描述
开 本: 16开纸 张: 纯质纸包 装: 平装国际标准书号ISBN: 9787544757799
国家“十二五”规划重点出版项目“范存忠文集”,为一代比较文学宗师范存忠先生学术著作结集,首次整理出版。文集共5册,悉心收录范先生六十多年学术生涯中散落各处的著作、论文和学术报告,系统呈现跨文化研究先驱的学术成就,以及开创比较文学影响学派的重要思想及其历史观、文学观、文化观。作为宝贵的学术熏陶与研究资料,“范存忠文集”为当代文学研究者的研究方法提供极佳范本。
《中国文化在英国》整理自范存忠先生1931年在美国哈佛大学的哲学博士学位论文。范先生从一个中国学者的角度,对相关英、法、德等外国文献旁征博引,条分缕析,系统阐述中国文化对十七、十八世纪英国的影响及其源流。本论著已成为相关研究领域的经典必读书。此次将范先生用英文写就的论文原稿首次出版,原汁原味,,更有利于了解和研究范先生学术成果的源头和精髓。
CONTENTS
PREFACE
I. SIR WILLIAM TEMPLE AND HIS PREDECESSORS
Early cultural Relations of England and China — “Cataian” in Shakespeare —
“Cathaian Can” in Milton — China in Voyages and Travels — The English in China — The Chinese in England — The Christian Missionaries and their Translation of Confucian Classics — Sir William Temple and the “Sharawadgi” — Temple and Confucianism.
II. THE FREETHINKERS
“L’Affaire des Chinois” — Confucianism and English Deists: Collins; Tindal; Chubb — Chevalier de Ramsay as Mediator of Confucianism and Christianity — Bolingbroke and Confucianism — Voltaire on Confucianism and His Influence in England — English attacks on Voltaire, on Confucius, and on Chinese Wisdom.
III. THE JOURNALISTS
China in the Addisonian Periodicals — Defoe as an irrational Critic of China —
Du Halde’s Description of China in England — Chinese Culture and Political Journalists:
Budgell; Chesterfield; the writers of Craftsman and the Daily Gazetteer — An Irregular Dissertation.
IV. THE CONNOISSEURS
The “Chinoiseries” in England — Their Effect on English life and letters — Horace Walpole and the “Chinoiseries” — Richard Owen Cambridge and the Chinese Garden — Essays on the Chinese Taste in the World and the Connoisseur.
V. THE PLAYWRIGHTS
Sir Francis Fane’s The Sacrifice — Elkannah Settle’s The Conquest of China and The Fairy Queen — Le Petit Orphelin de la Maison de Tchao — William Hatchett’s The Chinese Orphan — Chinese Harlequins — Jean George Noverre’s The Chinese Festival — Voltaire’s L’Orphelin de la Chine — Arthur Murphy’s The Orphan of China: its Relation to the Chinese original and the previous Adaptations; its Chinese atmosphere; its Success on the Stage.
VI. OLIVER GOLDSMITH
Goldsmith and the Chinese Letters — The Idea of the “Citizen of the World”— “Il est un philosophe à sa manière” — Goldsmith as an Interpreter of Chinese Culture —
Goldsmith as a Critic of the “Chinoiseries” in England.
CONCLUSION
APPENDIX
I. Chronology.
II. Three Essays relating to the Chinese.
BIBLIOGRAPHY
I. General Works
II. Special Works
序言
我们的父亲范存忠先生1926年南京东南大学毕业后,考取了庚子赔款留美公派生,取得了美国哈佛大学语言学博士学位。Chinese culture in England:Studies from Sir William Temple to Oliver Goldsmith(《中国文化在英国–威廉·坦普尔到奥立佛·高尔斯密》),是父亲范存忠先生在哈佛大学的博士论文,这篇论文为他以后从事中国文化在启蒙时期英国的研究奠定了基础。这部论文引用法文、德文等文献旁证博引,全面深入地考察了中国文化对十七、十八世纪英国的影响及其文化源流。1944年范先生应牛津大学的邀请,在贝利奥尔学院讲学一年,就是以这篇论文为基础,系统讲述了中国文化对十七、十八世纪英国的政治和文化生活的影响及其源流。范先生精彩的演讲博得了英国知名学者、牛津大学博得礼图书馆馆长、世界著名的《约翰逊索引》编著者鲍威尔先生和英国学术界的好评。当时的学术界,像范先生这样谈论中国文化对英国影响的学者,几乎没有。可以说,范存忠先生是中英比较文学的先驱。
70年代末,范存忠先生以论文中的重要章节为基础,重新整理修改和扩充,将论文发表在国内英语语言文学研究的学术期刊上;每逢南京大学校庆学术研讨会,范先生总会在这篇论文里选择一些章节加以整理,将最新的研究心得扩充到论文中,作为学术研究报告。之后,范先生又根据这篇论文的研究资料,用中文撰写了《中国文化在启蒙时期的英国》。《中国文化在启蒙时期的英国》一书出版后,立即受到学术界的好评,在中国比较文学界具有划时代的影响;以前谈论比较文学往往忽略或者根本不谈其源流,而讨论中英文学影响的源流正是这部书的特点。这部书于1991年由上海外语教育出版社出版,2011年译林出版社再版。这部书曾经多次获奖;1991年获得中国第六届中国图书奖,1995年获得国家教委首届全国高等学校人文社会科学研究成果一等奖,2011年又获得了南京首届陶风图书奖。
感谢译林出版社社长顾爱斌先生的努力,范先生这部著于上世纪二三十年代的英文论文终于与读者见面了,这对研究范先生的学术思想及其严谨的学风,都很有意义。值得一提的是范先生这篇论文的选题不仅仅出自他的兴趣,而更重要的是他的民族自豪感。正是这种民族自豪感,使得范先生锲而不舍,追根寻源,为中英比较文学做出了杰出的贡献。
范家宁 王英
2014年11月
随着时间的推移,他的著述日渐显示出其不朽价值。范存忠先生在英国文学、比较文学、跨文化研究领域进行的开拓性工作,对我们在全球化语境下研究中西文学文化的相互融会、吸收、碰撞和影响,具有启迪意义。
——王守仁
范先生在这些专著里提出了许多独特的见解,为我国英语语言文学的教学、研究和翻译,为增进我国对外文化和学术交流作出了不可磨灭的贡献。
——杨仁敬
In exterior decoration the Chinese influence was equally subtle. Temple, Addison, and Pope, the early advocates of landscape gardening, were followed by Charles Bridgeman, William Kent, and Batty Langley. The simple rules of architecture, proportion and symmetry, were subverted; straight lines were displaced by mazes and curves; and people gradually preferred the novel and whimsical to what had been considered as elegant. The royal garden at Kensington may be regarded as a witness to the various styles of the art that came into being. It had been during the reign of William and Mary laid out by London and Wise in the prevailing Frenco-Dutch fashion of trimmed hedging, figured flower-beds, and formal walks. When it became the solitary
residence of Queen Anne, Sir Christopher Wren built the stately red and yellow “Orangerie, or artificial Green house,” where Her Majesty sometimes “took tea”, watching her gardeners at work on the geometric plots. In the next age, they were favored by the resorting of Caroline of Ausbach, the poets’ “darling of the land,” under whose auspices Bridgeman and Kent were busy, substituting stretches of lawn for “scrolled-work” parterres, groves for “verdant sculptures,” and avenues for “square precision.” By Bridgeman, who clipped his hedge “with a difference,” was introduced the “ha-ha,” or sunk fence, the pictorial effect of which was practically to annex the outlying country to the enclosure. With WM. Kent in the next regime, Queen Anne’s trimmed gardens successively disappeared; and tree-shaded walk and vistas into the park began to open in all directions. Slopes were softened; hollows gently lifted; a revolving temple rose from a “spectacular Mount”; the round pound was evolved; the string of West Bourne Pools became the conspicuous Serpentine and the Broad Walk was laid. Thus, by gradual and almost imperceptible degrees, came into existence the full-leaved and umbrageous Kensington Gardens.It was in this new style that Shenstone’s Leasowes, Lyttleton’s Hagley, Hamilton’s Pain’s-Hill, to mention but a few, were laid out. And with the advent of “Capability” Brown, beauties of the old regime began to be swept away, as few people had strength of mind enough to resist “the omnipotent magician.”
Under these circumstances the introduction of Chinese gardening was opportune. In the Lettres édifiantes et curieuses for 1749 (tome XXVII) appears a “Description de la Maison de Plaisance de L’Empereur de la Chine,” by Pere Jean Denis Attire (1743), an artist at the court of Kien-Lung. Father Attiret stressed that Yuan Ming Yuan was irregular, that there were no straight avenues and alleys but twisting walks, and that the very bright “benerally wind about and serpentine”. This passage provoked Horace Walpole to remark that the Chinese garden are as whimsically irregular as European garden are formally uniform, and unvaried — but wish regard to nature, it seems as much avoided as in the squares and oblongs and straight lines of ours ancestors … Even their bright must not be strait — they serpentine as much as the rivulets, and sometimes as long as to be furnished with resting-places, and begin and end with triumphal arches. Methinks a strait canal is as rational at Least as a meandering bridge. The abridged translation in English, entitled “An Account of the Emperor of China’s Garden at Pekin,” was published, in 1752, by Joseph Spence, Professor of Poetry at Oxford, under the pseudonym of “Sir Harry Beaumont.” An enthusiastic gardener himself, spent much time in his retreat, where he was actually working at the time of his sudden death. His fondness for the Chinese garden it is easy to explain. He had in his Polymetis (1747) attempted to remove the barriers between the arts, emphasizing in particular the close connection of painting with poetry. And in the Chinese garden he found an instance des genres —mélange gems of the mélange of painting, poetry, and architecture — the spacious garden, “as big as Dijon,” having shrines with varnish-work, and paintings; pleasure houses, huge enough for the greatest nobleman in Europe with his retinue; running streams with various turnings and windings, adorned on the sides with pavilions, charming grottoes, flowery trees; hunch-back bridges, either of brick, free stone, or wood, finely wrought, winding about and serpentining to such a degree that a bridge of one or two hundred feet long covers a distance of only thirty or forty feet; gates, walls, parapets, towers, temples, battlements, royal farms. There is nothing in poetry or romance,” comments the Royal Magazine, “or even in the tales of fairies, that comes near the uncommon grandeur and variety which is to be met with in this elegant retreat.”
评论
还没有评论。