本文選題：“他者” + 東方救贖��； 參考：《首都師范大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版)》2016年02期

【摘要】：西方文學(xué)中的中國形象不是對中國現(xiàn)實(shí)的客觀描寫,而是作為西方文化的"他者",參與到西方文化的自我肯定、自我建構(gòu)和自我超越中。即使是到了全球化、地球村逐步實(shí)現(xiàn)的20世紀(jì)初,西方文學(xué)中的中國形象仍然是在可愛與可憎、天堂與地獄的兩極間搖擺。具體地說來,英國人由于其深厚的人文傳統(tǒng),關(guān)注中國形象所承載的"東方救贖"的主題;法國人對于異國情調(diào)和浪漫的追求使得法國文學(xué)中的中國形象體現(xiàn)出濃郁的"新異國風(fēng)味";而美國人則出于其自身利益,時(shí)而把中國人視為"黃禍的化身",時(shí)而又視其為"崛起的英雄"。
[Abstract]:The image of China in western literature is not an objective description of Chinese reality, but a "other person" of western culture, who participates in the self-affirmation, self-construction and self-transcendence of Western culture.Even at the beginning of the 20th century, when the global village was gradually realized, the image of China in western literature was still lovable and abominable, and the two poles of heaven and hell swayed.Specifically, because of its profound cultural tradition, the British pay close attention to the theme of "Oriental salvation" carried by the image of China;The French people's pursuit of exotic feelings and romance makes the Chinese image in French literature embody a strong "new exotic flavor", while the Americans are motivated by their own interests.Sometimes they regard the Chinese as the incarnation of the yellow peril and sometimes as the rising heroes.
【作者單位】： 首都師范大學(xué)外語學(xué)院;
【基金】：北京市教委青年英才計(jì)劃項(xiàng)目資助(043135336000/023)
【分類號(hào)】：I106
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本文編號(hào)：1744594