近半個(gè)世紀(jì)以來(lái)，西方世界的李清照研究取得了很大的進(jìn)展和成就。尤其在李清照的性情、詩(shī)詞的主題和內(nèi)容，以及創(chuàng)作手法方面收獲頗豐，而且研究所采取的切入視角也是新意迭出。自上世紀(jì)六十年代始，李清照的作品便經(jīng)海外學(xué)者大量地譯介到了英語(yǔ)世界。這些海外學(xué)者中也不乏眾多華裔，他們一道為實(shí)現(xiàn)這一對(duì)比研究的可能性做出了突出貢獻(xiàn)。 透過(guò)大量的海外譯本和研究論著，我們發(fā)現(xiàn)西方學(xué)者眼中的李清照形象和國(guó)內(nèi)學(xué)者發(fā)掘的形象有許多是共通的，中西學(xué)者對(duì)李清照偉大內(nèi)涵的界定都是基于其嫻熟的詩(shī)詞創(chuàng)作技巧和琴棋書(shū)畫(huà)兼善的素養(yǎng)，從而將她奉為中國(guó)古代歷史上最為優(yōu)秀的女性作家；他們尤為重視李清照作品中呈現(xiàn)出的愛(ài)情、婚姻里的女性形象，這是中西方在跨文明的對(duì)話中尋找到的一個(gè)共同話題；此外，他們還對(duì)李清照關(guān)心國(guó)家命運(yùn)、熱愛(ài)生活、花影滿身和“酒鬼”等這些美好的女性品質(zhì)都表現(xiàn)出了欣賞和欽佩。中西學(xué)者在李清照研究中也存在許多的差異性，而且這種差異性具備更高的學(xué)術(shù)價(jià)值。中國(guó)學(xué)者眼中李清照的多愁善感在西方學(xué)者筆下顯得過(guò)于放蕩不羈；原作中的性隱晦或本來(lái)與性無(wú)關(guān)的內(nèi)容被牽強(qiáng)地涂抹上了性色彩。除此之外，西方學(xué)者研究中的一個(gè)亮點(diǎn)就是運(yùn)用西方文學(xué)批評(píng)理... 

【文章頁(yè)數(shù)】：68 頁(yè)

【學(xué)位級(jí)別】：碩士

【文章目錄】：
摘要
Abstract
Chapter Ⅰ Introduction
    1.1 Background of the Thesis
    1.2 Aim and Significance
    1.3 Structure of the Thesis
Chapter Ⅱ Literature Review
    2.1 Domestic Studies of Li Qingzhao
    2.2 Reception of Li Qingzhao in the Western World
        2.2.1 Translations of Li’s Literary Works
        2.2.2 Achievements on Studies of Li Qingzhao
Chapter Ⅲ The Same Literary Mind: Points of Similarities in Images
    3.1 The Greatest Patriotic Poetess inAncient China
        3.1.1 An Unswerving Patriot
        3.1.2 AStrict Literary Critic
    3.2 ASentimental Woman in Love and Marriage
        3.2.1 The Flower of Love
        3.2.2 The Forgivable Remarriage
    3.3 AVivacious Girl, anAnthomaniac, and a Woman Winebibber
        3.3.1 An Anthomaniac with a Carefree Youth
        3.3.2 AWoman Winebibber Takes Wine as a Listener
Chapter Ⅳ Different Interpretation: Image Variation in Heterogeneous Culture
    4.1 Argumentation from the Perspective of Feminism
        4.1.1 Femininity in Li’s Literary Works
            4.1.1.1 The Real Femininity in Women’s Voice
            4.1.1.2 Archetypal Works ofAndrogyny
        4.1.2 “The Other” in Male-Dominant Literary Tradition
            4.1.2.1 Li Qingzhao and Female Literary Tradition in Ancient China
            4.1.2.2 Li Qingzhao’s Role in Male-Dominant Literary Tradition
        4.1.3 An “Abandoned Woman” in Fixed Feudal Roles
            4.1.3.1 Competitive and Brave, but Impotent to Change
            4.1.3.2 Yearning in Words, Complaint in Silence
    4.2 APoet of Erotic Spirit
    4.3 ABohemian in Feudal Society
        4.3.1 Not Being Modest in Showing Talents
        4.3.2 Care Little about Confucian Rules
    4.4 AComposed Woman with No Specific Religious Belief
        4.4.1 Lukewarm in Confucianism, Buddhism and Taoism
        4.4.2 Mature and Peaceful in Mind
Chapter Ⅴ Reflections on the Similarities and Variations
    5.1 Similarity—Basis of Comparability
    5.2 Variation—Core of Comparability
        5.2.1 Cultural Filtration and Literary Misreading
            5.2.1.1 Cultural Pre-understanding
            5.2.1.2 Recipient’s Subjectivity
            5.2.1.3 Variation at Language Level
        5.2.2 Inspirations from Western Literary Theory
Chapter Ⅵ Conclusion
Bibliography
Acknowledgements


【參考文獻(xiàn)】：
期刊論文
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[2]風(fēng)箏之線——評(píng)王紅公、鐘玲翻譯的李清照詩(shī)詞[J]. 鄭燕虹.  外語(yǔ)學(xué)刊. 2011(03)
[3]近二十年李清照研究述評(píng)[J]. 張強(qiáng).  文學(xué)遺產(chǎn). 2004(05)
[4]李清照的女性意識(shí)[J]. 張忠綱,綦維.  文史哲. 2001(05)
[5]論李清照的反傳統(tǒng)精神[J]. 張學(xué)忠.  社會(huì)科學(xué)研究. 1998(03)



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