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Narrating China: Western travelers in the Middle Kingdom after the Opium War.

机译:叙述中国:鸦片战争后在中东王国的西方旅行者。

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The dissertation analyses the China images constructed in Western travel writing for Western readers in the second half of the 19th century by various Western, i.e., European and North American travelers in China. The inquiry is focused on the construction of the Other, of his culture as observed in cultural artifacts, art and architecture and of the physical/natural world he inhabits. It does this by emphasizing and privileging the visual images and direct observation, unmediated by human agents, such as Chinese interpreters, images which serve as mosaics in the re-creation of a world, experienced as profoundly different, as opposed to a representation of China based on knowledge, study and analysis of Chinese texts in ethics, philosophy, literature and history.; The study asserts that the profound shift in China's image which occurred after the close of the 18th century mirrors less changes and transformations in China, but reveals assumptions, changed perspectives and a new sense of cultural identity which the observer/traveler brings to his object. Particular attention is paid to the resulting changes in categories of observation and to divergent evaluations and judgments of phenomena and objects studied and described by earlier observers which fundamentally alter the China discourse of the 19th century.; I analyze the nature of the discourse by looking how its constitutive elements interact, i.e. the observed reality, the persona of the observer as shaped by nationality, gender and profession, and the trope of representation, which mold the period-specific image of China.; Emerging is binary perception of China, where for many travelers China becomes the essentialized oriental country, providing the Western traveler with a model of a society constructed along vastly different, if not antipodal coordinates, while for others China is perceived as "Europe retarded", diverted from innate universal progress for lack of science and technology. Either perception provides justification for Western interference, dominance and hegemony, referred to as "the civilizing mission" which in turn is closely linked to the emerging needs of capitalism in its search for markets and resources.
机译:本文分析了19世纪下半叶西方人(即欧洲和北美的中国游客)为西方读者提供的西方旅行写作中的中国形象。调查的重点是他者的建构,他在文化制品,艺术和建筑中观察到的文化以及他所居住的自然世界。它是通过强调和特权化视觉图像和直接观察来实现的,这些视觉图像和直接观察没有受到诸如中国口译员等人为媒介的介导,这些图像在重新创造世界中扮演着马赛克的角色,与中国的代表制相比,经历了截然不同的经历以知识,对汉语文本的伦理,哲学,文学和历史的研究和分析为基础。该研究断言,中国形象的深刻变化发生在18世纪末,反映出中国的变化和转变较少,但揭示了观察者/旅行者带给他的对象的假设,变化的观点和新的文化认同感。尤其要注意由此引起的观察类别的变化,以及对早期观察者研究和描述的现象和物体的不同评价和判断,这从根本上改变了19世纪的中国话语。我通过研究话语的构成要素如何相互作用来分析话语的本质,即观察到的现实,由国籍,性别和职业塑造的观察者的性格以及代表形式,这塑造了中国特定时期的形象。 ;新兴的事物是对中国的二元感知,对于许多旅客来说,中国成为东方的重要国家,它为西方旅客提供了一个建立在迥然不同的,甚至不是对立坐标的社会模型上,而对于其他旅客,中国则被视为“欧洲弱智”,由于缺乏科学技术而偏离了固有的普遍进步。两种看法都为西方干涉,统治和霸权提供了正当理由,被称为“文明使命”,而这种使命又与资本主义在寻求市场和资源时的新兴需求密切相关。

著录项

  • 作者单位

    The University of Chicago.;

  • 授予单位 The University of Chicago.;
  • 学科 History Asia Australia and Oceania.; Literature Modern.
  • 学位 Ph.D.
  • 年度 1995
  • 页码 273 p.
  • 总页数 273
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 世界史;世界文学;
  • 关键词

  • 入库时间 2022-08-17 11:49:33

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