發(fā)布時(shí)間：2019-05-29 14:05

【摘要】：作為20世紀(jì)英國(guó)重要作家之一，毛姆一生愛(ài)好旅行，他的足跡遍及世界各地。他的很多作品是對(duì)旅行所見(jiàn)所聞的描繪，極其富含異國(guó)情調(diào)色彩。毛姆的很多作品涉及到中國(guó)或者以中國(guó)為背景，是20世紀(jì)初描寫(xiě)中國(guó)較為集中的英國(guó)作家。他曾于20世紀(jì)20年代到中國(guó)旅行，并將在中國(guó)的見(jiàn)聞落筆成文，如《在中國(guó)屏風(fēng)上》、《刀鋒》、《彩色的面紗》和《蘇伊士之東》等都是其描繪中國(guó)的作品。19世紀(jì)以來(lái)整個(gè)西方世界對(duì)中國(guó)充滿鄙視和詆毀，毛姆作品里對(duì)中國(guó)的描繪受到了西方帝國(guó)主義及東方主義的影響，他來(lái)中國(guó)追尋的是古代的繁榮和絢麗，卻漠視中國(guó)的現(xiàn)實(shí)，作品處處透露著其在西方文化優(yōu)越感作用下內(nèi)心深處東方主義的傲慢與偏見(jiàn)。 本文采用定型理論以及賽義德的東方主義理論分析毛姆作品中的中國(guó)形象。本文在細(xì)讀文本的基礎(chǔ)上分別從文化、物質(zhì)方面介紹毛姆作品中的中國(guó)形象。通過(guò)對(duì)毛姆筆下的中國(guó)形象分析得出結(jié)論,即毛姆筆下的中國(guó)形象是對(duì)中國(guó)文化的誤讀，并從東方主義的影響、異質(zhì)文化的隔膜、中國(guó)文化本身的龐雜、毛姆對(duì)中國(guó)文化掌握的片面性以及毛姆個(gè)人視域來(lái)分析產(chǎn)生誤讀的原因，提出在文化相互交流過(guò)程中如何克服文化誤讀，使同異質(zhì)文化交流更為有效。 本論文分為三部分，引言、正文和結(jié)論，主要內(nèi)容如下： 第一部分是引言，主要包括對(duì)毛姆及其作品的概述、目前國(guó)內(nèi)外對(duì)毛姆作品的研究現(xiàn)狀、本論文采用的研究方法、研究目的及研究的現(xiàn)實(shí)意義。 第二部分是正文，包括四章。第一章主要介紹本論文采用的理論框架，即東方主義理論和定型理論。20世紀(jì)以來(lái)，在西方描述東方情形下用東方主義概念是有否定含義的，大意指該學(xué)者抱著十八、十九世紀(jì)的歐洲帝國(guó)主義態(tài)度來(lái)理解東方世界，或指外來(lái)者帶著某種偏見(jiàn)來(lái)理解東方文化。定型概念是美國(guó)新聞評(píng)論家、作家沃爾特·李普曼1922年提出的。在其著作《輿論》中，李普曼首先把“定型觀念”引入社會(huì)學(xué)的研究領(lǐng)域。他認(rèn)為定型觀念是一種認(rèn)知方式，這種方式組織我們對(duì)整個(gè)人群的印象,是我們對(duì)整個(gè)被認(rèn)知群體所形成一種簡(jiǎn)單的、固定的印象。因此定型觀念僅僅是一種簡(jiǎn)單的認(rèn)知。作為一個(gè)深受西方文化影響的作家，毛姆當(dāng)然是以西方人的視角來(lái)認(rèn)知中國(guó)的，其作品中帶有濃厚的東方主義色彩，體現(xiàn)了以毛姆為代表的西方人的文化定勢(shì)，可見(jiàn)定勢(shì)理論對(duì)于塑造中國(guó)形象影響深遠(yuǎn)。 第二章主要是對(duì)毛姆筆下的中國(guó)形象進(jìn)行分析。毛姆是把中國(guó)人作為“他者”來(lái)刻畫(huà)的——中國(guó)人是外貌丑陋的野蠻人。他的作品中多次提及到黃皮膚、黑眼睛、塌鼻梁和冷漠的神秘感。中國(guó)人的相貌不符合種族主義者的審美標(biāo)準(zhǔn)，因?yàn)榉N族主義者認(rèn)為，白人是最高貴的人種，白人比其他膚色人種優(yōu)越。白人是美的，因?yàn)樗麄冇邪咨�的、高貴的膚色，高高的鼻梁以及高大的身材。雖然在種族等級(jí)中，中國(guó)人優(yōu)越于非洲黑人，但是中國(guó)人仍然不符合白人的審美，因?yàn)橹袊?guó)人身材短小，有著深色并且接近非洲人的黃色皮膚，眼睛細(xì)長(zhǎng)，面部也缺乏西方白人面部所擁有的立體感，，中國(guó)人的這些特點(diǎn)都使他們接近黑人而不是西方白人。所以中國(guó)人被視為丑陋、惡心、骯臟、神秘。中國(guó)人又是晦澀難懂的，他們有時(shí)善良、淳樸，有時(shí)候卻又圓滑、殘忍、奸詐、欺騙和不誠(chéng)實(shí)可信。毛姆描寫(xiě)的中國(guó)是一片貧窮、落后、骯臟不堪、瘟疫橫行和停滯不前的蠻荒景象。毛姆筆下的中國(guó)城市也是處處骯臟破敗，空氣中散發(fā)著令人窒息的惡臭，幾乎沒(méi)有可以行走的道路。他筆下的中國(guó)人口數(shù)量如此龐大，以至于中國(guó)的城市到處擁擠不堪，并且中國(guó)還存在一個(gè)野蠻的現(xiàn)象，那就是弒殺嬰兒。其作品中的種族主義顯而易見(jiàn)。 第三章指出毛姆作品中所反映的并不是中國(guó)的真實(shí)情況，更不能完整展現(xiàn)中國(guó)的文明。他對(duì)中國(guó)的認(rèn)知是對(duì)中華文明和文化的誤讀和污蔑，是西方帝國(guó)主義思想影響的結(jié)果。從其作品中可以看出，毛姆深入考察了中國(guó)很多文化元素，不同地區(qū)的風(fēng)物人情、民俗民風(fēng)、山川地理、宮廟建筑等，并對(duì)中國(guó)文化中的儒道思想、世俗觀念甚至惡風(fēng)劣俗進(jìn)行了思考和批評(píng)。但是，毛姆的觀點(diǎn)根植于西方異質(zhì)文化土壤，而且他對(duì)于中國(guó)的觀察也是蜻蜓點(diǎn)水、浮光掠影式的，作品中出現(xiàn)很多對(duì)中國(guó)文化的誤讀也就不可避免了。本章分別從物質(zhì)和精神兩個(gè)層面來(lái)論述毛姆對(duì)中國(guó)文化的誤讀。物質(zhì)誤讀主要是從中國(guó)建筑、地理、山川等方面來(lái)分析，精神誤讀主要是從中國(guó)制度、文化、宗教、藝術(shù)等方面來(lái)分析。 第四章提出毛姆對(duì)中國(guó)形象誤讀的原因，并提出跨文化交際過(guò)程中如何克服文化誤讀，以促進(jìn)同異質(zhì)文化之間的交流。以毛姆為代表的西方人對(duì)中國(guó)的認(rèn)知不是中國(guó)的現(xiàn)實(shí)情況而是對(duì)中國(guó)的想象、幻想、虛構(gòu)和誤讀。毛姆對(duì)中國(guó)產(chǎn)生誤讀是不可避免的，因?yàn)橛��?guó)人不可能像中國(guó)本土人一樣對(duì)中國(guó)做出真切的、符合實(shí)際的認(rèn)識(shí)、理解和評(píng)價(jià)。毛姆對(duì)中國(guó)誤讀的原因很多，如相距遙遠(yuǎn)、文化差異、西方人的優(yōu)越感、文化成見(jiàn)、文化定勢(shì)等都可能導(dǎo)致誤讀出現(xiàn)。本論文從以下方面來(lái)對(duì)誤讀尋根探源：東方主義影響下的英國(guó)社會(huì)環(huán)境、中國(guó)文化本身的龐雜、以毛姆為代表的西方人的文化定勢(shì)、中國(guó)人的排外自大心理等。 最后一部分總結(jié)毛姆筆下中國(guó)形象的異域文化色彩，毛姆作品中刻畫(huà)的中國(guó)形象不是真正的中國(guó)形象，而是毛姆帶著東方主義的傲慢與偏見(jiàn)對(duì)中國(guó)文化的誤讀。毛姆塑造中國(guó)形象受到其西方人身份、個(gè)人經(jīng)歷和個(gè)人視域的影響。同時(shí)中國(guó)形象一定意義上是塑造者毛姆根據(jù)自己的需要塑造的，是塑造者欲望的體現(xiàn)。最后總結(jié)毛姆對(duì)中國(guó)文化誤讀的原因并且提出減少誤讀的可行辦法。本論文目的在于鼓勵(lì)人們正確地、批評(píng)性地看待西方文學(xué)作品，認(rèn)清西方文學(xué)作品中對(duì)于中國(guó)文化的誤讀，提出在同異質(zhì)文化交流過(guò)程中努力克服文化誤讀，促進(jìn)兩種文化之間的交流。 誤讀在文化交流中不可避免，因此人們應(yīng)該以正確的態(tài)度去看待在塑造異域形象時(shí)產(chǎn)生的誤讀。在文化交流中我們要擺脫傲慢與偏見(jiàn)，承認(rèn)文化的多樣性，盡可能減少文化誤讀，努力使文化交流更富有成效。
[Abstract]:As one of the most important British writers in the 20th century, Maugham was a hobby of his life, and his footprints all over the world. Many of his work is the depiction of travel, and is highly enriched with exotic colors. Mao's many works involve China or the background of China, which is a more concentrated British writer in the early 20th century. He has traveled to China in the 1920s, and has written in China, for example, on the Chinese screen>, , "The veil of color> and the east of Suez" are the works of the Chinese. Since the 19th century, the whole western world is full of contempt and discredit to China, and the portrayal of China in Mao's works has been influenced by the Western imperialism and the oriental doctrine. He came to China to pursue the ancient prosperity and the gorgeous, but ignored China's reality, and the works revealed the arrogance and prejudice of the Eastern doctrine under the influence of the western culture superiority. In this paper, the shape theory and the Orientalism theory of Saeed are used to analyze the Chinese shape in Mao's works On the basis of the fine reading of the text, this paper introduces the Chinese shape of the Mume's works from the aspects of culture and material, respectively. By analyzing the Chinese image of Mao's works, it is concluded that the Chinese image in Mao's works is a misreading of Chinese culture, and from the influence of the Orientalism, the membrane of the foreign culture, the face of the Chinese culture itself The reason of misreading is to analyze the one-sidedness of Chinese culture and Mao's personal visual field, and put forward how to overcome the cultural misreading in the process of mutual communication, so as to make the same heterogeneous cultural exchange more This paper is divided into three parts, the introduction, the text and the conclusion. The first part is the introduction, mainly including the summary of Maugham and his works, the present research status of Mao's works at home and abroad, the research methods used in this paper, the research purpose and the research The second part is The text, including four chapters. The first chapter mainly introduces the theoretical framework used in this paper, that is, the Orientalism theory and the shaping theory. The scholar held eighteen, nineteenth-century European imperialism to understand the eastern world, or to an outsider with some kind of bias. To understand the Eastern culture. The stereotype is an American news critic, a writer, Walter Lippman. In 922, Mr. Lipman first introduced the "stereotypes" to the club in his book "public opinion". In the field of research, he thinks that stereotypes are a kind of cognitive approach that organizes our impressions of the whole population, and it is a simple way for us to be a whole recognized group. That's a fixed impression. So the stereotypes are just A simple cognition. As a writer deeply influenced by the western culture, Mao is of course recognized by the western perspective, with a strong oriental color in his works, which reflects the cultural fixed potential of the Westerner, which is represented by Mao. The influence of the image of the State is far-reaching. The second chapter is mainly on the Maem's works. The Chinese image is analyzed. Mao is the Chinese as a "other person". A barbaric person with an ugly appearance. In his work, he made a number of references to the yellow skin, the black eyes, the collapse The mysterious feeling of the bridge of the nose and the apathy. The Chinese appearance is not in accordance with the aesthetic standards of the racists, because the racists are of the view that the white is the most expensive race, white superior to other skin tones. White is beautiful because they have white, noble skin tones, high The bridge of the nose and the tall figure. Although in the racial class, Chinese are superior to African black people, the Chinese still do not accord with the aesthetic of the white, because the Chinese are short, dark and close to the yellow skin of the Africans, the eyes are slender, and the face lacks Western white The three-dimensional effect of the face and the Chinese characteristics make them close to each other Blacks, not Western white. So the Chinese are regarded as ugly. It's disgusting, dirty, and mysterious. Chinese are hard to understand. They are sometimes kind, simple, and sometimes smooth, cruel and treacherous. China is a piece of poverty, backwardness, squalor, and plague, which is described by Maugham. The stagnation of the rough landscape. The Chinese cities of Mao's works are also dirty and rancid, and the air of the suffocating stench is almost the same. There is no way to walk. His Chinese population is so large that China's cities are crowded and there is a barbaric presence in China Like, that's to kill the baby. In his work, The third chapter points out that Mao's work is not the real situation in China, but more The Chinese civilization cannot be fully displayed. His cognition to China is the misreading and slander of Chinese civilization and culture, and it is the west As a result of the influence of the thought of imperialism, it can be seen from his work that Mao visited many of China's cultural elements, the customs of the different regions, the folk customs, the geography of the mountain and the palace, and the building of the temple, etc., and the Confucianism, the secular and even the evil in the Chinese culture. However, Mao's point of view is rooted in the western foreign-cultural soil, and his observation on China is also a dragonfly, a light-looking, and a lot of Chinese literature. The misreading of this chapter is inevitable. This chapter comes from both the material and the spirit The misreading of the Chinese culture is the misreading of the Chinese culture. The misreading of material is mainly from the aspects of Chinese architecture, geography, and mountains, and the spiritual misreading is mainly from the Chinese system and culture. The fourth chapter puts forward the reason of Mao's misreading of Chinese image, and puts forward how to overcome the cultural misreading in the process of cross-cultural communication. In order to promote the exchange of the same foreign cultures, the Western perception of China as a representative is not the reality of China, but in the middle The imagination, the imagination, the fiction and the misreading of the country. Mao's misreading of China is inevitable, as the British can't make a real cut to China like the native Chinese. The reason of Mao's misreading in China is much, such as the remote, cultural differences, the superiority of the westerners, the cultural stereotypes, the text, This paper, from the following aspects, may lead to misreading. This paper is to find the source of misreading: the British social environment under the influence of the Orientalism, the complex of the Chinese culture itself, and the culture of the westerners represented by Mao. The last part is to sum up the foreign cultural color of the Chinese image in Mao's works, and the Chinese image depicted in Mao's works is not the real Chinese image, but it is the main part of Mao's belt. The Misreading of Chinese Culture by the Presense of Pride and Prejudice The influence of identity, personal experience and personal visual field. What needs to be shaped is the expression of the desire of the building. At last, the paper summarizes the misreading of the Chinese culture by Mao. The purpose of this thesis is to encourage people to view the western literary works correctly, to recognize the misreading of Chinese culture in the western literary works, and to make an effort to overcome the text in the process of the same heterogeneous cultural exchange. Misreading and promoting the communication between the two cultures. Misreading is inevitable in the cultural exchange, so people should be in the right state In the cultural exchange, we should get rid of the arrogance and prejudice, and recognize the diversity of the culture, and as far as possible
【學(xué)位授予單位】：遼寧大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I561.074

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本文編號(hào)：2487989

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