本文以民初上海六本雜誌為研究對象，觀察雜誌譯者對於原文與譯文之應有關係的界定，從「不忠」變為「忠實」，並漸成規範的過程。運用描述翻譯學圖里（Gideon Toury）的「規範」概念（ 1995），通過分析雜誌的翻譯文本以及徵稿條例、譯序譯註等翻譯外文本（ extratext），可見通俗雜誌的譯者在 1910年代奉行一種承自晚清、面向譯文及讀者的「不忠」翻譯規範，新文化精英在其雜誌有「忠實」的嘗試，但為譯界抗拒；新文化運動興起之後，又獲高等學府及教育部門推崇，其「忠實」理念漸成譯界規範，此時通俗雜誌譯者已意識到規範的轉變，並有意奉行，但「不忠」的實踐仍得延續；通俗雜誌譯者與清末翻譯傳統的傳承關係，亦由此加固。在新文化精英銳意變革的浪潮中，這一傳承的顯現，正可視為通俗雜誌文人的自我宣示。民初上海雜誌「忠實」翻譯規範的歷史重構，正可初展精英與通俗文人流派以雜誌為場域、以翻譯為焦點，相互競逐辯論的動態圖景。

The paper is based on a historical study on translation in six early Republican Shanghai magazines. In an contextualizing and reconstructive effort, it maps out a shift in the norm governing textual relations between source text and target text during the first two decades of Republican China. This was a period of literary paradigmatic change, when the New Culture (xinwenhua) avant-garde advocated a rupture from the classical tradition and attempted to marginalize their contemporary popular (tongsu) literati, and when ideological issues were extensively discussed in the way of translating in literary journals. In the light of the conceptual framework of Toury’s norm (1995), the paper offers a close reading on the texts and extratexts of translation in the magazines in order to delineate how the tendency to arbitrarily betray the source text, a heritage from late-Qing translation practice among magazine translators, gave way to the principle of outright faithful rendering proposed by the avant-garde; and how the shift in norm interacted with the political and cultural tensions in the period. The fact that the popular literati, with full recognition of the new norm, continued to celebrate the late-Qing translation tradition in the 1920s implies that they identified more with the decanonized literary classics than to the New Culture tenets. Translation in early Republican magazines is thus presented as a dynamic arena where ideas of literary reforms were debated and tested.