描述
开 本: 大32开纸 张: 胶版纸包 装: 精装是否套装: 否国际标准书号ISBN: 9787030448316丛书名: 外国语言文学研究系列丛书/高继海，杨朝军
内容简介
小说《十日谈》是意大利文艺复兴时期早的代表作家薄伽丘对后世影响*的作品，可以说是欧洲近代文学史上部现实主义作品。“三言”“二拍”是明代著名的拟话本系列小说，描写了五光十色的市井生活及人情世态。这些脍炙人口的文学作品均体现了市民阶层的丰富和壮大、资本主义萌芽的诞生对市民社会文化及市民文学的巨大影响。《《十日谈》和“三言”“二拍”之比较研究= A Comparison between The Decameron and “Sanyan” “Erpai”: 英文》通过对小说文本中若干母题（诸如“爱情”“性爱”“宗教”“性别歧视”等）的对比分析，展示市民文化对文艺创作的重要影响，强调了市民文化对小说的推动作用，印证了小说的市民文学属性。
目 录
丛书序
序
前言
Preface
Chapter One Introduction
1.1 Boccaccio and The Decameron
1.2 Feng Menglong， Ling Mengchu and “Sanyan”“Erpai”
1.3 Significance of Research
1.4 Related Studies at Home and Abroad
1.5 Summary
Chapter Two Comparison of the Motif of Love
2.1 Case Study of Comparison of Love
2.2 Other Examples of Love in The Decameron
2.3 Other Examples of Love in “Sanyan”“Erpai”
2.4 Summary
Chapter Three Comparison of the Motif of Sex
3.1 Comparison of Stories of Erotic Monks or Friars
3.2 Comparison of Stories of Amorous Nuns
3.3 Comparison of Stories of Exchanging Wives
3.4 Summary
Chapter Four Comparison of the Motif of Belief
4.1 Wavering of Belief in The Decameron
4.2 Attitudes in “Sanyan”“Erpai”
4.3 Summary
Chapter Five Comparison of the Motif of Misogyny
5.1 A Case Study of Misogyny in “Sanyan”
5.2 A Case Study of Misogyny in The Decameron
5.3 Summary
Chapter Six An Integral Comparison
6.1 Usury in The Decameron
6.2 Usury in “Sanyan”“Erpai”
6.3 Comparison of Perspective of Capitalism
6.4 Summary
Chapter Seven Conclusion
7.1 Comparison of the Limitation
7.2 Mutual Influence between Fictions and Citizens
7.3 Civic Culture’ s Impetus to Chinese and Western Fictions
References
后记
序
前言
Preface
Chapter One Introduction
1.1 Boccaccio and The Decameron
1.2 Feng Menglong， Ling Mengchu and “Sanyan”“Erpai”
1.3 Significance of Research
1.4 Related Studies at Home and Abroad
1.5 Summary
Chapter Two Comparison of the Motif of Love
2.1 Case Study of Comparison of Love
2.2 Other Examples of Love in The Decameron
2.3 Other Examples of Love in “Sanyan”“Erpai”
2.4 Summary
Chapter Three Comparison of the Motif of Sex
3.1 Comparison of Stories of Erotic Monks or Friars
3.2 Comparison of Stories of Amorous Nuns
3.3 Comparison of Stories of Exchanging Wives
3.4 Summary
Chapter Four Comparison of the Motif of Belief
4.1 Wavering of Belief in The Decameron
4.2 Attitudes in “Sanyan”“Erpai”
4.3 Summary
Chapter Five Comparison of the Motif of Misogyny
5.1 A Case Study of Misogyny in “Sanyan”
5.2 A Case Study of Misogyny in The Decameron
5.3 Summary
Chapter Six An Integral Comparison
6.1 Usury in The Decameron
6.2 Usury in “Sanyan”“Erpai”
6.3 Comparison of Perspective of Capitalism
6.4 Summary
Chapter Seven Conclusion
7.1 Comparison of the Limitation
7.2 Mutual Influence between Fictions and Citizens
7.3 Civic Culture’ s Impetus to Chinese and Western Fictions
References
后记
在线试读
Chapter One Introduction
Introduction
In Story Three of Day Ten of The Decameron ， a controversial name is mentioned by Boccaccio.
“It is a very certain thing （if credit may be given to the report of divers Genoese and others who have been in those countries） that there was aforetime in the parts of Cattajo a man of noble lineage and rich beyond compare， called Nathan， who， having an estate adjoining a highway whereby as of necessity passed all who sought to go from the Ponant to the Levant or from the Levant to the Ponant， and being a man of great and generous soul and desirous that it should be known by his works， assembled a great multitude of artificers and let build there， in a little space of time， one of the fairest and greatest and richest palaces that had ever been seen， the which he caused excellently well furnished with all that was apt unto the reception and entertainment of gentlemen.”
（Boccaccio， 2003: 468）
As recognized by most translators， the word “Cattajo” is usually translated into “Cathay”， which literally refers to China. Suppose this version of rendering is rationally defensible， the term “Cathay” as well as the other two （“Levant” and “Ponant”） is a general appellation given to relate to ambiguous area. That’s why in some version， “Ponant” and “Levant” are interpreted as “the West” and “the East” . （Boccaccio， 2002: 715） This story somewhat displays the connection between ancient China and the Occident， and exhibits the westerners’ colorful imagination of the exotic， mysterious and wealthy nation of the Orient. Nathan， a key figure in the story， himself may quite as well be a typical rich gentleman of the East. （吴德铎， 1986: 47） Even though the direct link between Boccaccio and China can not be established through this simple fragment of plot， a probable influence of the image of Cathay may well be justified. Boccaccio was born two years before Marco Polo’s death; therefore the account of Marco Polo’s knowledge of China was easily spread among Italy of the age. It is no wonder then China was recorded in Boccaccio’s fiction.
Authenticity of the intertextuality apart， the above sample taken from the Italian fiction may serve as a solid support for those who are in possession of keen interest in comparing texts from different cultures. Literature to human spiritual life is， in truth， what the main course is to a luxurious feast， and even a merest endeavor made to savor or relish the nature of literary works shall be bound to bring forth fullest enjoyment. Blessed with the myriad of pabulum in the literary realm， readers from different cultures may gobble up exotic food for thought， much similar in the way Chinese go for mozzarella cheese and Americans opt to try Kung Po Chicken. As a consequence， the unique literature in which one particular culture excels and the presence of merits rooted in its counterpart can cause themselves to be eminent and easily recognized. The twists and turns engaged in the above metaphorical commentary is intended to reveal the fact that comparative studies done upon Chinese and Western literature are of paramount significance to a better understanding of other cultures. Research fulfilled by means of comparison is capable of cultivating one’s morals， forming one’s lofty mind and enhancing one’s appreciation of beauty and emotions， i.e. aesthetic tastes.
In this book， The Decameron and “Sanyan” “Erpai” are paralleled for close reading. Even though the two works are centuries apart and their respective writers lived thousands of miles away from each other， there is something in common. What is noticeable is that The Decameron was written by Boccaccio during 1350 to 1353， but was not published until 1471 . This particular point of time was the Seventh Year of Chenghua’s reign， the Ming Dynasty in China. This period saw the flourishing of huaben. Years later， both The Decameron and “Sanyan” “Erpai” were banned and destroyed. （吴德铎， 1986: 49） It is obvious that these works suffered from similar defamation and now are in possession of a world reputation. In this sense， The Decameron and “Sanyan”“Erpai” are considerably comparable.
1.1 Boccaccio and The Decameron
The Decameron is a collection of short stories. In some sense， it is the best work of Giovanni Boccaccio （1313-1375）. Boccaccio was an illegitimate child of an Italian merchant. The exact birth mother of Boccaccio was never certified by any legal document; however， according to the allusions in his early romances， his mother was a Frenchwoman in Paris. Unfortunately， Boccaccio’s mother passed away when he was still in his infant years. Being born out of wedlock， Boccaccio had certain kinds of depressions and romantic melancholy growing upon him throughout his lifetime. His father raised him with strict discipline and offered him decent education， hoping that he would practice commerce following in the father’s steps. Boccaccio did not do well in banking， and somehow he manged to convince his father to a
Introduction
In Story Three of Day Ten of The Decameron ， a controversial name is mentioned by Boccaccio.
“It is a very certain thing （if credit may be given to the report of divers Genoese and others who have been in those countries） that there was aforetime in the parts of Cattajo a man of noble lineage and rich beyond compare， called Nathan， who， having an estate adjoining a highway whereby as of necessity passed all who sought to go from the Ponant to the Levant or from the Levant to the Ponant， and being a man of great and generous soul and desirous that it should be known by his works， assembled a great multitude of artificers and let build there， in a little space of time， one of the fairest and greatest and richest palaces that had ever been seen， the which he caused excellently well furnished with all that was apt unto the reception and entertainment of gentlemen.”
（Boccaccio， 2003: 468）
As recognized by most translators， the word “Cattajo” is usually translated into “Cathay”， which literally refers to China. Suppose this version of rendering is rationally defensible， the term “Cathay” as well as the other two （“Levant” and “Ponant”） is a general appellation given to relate to ambiguous area. That’s why in some version， “Ponant” and “Levant” are interpreted as “the West” and “the East” . （Boccaccio， 2002: 715） This story somewhat displays the connection between ancient China and the Occident， and exhibits the westerners’ colorful imagination of the exotic， mysterious and wealthy nation of the Orient. Nathan， a key figure in the story， himself may quite as well be a typical rich gentleman of the East. （吴德铎， 1986: 47） Even though the direct link between Boccaccio and China can not be established through this simple fragment of plot， a probable influence of the image of Cathay may well be justified. Boccaccio was born two years before Marco Polo’s death; therefore the account of Marco Polo’s knowledge of China was easily spread among Italy of the age. It is no wonder then China was recorded in Boccaccio’s fiction.
Authenticity of the intertextuality apart， the above sample taken from the Italian fiction may serve as a solid support for those who are in possession of keen interest in comparing texts from different cultures. Literature to human spiritual life is， in truth， what the main course is to a luxurious feast， and even a merest endeavor made to savor or relish the nature of literary works shall be bound to bring forth fullest enjoyment. Blessed with the myriad of pabulum in the literary realm， readers from different cultures may gobble up exotic food for thought， much similar in the way Chinese go for mozzarella cheese and Americans opt to try Kung Po Chicken. As a consequence， the unique literature in which one particular culture excels and the presence of merits rooted in its counterpart can cause themselves to be eminent and easily recognized. The twists and turns engaged in the above metaphorical commentary is intended to reveal the fact that comparative studies done upon Chinese and Western literature are of paramount significance to a better understanding of other cultures. Research fulfilled by means of comparison is capable of cultivating one’s morals， forming one’s lofty mind and enhancing one’s appreciation of beauty and emotions， i.e. aesthetic tastes.
In this book， The Decameron and “Sanyan” “Erpai” are paralleled for close reading. Even though the two works are centuries apart and their respective writers lived thousands of miles away from each other， there is something in common. What is noticeable is that The Decameron was written by Boccaccio during 1350 to 1353， but was not published until 1471 . This particular point of time was the Seventh Year of Chenghua’s reign， the Ming Dynasty in China. This period saw the flourishing of huaben. Years later， both The Decameron and “Sanyan” “Erpai” were banned and destroyed. （吴德铎， 1986: 49） It is obvious that these works suffered from similar defamation and now are in possession of a world reputation. In this sense， The Decameron and “Sanyan”“Erpai” are considerably comparable.
1.1 Boccaccio and The Decameron
The Decameron is a collection of short stories. In some sense， it is the best work of Giovanni Boccaccio （1313-1375）. Boccaccio was an illegitimate child of an Italian merchant. The exact birth mother of Boccaccio was never certified by any legal document; however， according to the allusions in his early romances， his mother was a Frenchwoman in Paris. Unfortunately， Boccaccio’s mother passed away when he was still in his infant years. Being born out of wedlock， Boccaccio had certain kinds of depressions and romantic melancholy growing upon him throughout his lifetime. His father raised him with strict discipline and offered him decent education， hoping that he would practice commerce following in the father’s steps. Boccaccio did not do well in banking， and somehow he manged to convince his father to a
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