“我歌颂肉体”：穆旦自我翻译的韵律

穆旦作为现代中国重要的诗人、学者与翻译家，他的跨语际写作实践为研究者理解其抒 情现代性提供了关键切入点。以穆旦青年时期中文创作并自译为英文的十二首诗作为研究对象，结 合自我翻译研究与翻译现代性讨论，可考察穆旦在语言转换中对声音、节拍与句法结构的调度方式。 穆旦并未将自我翻译视为对原作的简单再现，而是以韵律与旋律性维度为核心，在诗之身体与作者之 身体之间建立制衡关系，从而在“翻译自我”与“重写自我”之间维持张力。通过对诗行分布、重复、跨 行、头韵与谐音等手段的并置细读，可以揭示穆旦如何以韵律为媒介在忠实与创造之间达成协商，并 凸显其自我翻译诗学在现代中国翻译现代性语境中的独特意义。同时，说明这一“微型”自译文本群如 何反思单语主义，并与西方现代主义资源形成互动，以重申抒情性与真实性并拓展其世界文学可见度。

As an important poet, scholar and translator in modern China, Mu Dan 's cross-lingual writing practice provides a key entry point for researchers to understand his lyrical modernity. Taking Mu Dan 's twelve poems written in Chinese and self-translated into English in his youth as the research object, combined with self-translation research and translation modernity discussion, this paper examines Mu Dan 's scheduling of sound, rhythm and syntactic structure in language transformation. Mu Dan does not regard self-translation as a simple reproduction of the original work, but takes the rhythm and melody dimensions as the core to establish a balance between the body of poetry and the body of the author, so as to maintain the tension between " translated self " and " rewritten self. " Through the juxtaposition and close reading of the verse distribution, repetition, cross-line, alliteration and homophony, we can reveal how Mu Dan negotiates between faithfulness and creation with rhythm as the medium, and highlight the unique significance of his self-translation poetics in the context of modernity of modern Chinese translation. At the same time, it explains how this ' miniature ' self-translated text group reflects on monolingualism and interacts with Western modernist resources to reaffirm lyricism and authenticity and expand its visibility in world literature.