Abstract: Xu Zhuodai's science fiction “Man-made Humans” (1923) has been regarded as his original work, while Rossum's Universal Robots (R.U.R.), a significant early science fiction play, was considered to be introduced to China in 1980 by World Literature under the name “The Universal Robots.” However, drawing on historical materials and textual analysis, this paper reconstructs R.U.R.'s transnational travel and argues that Xu Zhuodai's “Man-made Humans” is not original, but translated from the Japanese version of the original work and adapted based on this. Its Japanese version, Jinzōningen, was translated by Uga Itsuo, while the true original work is the science fiction play R.U.R. by Czech writer Karel apek. In addition,this paper traces the structure of feeling reflected by the imagination of “creating human beings.” It shows a structural change in the representation of human-making stories, shifting from a positive metaphor of nation-building toward concern of class struggle, science, and technology, and analyzes the historical force behind it.

Key words: Xu Zhuodai, “Man-made Humans”, R.U.R., textual journey, structure of feelings

摘要： 徐卓呆的科幻小说“人造人种”(1923)一直被称为其原创,而《罗素姆万能机器人》(R.U.R.)这部非常重要的早期科幻剧本则是被认为在1980年由《世界文学》杂志以“万能机器人”为名译介到中国。然而,通过史料挖掘和文本细读,本文再现了R.U.R.的跨国文本旅行,并指出徐卓呆的“人造人种”并非原创,而是根据原著的日语译本改写而来。其日语底本是宇贺伊津绪所译的《人造人间》,而真正原著是捷克作家恰佩克(Karel apek)的R.U.R.。此外,本文追溯了“造人”想象中蕴含的感觉结构,展现其从乐观的国族建构到对劳工问题和科技负面影响的忧虑这一转变,并探讨了其背后的历史动因。

关键词: 徐卓呆, “人造人种”, R.U.R, 文本旅行, 感觉结构