Abstract: Since its introduction into France in the early 19th century, Li Yu’s imitated huaben collection Shi’er lou has undergone over two centuries of French translation. Throughout this journey, Li Yu’s literary works, centered on the core concept of “creativity,” have been continuously interpreted, reworked, and transformed within a cross-cultural context, achieving multiple layers of “re-creation.” Early French professional sinologists treated Shi’er lou as a “cultural archive” for interpreting China, systematically presenting knowledge about Chinese society through translation supplemented by detailed annotations. The writer Théophile Gautier adapted “Heying lou” into his novel Le Pavillon sur l’eau, infusing it with his personal aesthetic ideals of aestheticism. Contemporary French sinologists, on the other hand, focus on capturing the artistic uniqueness of Li Yu’s texts, promoting the rediscovery of the literary value of Shi’er lou and facilitating a paradigm shift in sinological research toward cross-cultural dialogue. By tracing the French translations from different periods and their intertextual connections, it becomes evident that Shi’er lou has undergone multiple transformations during its dissemination, with its textual form and meaning continuously generating new significance in the foreign cultural context.

Key words: Shi’er lou, Li Yu, French sinology, French translation of Chinese classical literature

摘要： 自19世纪初传入法国以来,李渔拟话本集《十二楼》历经两百余年的法语译介。在此过程中,以“创造”为内核的李渔文学创作,在跨文化语境中不断被阐释、重构与转化,完成了多层次的“再创造”。法国早期职业汉学家将小说视为解读中国的“文化档案”,通过译介并辅以翔实注释,呈现中国社会相关知识;作家泰奥菲尔·戈蒂耶将“合影楼”改写为《水上楼阁》,在其中融入个人美学理想;当代法国汉学家则着力捕捉李渔作品的独创性,推动对《十二楼》文学价值的重新发现,并促进汉学研究向跨文化对话范式的转型。通过梳理不同时期的法语译介及其源流脉络,可见《十二楼》在传播历程中经历了多重塑造,其文本形式与内涵在异域语境中持续生成新的意义。

关键词: 《十二楼》, 李渔, 法国汉学, 中国古典文学法语译介