论中国当代诗歌中的“以译代作”现象(1966―1976)
On the phenomenon of “substitution of translation for literary creation” in contemporary Chinese poetry (1966-1976)

摘 要： 在1966―1976年间，一批创作受到限制的诗人以诗歌翻译的方式代替诗歌创作(简称“以译代作”)。这些作品呈现出迥异的文化特质，一部分译作在主流文化视野的掩饰之下，通过译文内容隐晦地表现译者的情思；另一部分译作则完全摆脱了当时的美学束缚。诗人们通过这种“以译代作”的方式迂回地展示出他们在当时的语境中无法表达的各种现实愿望和艺术诉求。同时，也展示了当代诗人在“公共空间”之外的“潜在形象”，承续了“五四”以来知识分子的精神传统，并提供了另外一种更加曲折的“言说范式”。从译介学的角度观照和评价“以译代作”现象，能够进一步彰显它应有的思想、文化和文学史价值。
Abstract: From the year 1966 to 1976 (the Cultural Revolution), a group of poets whose literary creation was constrained replaced the poetic creation in the form of poetic translation (abbreviated as "substitution of translation for creation"). These poems presented completely diverse cultural traits, of which some poems, under the mask of mainstream cultural perspective, implicitly expressed the translators' sentiments through their translations, while others completely broke free from the aesthetic constraints at that time. In this way, poets, in a roundabout way, expressed their various wishes and artistic appeals which could not be told in the cultural context at that time. At the same time, the existence of this phenomenon reveals the potential image of contemporary poets outside the public space, inherits the spiritual tradition of intellectuals which has been carried on since the times of May 4th, hence providing another kind of more tortuous “Speech Paradigm”. From the perspective of translation studies, the phenomenon of “substitution of translation for literary creation” can manifest its deserved values of thought, culture and literary value