本文選題：《熱河日記》 + 燕巖��； 參考：《中央民族大學(xué)》2007年博士論文

【摘要】： 《熱河日記》是18世紀(jì)后半葉朝鮮學(xué)者樸趾源隨其堂兄率領(lǐng)的赴清賀乾隆皇帝七十壽誕的使節(jié)團(tuán)來到中國，回國之后創(chuàng)作的日記體紀(jì)行文。這部被稱之為實(shí)學(xué)全書的作品，不僅是關(guān)于18世紀(jì)中國情況的百科全書式的著作，更是中朝文化交流的結(jié)晶，在朝鮮文學(xué)史、實(shí)學(xué)思想史及中朝關(guān)系史上具有重要地位。本論文從比較文學(xué)形象學(xué)的角度切入，對《熱河日記》中的中國形象進(jìn)行了具體而細(xì)致的分析，試圖勾勒出這部作品中的中國形象，并闡明其與當(dāng)時(shí)朝鮮人對中國的社會(huì)集體想象之間的互動(dòng)關(guān)系。 中國作為形象學(xué)意義上的異國，在這部作品中顯得尤為豐滿。在燕巖的筆下，18世紀(jì)未期的中國具有強(qiáng)烈的理想化色彩和烏托邦意味，作者以此來質(zhì)疑當(dāng)時(shí)朝鮮的統(tǒng)治秩序，并且為構(gòu)建一種新的秩序提供了可供參考的諸多設(shè)想。他在羨慕中國制度先進(jìn)、物產(chǎn)豐饒、城池眾多、道路通達(dá)、商業(yè)繁榮的同時(shí)，也體驗(yàn)到自身的缺憾、壓抑和不滿，并表達(dá)了自己的欲望和想象。《熱河日記》對于18世紀(jì)中國形象的表述，并不是簡單地追尋一個(gè)文化事實(shí)，而是盡可能地發(fā)掘其可利用的價(jià)值，以取人之長補(bǔ)己之短。燕巖正是通過這種游記的形式，描摹出一幅鮮活、生動(dòng)的18世紀(jì)中國的全景圖式的畫卷，不僅折射出朝鮮對于滿洲人統(tǒng)治下的大清的社會(huì)集體想象，而且創(chuàng)造出了不少新的形象。 本論文從當(dāng)時(shí)的歷史現(xiàn)實(shí)出發(fā)，著眼于文本外部研究，在對作者燕巖生存的時(shí)代背景、思想背景及其生平、經(jīng)歷、思想及文學(xué)創(chuàng)作進(jìn)行研究的基礎(chǔ)上，從朝鮮人矛盾的大清形象和傳統(tǒng)大國的文化形象這兩個(gè)不同的視角，觀照《熱河日記》中“自我”與“他者”對中國形象的共塑。在探討中國形象的同時(shí)，對這一塑造過程中若隱若現(xiàn)的自我鏡像中的朝鮮形象進(jìn)行分析和研究。燕巖是以一種歷史的、發(fā)展的眼光去看待當(dāng)時(shí)朝鮮的現(xiàn)實(shí)，并對此保有一種批判態(tài)度。在強(qiáng)烈的批判意識(shí)背后，實(shí)際上是對朝鮮的全新審視，隱含著燕巖對自己國家的摯愛和民族的自尊。在洋洋數(shù)十萬言的《熱河日記》中，燕巖對中國和朝鮮進(jìn)行了多層次、多領(lǐng)域的雙向觀照，在塑造中國形象的同時(shí)也為讀者映照出生動(dòng)的朝鮮形象。 人們對初次造訪的異國的認(rèn)識(shí)往往是從最為直觀的地理形象開始的�！稛岷尤沼洝分械牡乩硇蜗�，涵蓋了山川、河流、原野、邊防、關(guān)梁、城郭、宮闕等多方面的內(nèi)容，燕巖正是借他國山水抒發(fā)其豐富的感情，寄托自己的情懷，含蓄地表達(dá)某種諱莫如深的政治抱負(fù)。燕巖所描寫的中國的地理形象絕對不是簡單的描摹、刻畫而已，而是在諸種“象”中寄托了豐富的“意”，，在顯見其創(chuàng)作意圖的同時(shí)，讀之又令人覺得蘊(yùn)藉深遠(yuǎn)。 人的形象是一個(gè)國家的形象的核心，而且這個(gè)核心還是最為鮮活、生動(dòng)而愈顯真實(shí)的。燕巖的筆下既有平民、商人、文人、婦女，也有官員、士紳、道士、喇嘛，像皇帝、班禪、皇親貴胄那樣無法直接接觸的人物，燕巖也通過自己的觀察或是他人的論說對之進(jìn)行了刻畫和塑造。透過這些文字，不難形成對當(dāng)時(shí)的中國人和中國社會(huì)具體而真實(shí)的印象。 誤讀是比較文學(xué)形象學(xué)中無法回避的問題。誤讀并不意味著就是錯(cuò)誤的解讀，某種意義上來說也是一種創(chuàng)新，正是這種創(chuàng)新才賦予了《熱河日記》與眾不同的文化價(jià)值。 筆者認(rèn)為，研究《熱河日記》這樣的著作，不能簡單從當(dāng)代形象學(xué)的理論出發(fā)，仿照研究東西文化彼此觀照的實(shí)踐方法，生搬硬套。中朝文化交流關(guān)系非其他國家間的文化關(guān)系能比，對于《熱河日記》中的中國形象，既要把文本的外部和內(nèi)部研究相結(jié)合，又要根據(jù)形象的自然、社會(huì)、精神屬性分別加以分析。本文希望通過一種全面的梳理，把《熱河日記》中的中國形象的各個(gè)層面都展現(xiàn)出來，也以此作為一種大膽的嘗試，深入分析一部文學(xué)作品中的異國形象，為比較文學(xué)形象學(xué)的文本研究及《熱河日記》的形象學(xué)研究做拋磚引玉的基礎(chǔ)工作。因?yàn)闊o前人的實(shí)例可供參照，粗陋之處在所難免，不過以此作為一種探尋，也表明一種閱讀的立場。
[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.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2007
【分類號】：K249.3;I312

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 韓龍浩;19世紀(jì)《燕行錄》中的中國形象研究[D];中央民族大學(xué);2011年

相關(guān)碩士學(xué)位論文 前4條

1 顏培;跨文化書寫[D];江南大學(xué);2010年

2 李春梅;《燕行錄全集》中的醫(yī)學(xué)史料研究[D];中國中醫(yī)科學(xué)院;2011年

3 孫萬基;《新羅殊異傳》對漢魏六朝志怪小說的借鑒和創(chuàng)新[D];延邊大學(xué);2012年

4 王陽陽;《奉使朝鮮驛程日記》初探[D];延邊大學(xué);2012年

本文編號：2039199