《热河日记》中的中国形象研究

发布时间：2018-06-19 08:06

本文选题：《热河日记》 + 燕岩　；参考：《中央民族大学》2007年博士论文

【摘要】： 《热河日记》是18世纪后半叶朝鲜学者朴趾源随其堂兄率领的赴清贺乾隆皇帝七十寿诞的使节团来到中国，回国之后创作的日记体纪行文。这部被称之为实学全书的作品，不仅是关于18世纪中国情况的百科全书式的著作，更是中朝文化交流的结晶，在朝鲜文学史、实学思想史及中朝关系史上具有重要地位。本论文从比较文学形象学的角度切入，对《热河日记》中的中国形象进行了具体而细致的分析，试图勾勒出这部作品中的中国形象，并阐明其与当时朝鲜人对中国的社会集体想象之间的互动关系。中国作为形象学意义上的异国，在这部作品中显得尤为丰满。在燕岩的笔下，18世纪未期的中国具有强烈的理想化色彩和乌托邦意味，作者以此来质疑当时朝鲜的统治秩序，并且为构建一种新的秩序提供了可供参考的诸多设想。他在羡慕中国制度先进、物产丰饶、城池众多、道路通达、商业繁荣的同时，也体验到自身的缺憾、压抑和不满，并表达了自己的欲望和想象。《热河日记》对于18世纪中国形象的表述，并不是简单地追寻一个文化事实，而是尽可能地发掘其可利用的价值，以取人之长补己之短。燕岩正是通过这种游记的形式，描摹出一幅鲜活、生动的18世纪中国的全景图式的画卷，不仅折射出朝鲜对于满洲人统治下的大清的社会集体想象，而且创造出了不少新的形象。本论文从当时的历史现实出发，着眼于文本外部研究，在对作者燕岩生存的时代背景、思想背景及其生平、经历、思想及文学创作进行研究的基础上，从朝鲜人矛盾的大清形象和传统大国的文化形象这两个不同的视角，观照《热河日记》中“自我”与“他者”对中国形象的共塑。在探讨中国形象的同时，对这一塑造过程中若隐若现的自我镜像中的朝鲜形象进行分析和研究。燕岩是以一种历史的、发展的眼光去看待当时朝鲜的现实，并对此保有一种批判态度。在强烈的批判意识背后，实际上是对朝鲜的全新审视，隐含着燕岩对自己国家的挚爱和民族的自尊。在洋洋数十万言的《热河日记》中，燕岩对中国和朝鲜进行了多层次、多领域的双向观照，在塑造中国形象的同时也为读者映照出生动的朝鲜形象。人们对初次造访的异国的认识往往是从最为直观的地理形象开始的。《热河日记》中的地理形象，涵盖了山川、河流、原野、边防、关梁、城郭、宫阙等多方面的内容，燕岩正是借他国山水抒发其丰富的感情，寄托自己的情怀，含蓄地表达某种讳莫如深的政治抱负。燕岩所描写的中国的地理形象绝对不是简单的描摹、刻画而已，而是在诸种“象”中寄托了丰富的“意”，，在显见其创作意图的同时，读之又令人觉得蕴藉深远。人的形象是一个国家的形象的核心，而且这个核心还是最为鲜活、生动而愈显真实的。燕岩的笔下既有平民、商人、文人、妇女，也有官员、士绅、道士、喇嘛，像皇帝、班禅、皇亲贵胄那样无法直接接触的人物，燕岩也通过自己的观察或是他人的论说对之进行了刻画和塑造。透过这些文字，不难形成对当时的中国人和中国社会具体而真实的印象。误读是比较文学形象学中无法回避的问题。误读并不意味着就是错误的解读，某种意义上来说也是一种创新，正是这种创新才赋予了《热河日记》与众不同的文化价值。笔者认为，研究《热河日记》这样的著作，不能简单从当代形象学的理论出发，仿照研究东西文化彼此观照的实践方法，生搬硬套。中朝文化交流关系非其他国家间的文化关系能比，对于《热河日记》中的中国形象，既要把文本的外部和内部研究相结合，又要根据形象的自然、社会、精神属性分别加以分析。本文希望通过一种全面的梳理，把《热河日记》中的中国形象的各个层面都展现出来，也以此作为一种大胆的尝试，深入分析一部文学作品中的异国形象，为比较文学形象学的文本研究及《热河日记》的形象学研究做抛砖引玉的基础工作。因为无前人的实例可供参照，粗陋之处在所难免，不过以此作为一种探寻，也表明一种阅读的立场。
[Abstract]:"Hot river diary" is the seventy birthday party of Emperor Qianlong, led by Pu Zhiyuan, a Korean scholar in the latter half of the eighteenth Century, came to China for the birthday of Emperor Qianlong, the emperor of the Qing Dynasty, came back to China and wrote a diary style essay. This work, called the whole book of real learning, is not only a book about the Encyclopedia of China in eighteenth Century, but also the cultural exchange between China and the DPRK. The crystallization of the flow has an important position in the history of Korean literature, the history of real learning and the history of Sino Korean relations. From the perspective of comparative literary image, this paper makes a detailed and detailed analysis of the Chinese image in the "hot river diary", trying to outline the Chinese image in this work, and to clarify its society with the Koreans at that time to China. The interaction between collective imagination.
As a foreign country in the sense of image, China is particularly plump in this work. Under the pen of Yan Yan, the outstanding China in eighteenth Century has a strong idealized color and utopian meaning. The author, in this regard, questioned the ruling order of the DPRK at that time and provided many ideas for the construction of a new rank. He was envied. The Chinese system is advanced, rich in material production, many cities, roads, and commercial prosperity, while also experiencing its own shortcomings, repression and dissatisfaction, and expressing his own desire and imagination. "Hot river diary >" the expression of the Chinese image in eighteenth Century is not a simple pursuit of a cultural fact, but as much as possible to explore its available value. In the form of this travel note, Yan rock depicts a vivid and vivid picture of the panoramic picture of China in eighteenth Century, which not only reflects the collective imagination of the DPRK under the rule of the Manchuria people, but also creates a lot of new images.
This paper, starting from the historical reality of the time, focuses on the study of the text outside, on the basis of the study of the era background of the survival of the author Yan Yan, the ideological background and his life, experience, thought and literary creation, and from the two different angles of view of the DPRK's contradiction in the Qing Dynasty and the cultural image of the traditional power, in the view of the "hot river diary >" The image of "self" and "the other" is common to the image of China. At the same time, the image of China is analyzed and studied. Yan Yan looks at the reality of Korea at that time in a historical and developing perspective, and has a critical attitude. In fact, it is a new examination of Korea, which implies the love of Yan Yan to its own country and the self-esteem of the nation. In the hundreds of thousands of words of the "hot river diary", Yan Yan carried out a multilevel and multi field view on China and Korea, and reflected the image of China as well as the image of the DPRK.
People's understanding of the first visit to a foreign country is often the beginning of the most intuitive geographical image. The geographical image in the "hot river diary" covers many aspects of the mountains, rivers, fields, border defense, Guan Liang, city, palace, and so on. Yan Yanzheng expresses his rich and rich feelings by borrowing his mountains and rivers, and expresses some taboo with his own feelings. The Chinese geographical image described by Yan Yan is absolutely not a simple portrayed and portrayed, but a rich "meaning" in all kinds of "elephants".
The image of man is the core of a country's image, and the core is the most vivid, vivid and more authentic. Yan Yan's pen has both civilians, businessmen, literati, women, and officials, gentry, Taoist, Lama, like the emperor, the Panchen, the royal family and the nobles, and Yan rock through his own observation or others. It is not difficult to form a concrete and real impression of the Chinese and Chinese society at that time.
Misreading is an unavoidable problem in the literature of comparative literature. Misreading does not mean that it is an error interpretation, and it is also an innovation in a sense. It is this kind of innovation that gives the "hot river diary > the distinctive cultural value".
The author believes that the study of "hot river Diaries" can not simply start from the theory of contemporary visualization and imitate the practice of studying the cultural relations between the East and the West. The cultural relations between China and the DPRK are comparable to those of other countries. According to the nature, society, and spiritual attributes of the image, we want to analyze each aspect of the Chinese image in the "hot river diary" and take it as a bold attempt to analyze the foreign image of a literary works and to study the comparative literary image. Textual research and the image study of "hot river diary" are the basic work of throwing brick and jade. Because there is no previous example for reference, the rough points are unavoidable, but as a kind of exploration, it also shows the position of reading.
【学位授予单位】：中央民族大学
【学位级别】：博士
【学位授予年份】：2007
【分类号】：K249.3;I312

【引证文献】