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这个短章在于分类。其目的是,依据中西方的批评范畴,勾勒出李渔作为文艺家的总体特征。生活在某一文化里的成员观察另一文化的艺术时,其所见,与被观察文化里的成员之所见,迥然有别。法国人对坡的评估,不同于美国人和英国人对坡的评估。欧洲人对日本木刻艺术的评估,不同于日本人自己的评估。十八世纪末和十九世纪初第一批译成欧洲文字的中国小说,并不是我们今天所熟悉的、心理描写成功、具有讽世意味的公认杰作,而是那些受到中国批评家轻视的粗鄙晦涩的通俗传奇。
This short chapter lies in the classification. Its purpose is to outline the general characteristics of Li Yu as a literary artist based on the criticisms of both China and the West. When members who live in a culture observe the art of another culture, what they see and what they see in the observed culture is very different. The French’s assessment of slopes is different from the assessment of slopes by the Americans and the British. The assessment of Japanese woodcut art by Europeans is different from the Japanese’s own assessment. The first Chinese novels translated into European characters from the late eighteenth and early nineteenth centuries are not the familiar masterpieces we have today, the psychological descriptions are successful, and the satirical meanings are universally acknowledged, but the vulgar obscurantism which Chinese critics contempt The popular legend.