女虛無黨人在近代中、日知識圈的再現與挪用（1870s-1910s）

「虛無黨」（nihilist）原是歐美報社記者用來指稱19世紀末俄國民粹主義運動時期，某些試圖以暗殺政要達成革命目的之革命家或恐怖分子。該詞彙經由報刊的全球化流通到了日本之後，被日本報界翻譯為漢字複合詞「虛無黨」。該詞彙在20世紀前後流行於中國。許多年輕女子參與了俄國民粹主義運動，她們之中也有人實際參與激烈的暗殺行動。這個現象帶給歐美的社會極大的震撼。俄國女子的事蹟隨著新聞、書刊的出版與跨國界的傳播，傳到了日本與中國，並被翻譯成日文與中文，變成日本與中國的「女虛無黨人」。本文即在探討日本與中國的知識圈如何通過翻譯，再現俄國的「女虛無黨人」，又是如何挪用「女虛無黨人」的符號到各自的歷史脈絡與政治語境中。本文利用日本與中國大量的報刊資料與書籍，以跨文化脈絡的取徑，探討翻譯的過程所產生的意義變遷。本文指出，「女虛無黨人」在日本與中國的再現，都與「國家」的轉型與建構、帝國主義對文明的論述，以及政治型態的想像緊密聯繫在一起。在轉譯過程中，「女虛無黨人」不只被再現為日本、中國傳統思想資源裡的「烈女」、「女傑」等典範形象，也反過來促成「烈女」、「女傑」意義的轉變，使這些原本帶有高度女德規範的詞語，轉變為建構國家、創造幸福社會的典範象徵。本文最後也將考察最受知識分子矚目的俄國女子「蘇菲亞」，如何被用來描述福田英子、秋瑾和何震這三位日本與中國的女子，使得「蘇菲亞」除了變為象徵「革命」的代名詞，更變成「世界之公理」。通過對「女虛無黨人」翻譯來源的考察，也可以看到俄國、英國、法國、美國、日本、中國等國家之間知識流動的軌跡，並不是純然單向的傳播，而是多面向的交流與互動。

關鍵字

虛無黨；女傑；烈女；毒婦；蘇菲亞；革命

並列摘要

The “nihilist” were originally used by reporters from European and American newspapers to refer to certain revolutionaries or terrorists who tried to assassinate political figures to achieve revolutionary goals during the Russian populist movement at the end of the 19th century. After reaching Japan through the global circulation of newspapers, it was translated into the Chinese compound word “Xiu wu Dang” by the Japanese press, and was popular in China around the 20th century. Many young women participated in the Russian populist movement, and some of them actually participated in the intense assassinations. This phenomenon greatly shocked European and American societies. The stories of Russian women spread to Japan and China along with the publication of news, books, and were translated into Japanese and Chinese, became a “female nihilists” in Japan and China. This thesis is discussing how the Japanese and Chinese intelligentsia represented the Russian “female nihilists” through translation and appropriated the symbols of “female nihilists” into their respective historical contexts and political contexts. This thesis uses a large number of Japanese and Chinese newspapers, periodicals and books to explore the changes in meaning produce by the process of translation in a cross-cultural context, and try to point out that, the representation of “female nihilist” in Japan and China is associating with the transformation and construction of the “state”, imperialism’s discourse on civilization, and the imagination of political patterns. In the translation, “female nihilists” are not only represented as model images such as “martyr” and “heroine”, but also change the meaning of “martyr” and “heroine”. These words that originally had a high assosiation to female ethics were transformed into model symbols for building a country and creating a happy society. At the end of this thesis, I will also examine how the Russian woman “Sophia” that has attracted the most attention of intellectuals is used to describe the three women : Hedeko Fukuda, Qiu Jin, and He Zhen, making “Sophia” in addition to becoming The symbolizing “revolution” and “the axiom of the world.” Through the investigation of the translation sources of the “female nihilists”, we can also see that the trajectory of the knowledge flow between Russia, Britain, France, the United States, Japan, China and other countries is not purely one-way transmission, but multi-faceted, communication and interaction.