of “national literature” in the emergent Asian nation-states. Third, the ways in which China and India enthusiastically cooperated in actualising the AWC indicate the ample space for putting the “Hindi-Chini Bhai Bhai” rhetoric into practice. The conference created an unprecedented platform wherein Chinese and Indian writers could interact as professionals and in a multilateral framework, which reinforced the effect of the bilateral cultural diplomacy that had been underway between the two countries since 1950.
本文聚焦中印人文交流中相对鲜被关注的一个面向——中国现代文学在印度的译介与接受。为了更加细致、详实地揭示这一宏观文学现象的微观表现和具体成因,本文将中印两国建交的最初十年作为重点考察时期,以一手... more 本文聚焦中印人文交流中相对鲜被关注的一个面向——中国现代文学在印度的译介与接受。为了更加细致、详实地揭示这一宏观文学现象的微观表现和具体成因,本文将中印两国建交的最初十年作为重点考察时期,以一手译本、媒体报道、统计数据等资料为依据,将该时期印度对中国现代文学的接受模式大体归纳为三类:第一类,以左翼渠道直接引进和阅读中国官方发行的英文外宣书刊;第二类,以印度语言翻译和介绍中方制定的文学“经典”和文学规范;第三类,借助特殊的“跨文化经验”和“政治资本”编纂更具主观色彩的文学选集。在对现象进行归纳的同时,本文还尝试结合政治、意识形态、个人等多重因素,对印方的文本选择和改写等行为进行了初步解析。
19世纪末,孟加拉知识分子以本土萨克蒂信仰为基础,首次将“印度母亲”构建为一个具有民族主义色彩的政治隐喻。20世纪上半叶,世俗民族主义和印度教民族主义两股力量在独立运动的进程中逐渐分化,双方均将... more 19世纪末,孟加拉知识分子以本土萨克蒂信仰为基础,首次将“印度母亲”构建为一个具有民族主义色彩的政治隐喻。20世纪上半叶,世俗民族主义和印度教民族主义两股力量在独立运动的进程中逐渐分化,双方均将“印度母亲”再现为符合自身意识形态的有限的民族主义想象,并通过围绕这一概念开展的一系列意义生产、视觉表达和话语实践,将抽象的民族主义理念转化为可以被民众感知、认同的对象。甘地和尼赫鲁对“印度母亲”的构想具有“去神祇化”的世俗主义倾向,前者以多元宗教的平等共存为核心,后者以广大无产阶级的觉醒进步为标志。相反,以团家族为首的印度教民族主义者强调“印度母亲”作为“印度教特性”化身的神圣性以及作为“印度教徒”母亲的专属性,他们利用图像、建庙、朝圣、口号等手段,不断释放“印度母亲”在强化“印度教徒”文化凝聚力和民族认同方面的潜能。莫迪执政以来,印度教民族主义强势发展,团家族通过策略性地运用“印度母亲必胜”这一口号,在穆斯林“他者”中进一步划分敌友,扩大自身势力,同时对国大党世俗民族主义的传统话语空间造成挤压。本文考察“印度母亲”在不同历史阶段及不同政治语境下的多元构想和表述,旨在从一个文化与政治相结合的视角,增进对印度民族主义演进过程及当代走向的认识。In the late 19th century, intellectuals of Bengal made the first attempt to formulate “Bharat Mata” into a nationalist political metaphor on the basis of Shaktism. As secular nationalism and Hindu nationalism increasingly went on separate ways amid the independent movement of the first half of the 20th century, both forces represented “Bharat Mata” as limited nationalist imagination in accordance with their specific ideologies. Through a series of meaning productions, visual articulations and discursive practices centering on this concept, they transformed the abstract idea of nationalism into a tangible object that common people could perceive and identify with. Mahatma Gandhi and Jawaharlal Nehru conceived of “Bharat Mata” with a distinct secular tendency to “de-deify” this figure: While Gandhi’s conception focused on equal coexistence of multiple religions, Nehru’s was marked by a valorization of the awakening and progress of the proletariat. In contrast, Hindu nationalists headed by the Sangh Parivar emphasized the sacred status of “Bharat Mata” as the avatar of “Hindutva” and its exclusiveness as the mother of all “Hindus”. They constantly released the potentials of “Bharat Mata” to enhance the cultural cohesion and national identification among “Hindus” by means of image, temple, yatra and slogan. The years since Modi came to power saw the mighty resurgence of Hindu nationalism. Thanks to its strategic use of the slogan “Bharat Mata ki Jai”, the Sangh Parivar has increased its power and influence by creating new demarcations between enemy and friend among the Muslim “Other”, and has also posed substantial pressures on the Congress’s conventional discursive space of secular nationalism. This paper examines the complex configurations and articulations of “Bharat Mata” in different historical conjunctures and political contexts. It aims to deepen our understanding of the evolutionary processes and current dynamics of nationalism in India from a perspective that holds culture and politics together.
This paper performs a critical reading of the counter-intuitive inclusion of Zhang Zhaohe, a mino... more This paper performs a critical reading of the counter-intuitive inclusion of Zhang Zhaohe, a minor writer best known as the wife of the great novelist Shen Congwen, in “Modern Chinese Stories”, an English anthology compiled by Indian diplomat K.M. Panikkar. Proposing the concept of “subterranean translation”, this paper shows how the explicit translation of Zhang’ s story functioned as an implicit inclusion of Shen, when he was denied legitimacy by the state’s literary authorities due to his non-compliance. Shen was present in the anthology not through direct translation of his works, but through a strong intertextuality between his real-life predicament and the protagonist’s dilemma in Zhang’ s story. (This essay is originally published at http://www.wls.sav.sk/?page_id=9)
World Literature in Motion: Institution, Recognition, Location. Edited by Flair Donglai Shi and Gareth Guangming Tan. Hanover and New York: Ibidem with Columbia University Press, 2020
From 1980 to 1991, seven titles of Gulshan Nanda’s Hindi popular fiction were translated into Chi... more From 1980 to 1991, seven titles of Gulshan Nanda’s Hindi popular fiction were translated into Chinese without Western involvement, and Kaṭī pataṅg alone spawned nearly twenty adaptations in both theatrical and picture-story book forms. This essay argues that Nanda’s popular fiction contributed to China’s cultural reconstruction in the 1980s by: (a) fulfilling the previously repressed need of Chinese readers for entertaining novels that nonetheless conveyed a desired moral order; (b) by enabling Chinese translators of Indian literature to engage with the wider literary debate about the re-evaluation of popular literature; and (c) by helping revitalize Chinese theatre in a time of crisis. This paper also shows the complexity of transnational flows of popular literature by presenting a Trans-Asian example that relied mostly on the works’ melodramatic appeal, their relevance to local issues, and the scholarly engagement in the host culture, rather than the author’s global stardom or the marketing strategies of multinational publishing companies. (To download the full version of this essay, please go to https://brill.com/view/journals/jwl/4/4/article-p530_5.xml)
This essay examines the ways in which India-related knowledge has been produced and disseminated ... more This essay examines the ways in which India-related knowledge has been produced and disseminated in China since 1950 when diplomatic ties were established between the two nascent nation-states. The examination proceeds along two differing yet intertwined dimensions: academic knowledge and popular knowledge. At the academic level, both traditional and modern Indology in China have undergone remarkable development, which is mainly charasterised by institutional extension, growing multidisciplinarity, and diversification of languages taught and research subjects. However, confined mostly within the intelligentsia, scholarly knowledge has limited impact on shaping China’s public views on India. This task, instead, has been well fulfilled by popular modes of knowledge production that target a wider audience, such as translated literary works, subtitled films, travel writings and media coverage. However, enhancing understanding and prejudice at the same, these mediums have created contested and fragmented images of India which await rectification and neutralisation. Thanks largely to the rise of Internet and social media in China, recent years have seen gradual convergence of the two modes of production of India-related knowledge, with junior academics embracing digital mediums to popularise rational thinking about Indian issues, while non-academics starting to generate well-studied contents in their creative engagement with Indian culture and society. In light of India’s economic growth and China’s increasing emphasis on neighbouring countries and those located along the Belt and Road, China’s demand and supply for unbiased and specialised knowledge about India are anticipated to grow in the future.
印度是域外鲁迅研究版图上较少被关注的一个区域。但事实上,印度对鲁迅的接受由来已久,并由此产生了活跃而丰富的文本迁移和话语实践。本文在现有文献的基础上,借助最新挖掘的印地语、英语、孟加拉语等一手资... more 印度是域外鲁迅研究版图上较少被关注的一个区域。但事实上,印度对鲁迅的接受由来已久,并由此产生了活跃而丰富的文本迁移和话语实践。本文在现有文献的基础上,借助最新挖掘的印地语、英语、孟加拉语等一手资料,旨在系统梳理鲁迅作品在印度译介、传播的历史脉络。文章既在历时层面对各个时期的接受趋势进行归纳描述,也在共时层面对关键文本和中介人加以分析,以便更加清晰地揭示鲁迅在印度的传播机制和文化内涵。
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Papers by JIA Yan 贾岩
The India-initiated Asian Writers’ Conference (AWC), which was held in Delhi in December 1956, marks the first transnational assembly organized by Asian intellectuals, on Asian ground, and with a distinctive Asian subjectivity. This essay investigates the AWC’s historical and academic significance from the perspectives of the Cold War, literary history, and China-India cultural relations, and thus formulates three main arguments. First, the AWC held a self-consciously anti-Cold War position in line with Nehru’s non-aligned policy, but the interplay and conflicts between different forces, outlooks, and demands at the conference reflect the tangible and intangible influences Cold War politics had exerted on the intellectuals of India and Asia alike. Second, the AWC should be given a greater emphasis in literary history because it prepared solid grounds, conceptual and organizational, for the later Afro-Asian writers’ movement by enabling an insightful conceptualization of a “pan-Asian literature” and a construction of “national literature” in the emergent Asian nation-states. Third, the ways in which China and India enthusiastically cooperated in actualising the AWC indicate the ample space for putting the “Hindi-Chini Bhai Bhai” rhetoric into practice. The conference created an unprecedented platform wherein Chinese and Indian writers could interact as professionals and in a multilateral framework, which reinforced the effect of the bilateral cultural diplomacy that had been underway between the two countries since 1950.
The India-initiated Asian Writers’ Conference (AWC), which was held in Delhi in December 1956, marks the first transnational assembly organized by Asian intellectuals, on Asian ground, and with a distinctive Asian subjectivity. This essay investigates the AWC’s historical and academic significance from the perspectives of the Cold War, literary history, and China-India cultural relations, and thus formulates three main arguments. First, the AWC held a self-consciously anti-Cold War position in line with Nehru’s non-aligned policy, but the interplay and conflicts between different forces, outlooks, and demands at the conference reflect the tangible and intangible influences Cold War politics had exerted on the intellectuals of India and Asia alike. Second, the AWC should be given a greater emphasis in literary history because it prepared solid grounds, conceptual and organizational, for the later Afro-Asian writers’ movement by enabling an insightful conceptualization of a “pan-Asian literature” and a construction of “national literature” in the emergent Asian nation-states. Third, the ways in which China and India enthusiastically cooperated in actualising the AWC indicate the ample space for putting the “Hindi-Chini Bhai Bhai” rhetoric into practice. The conference created an unprecedented platform wherein Chinese and Indian writers could interact as professionals and in a multilateral framework, which reinforced the effect of the bilateral cultural diplomacy that had been underway between the two countries since 1950.