毛姆作品刻画的中国形象研究

发布时间：2019-05-29 14:05

【摘要】：作为20世纪英国重要作家之一，毛姆一生爱好旅行，他的足迹遍及世界各地。他的很多作品是对旅行所见所闻的描绘，极其富含异国情调色彩。毛姆的很多作品涉及到中国或者以中国为背景，是20世纪初描写中国较为集中的英国作家。他曾于20世纪20年代到中国旅行，并将在中国的见闻落笔成文，如《在中国屏风上》、《刀锋》、《彩色的面纱》和《苏伊士之东》等都是其描绘中国的作品。19世纪以来整个西方世界对中国充满鄙视和诋毁，毛姆作品里对中国的描绘受到了西方帝国主义及东方主义的影响，他来中国追寻的是古代的繁荣和绚丽，却漠视中国的现实，作品处处透露着其在西方文化优越感作用下内心深处东方主义的傲慢与偏见。本文采用定型理论以及赛义德的东方主义理论分析毛姆作品中的中国形象。本文在细读文本的基础上分别从文化、物质方面介绍毛姆作品中的中国形象。通过对毛姆笔下的中国形象分析得出结论,即毛姆笔下的中国形象是对中国文化的误读，并从东方主义的影响、异质文化的隔膜、中国文化本身的庞杂、毛姆对中国文化掌握的片面性以及毛姆个人视域来分析产生误读的原因，提出在文化相互交流过程中如何克服文化误读，使同异质文化交流更为有效。本论文分为三部分，引言、正文和结论，主要内容如下：第一部分是引言，主要包括对毛姆及其作品的概述、目前国内外对毛姆作品的研究现状、本论文采用的研究方法、研究目的及研究的现实意义。第二部分是正文，包括四章。第一章主要介绍本论文采用的理论框架，即东方主义理论和定型理论。20世纪以来，在西方描述东方情形下用东方主义概念是有否定含义的，大意指该学者抱着十八、十九世纪的欧洲帝国主义态度来理解东方世界，或指外来者带着某种偏见来理解东方文化。定型概念是美国新闻评论家、作家沃尔特·李普曼1922年提出的。在其著作《舆论》中，李普曼首先把“定型观念”引入社会学的研究领域。他认为定型观念是一种认知方式，这种方式组织我们对整个人群的印象,是我们对整个被认知群体所形成一种简单的、固定的印象。因此定型观念仅仅是一种简单的认知。作为一个深受西方文化影响的作家，毛姆当然是以西方人的视角来认知中国的，其作品中带有浓厚的东方主义色彩，体现了以毛姆为代表的西方人的文化定势，可见定势理论对于塑造中国形象影响深远。第二章主要是对毛姆笔下的中国形象进行分析。毛姆是把中国人作为“他者”来刻画的——中国人是外貌丑陋的野蛮人。他的作品中多次提及到黄皮肤、黑眼睛、塌鼻梁和冷漠的神秘感。中国人的相貌不符合种族主义者的审美标准，因为种族主义者认为，白人是最高贵的人种，白人比其他肤色人种优越。白人是美的，因为他们有白色的、高贵的肤色，高高的鼻梁以及高大的身材。虽然在种族等级中，中国人优越于非洲黑人，但是中国人仍然不符合白人的审美，因为中国人身材短小，有着深色并且接近非洲人的黄色皮肤，眼睛细长，面部也缺乏西方白人面部所拥有的立体感，，中国人的这些特点都使他们接近黑人而不是西方白人。所以中国人被视为丑陋、恶心、肮脏、神秘。中国人又是晦涩难懂的，他们有时善良、淳朴，有时候却又圆滑、残忍、奸诈、欺骗和不诚实可信。毛姆描写的中国是一片贫穷、落后、肮脏不堪、瘟疫横行和停滞不前的蛮荒景象。毛姆笔下的中国城市也是处处肮脏破败，空气中散发着令人窒息的恶臭，几乎没有可以行走的道路。他笔下的中国人口数量如此庞大，以至于中国的城市到处拥挤不堪，并且中国还存在一个野蛮的现象，那就是弑杀婴儿。其作品中的种族主义显而易见。第三章指出毛姆作品中所反映的并不是中国的真实情况，更不能完整展现中国的文明。他对中国的认知是对中华文明和文化的误读和污蔑，是西方帝国主义思想影响的结果。从其作品中可以看出，毛姆深入考察了中国很多文化元素，不同地区的风物人情、民俗民风、山川地理、宫庙建筑等，并对中国文化中的儒道思想、世俗观念甚至恶风劣俗进行了思考和批评。但是，毛姆的观点根植于西方异质文化土壤，而且他对于中国的观察也是蜻蜓点水、浮光掠影式的，作品中出现很多对中国文化的误读也就不可避免了。本章分别从物质和精神两个层面来论述毛姆对中国文化的误读。物质误读主要是从中国建筑、地理、山川等方面来分析，精神误读主要是从中国制度、文化、宗教、艺术等方面来分析。第四章提出毛姆对中国形象误读的原因，并提出跨文化交际过程中如何克服文化误读，以促进同异质文化之间的交流。以毛姆为代表的西方人对中国的认知不是中国的现实情况而是对中国的想象、幻想、虚构和误读。毛姆对中国产生误读是不可避免的，因为英国人不可能像中国本土人一样对中国做出真切的、符合实际的认识、理解和评价。毛姆对中国误读的原因很多，如相距遥远、文化差异、西方人的优越感、文化成见、文化定势等都可能导致误读出现。本论文从以下方面来对误读寻根探源：东方主义影响下的英国社会环境、中国文化本身的庞杂、以毛姆为代表的西方人的文化定势、中国人的排外自大心理等。最后一部分总结毛姆笔下中国形象的异域文化色彩，毛姆作品中刻画的中国形象不是真正的中国形象，而是毛姆带着东方主义的傲慢与偏见对中国文化的误读。毛姆塑造中国形象受到其西方人身份、个人经历和个人视域的影响。同时中国形象一定意义上是塑造者毛姆根据自己的需要塑造的，是塑造者欲望的体现。最后总结毛姆对中国文化误读的原因并且提出减少误读的可行办法。本论文目的在于鼓励人们正确地、批评性地看待西方文学作品，认清西方文学作品中对于中国文化的误读，提出在同异质文化交流过程中努力克服文化误读，促进两种文化之间的交流。误读在文化交流中不可避免，因此人们应该以正确的态度去看待在塑造异域形象时产生的误读。在文化交流中我们要摆脱傲慢与偏见，承认文化的多样性，尽可能减少文化误读，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
【学位授予单位】：辽宁大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I561.074

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