在英国作家毛姆的中国游记《在中国屏风上》一书当中,叙述者眼前的中国风景与其记忆中的欧洲风景常常虚实交叠,本文拟以文中的风景描写为切入点,分析这一特别的文本现象,从形象学的角度考察作者对中国风物进行的东方主义式的解读。本文从作者在文中征用的西方文学资源与其本人的情感结构两个方面展开,探讨影响异国形象建构及文本生成的不同因素,并力图揭示《在中国屏风上》的文本如何通过文学化的表达弥合作为能指的东方与作为所指的西方之间所存在的巨大裂缝。%There is a very particular phenomenon in Somerset Maugham＇s travel sketch On a Chinese Screen, i.e. descriptions on Chinese scenery fight before the narrator＇s eyes very often melt with descriptions on European scenery rooted in the author＇s memory. Therefore, this article hopes to take the descriptions on scenery as an entry point to examine the orientalistic interpretations of Chinese scenery throughout the text. By examining the author＇s appropriation of western literary resources and his own emotional structure, I want to explore different elements which may confine the process of image formation and textual construction, and would make effort to reveal how the author used literary rhetoric to fill the huge gap between the East as signifiant and the West as signifie.
展开▼
