“中华文化走向世界”进程中的“东方主义陷阱”--以歌剧《图兰朵》及其母本源流为中心  

The Trap of Orientalism in the Process of “Chinese Culture Going Global”: A Critical Discourse Analysis on Turandot and Its Intellectual Origins

作　　者：王鹏[1] WANG Peng(School of International Studies,Renmin University of China,Beijing 100872,China)

机构地区：[1]中国人民大学国际关系学院,北京100872

出　　处：《江苏行政学院学报》2022年第6期37-45,共9页The Journal of Jiangsu Administration Institute

基　　金：中国人民大学2021年度拔尖创新人才培育资助计划的阶段性成果。

摘　　要：近代西方在工业文明上的优势使他们对“东方”的刻板印象在广大“东方”国家被深刻植入、建构、内化成习焉不察的集体无意识,甚至导致今天重新崛起的东方大国的文化精英在对外讲述自身历史故事与文化传统时仍因“自我殖民”而深陷其中,并在文化的再生产、再传播中重现西方殖民镜像中的自我,并以此迎合西方“东方主义”中所体现的审美标准与价值观。鉴此,本文首先借鉴萨义德的东方主义理论,在国际文化传播层面建构“东方主义陷阱”概念;然后以之为分析工具,以著名歌剧《图兰朵》为典型案例,剖析文本并对其母本源流做知识考古;最后在深入分析“东方主义陷阱”危害的基础上,就如何“讲好中国故事”、“推动中华文化更好走向世界”做理性思考。Advantages possessed by the West in industrial civilization since the onset of the modern history had allowed their stereotype of “the Orient” to be deeply embedded, constructed and internalized as a form of collective unconsciousness, which even caused the cultural elites from the rising eastern power to be stuck in it when narrating their historical stories and cultural tradition. It represents the mirror image of self featuring western colonialism in the process of cultural reproduction and re-dissemination, and caters to the aesthetic criteria and values of “Orientalism” defined by the west. Thus, this article first constructs the concept of “Trap of Orientalism” on the level of international cultural dissemination by drawing lessons from Edward W. Said’s Orientalism theory. Then, it analyses the opera Turandot as a typical text, and conducts “archaeology of knowledge” on the intellectual origins of Turandot. Finally, it offers practical suggestions to promote the efforts of “telling China’s story” and “Chinese culture going global” on the basis of in-depth analysis of the dangers of “Trap of Orientalism”.

关 键 词：讲中国故事 东方主义陷阱 图兰朵 知识考古 话语政治 

分 类 号：B83[哲学宗教—美学]