创见与误读:论浦安迪“中国小说的兴起”研究  

Insight and Misreading:On Andrew PlaksResearch on the"Rise of Chinese Novel"

作　　者：刘林[1] Liu Lin

机构地区：[1]山东大学文学院,山东济南250100

出　　处：《文史哲》2023年第5期122-132,167,共12页Literature,History,and Philosophy

摘　　要：美国汉学家浦安迪运用比较文学的方法研究16世纪中国小说,认为“明代四大奇书”《三国演义》《水浒传》《金瓶梅》《西游记》以反讽为主要方法改造“说书”传统和民间素材,极大提高了小说的艺术质量和思想内涵,形成“中国小说的兴起”。浦安迪之论在世界小说史上为中国小说争得一席之地,其开放包容的学术态度,中西互释、古今融通的方法都颇值得肯定与借鉴,对研究者不无启迪之功,在海外汉学家中亦属凤毛麟角。但创见与误读瑕瑜互见,也暴露出某些问题,如运用反讽过于宽泛,对小说中的反讽实例解读或可商榷,将小说人物的塑造问题过于简单化等。By applying comparative literature methodology to the research of the sixteenth-century classical Chinese novels,Andrew Plaks the American sinologist argues that the four masterworks of the Ming dynasty,including San-kuo Chih Yen-I,Shui-hu Chuan,Chin Ping Mei,and His-yu Chi(Plakstranslation),mainly made use of irony to transform the tradition of storytelling and folk materials to improve their art quality and ideological connotations,which brought into being the“rise of Chinese novel”.Plaksargument lets Chinese novel gain access to the history of world novel,whose achievement is worthy of affirmation and learning and still remains inspiring to subsequent researchers,in terms of open and tolerant academic attitude and methods of mutually interpreting Chinese and the West,the ancient and the modern novels.While Plaksresearch is distinctively excellent among oversees sinologists,some misreading or blindness may not be ignored:over-extensive applications of irony,some extremely controversial instances of ironical explication and over-simplification of characterization in classical Chinese novels.

关 键 词：浦安迪 “小说的兴起” 反讽 “组合性格” 北美汉学 

分 类 号：I207.4[文学—中国文学]