超越后殖民主义的西方负面中国形象探究——论图兰朵为何残酷  

A Research on the Negative Chinese Image in Western Literature beyond Post-Colonialism:Why Is Turandot Cruel

作　　者：薄一荻 Bo Yidi

机构地区：[1]南开大学外国语学院

出　　处：《中国比较文学》2024年第4期168-182,共15页Comparative Literature in China

基　　金：教育部哲学社会科学研究重大课题攻关项目“‘中国故事’在世界文学中的征引阐释及启示研究”(编号:20JZD046)阶段性成果。

摘　　要：在意大利经典歌剧普契尼的《图兰朵》中,中国公主呈现为残酷的形象。运用萨义德东方主义的后殖民理论来分析西方文学中的负面中国形象虽成一家之言,但或有所遮蔽。本文试图回归作品语境,分析隐匿在“他者形象”背后的“自我言说”,所据题材流变史包括波斯、奥斯曼帝国文学中伊斯兰教的苏非神秘主义背景,欧洲改编中启蒙与反启蒙潮流之间的交互、反复与叠加,直到普契尼的浪漫主义绝唱,其中还有体裁形式的流变与影响。经过近八百年的亚欧之旅,图兰朵形象的变异体现出世界文学的交流属性与现代属性。In the classic Italian opera Turandot by Puccini,the Chinese princess appears as a cruel character.Although it is a common practice using Said's postcolonial theory of Orientalism to analyze such a negative image of Chinese character in the western literature,there also appears to be certain limitations.This article attempts to return to the context of the work to analyze“the Self”hidden behind the image of“the Other”,involving the mystical Sufic background of Islam in Persian and Ottoman literature,the interaction,repetition and superposition between the Enlightenment and Counter-Enlightenment trends in European adaptations,up to Puccini's romantic swan song,as well as the influence of a changing genre form.After nearly 800 years of journey from Asia to Europe,the variation of Turandot's image reflects the communication and modern attributes of world literature.

关 键 词：超越后殖民主义 负面中国形象 图兰朵 

分 类 号：I546.073[文学—其他各国文学]