试论汉学建构形象之功能——以19世纪法国文学中的“文化中国”形象为例

The Function of Sinology and Construction of a National Image: Studiesin the Image of "Cultural China" in 19^(th) Century French Literature

与18世纪法国的"中国热"和20世纪中国对法国文学的大规模引进相比,19世纪上半叶,中法文化关系实际上处于一个相对沉寂的阶段。而自第一次鸦片战争起,中法关系更是发生了逆向转化:伴随着侵略者步伐陆续来华的法国人对中国的态度从仰视一变而为俯瞰,法国报刊中随之充斥着对中国的负面报道。然而,令人惊讶的是,就在这样恶劣的外部环境下,我们依然可以在法国著名作家笔下找到充满"诗情画意"的"文化中国"形象。如此悖论般的文学现象缘何产生?本文拟通过对雨果、戈蒂耶等著名作家作品的个案分析,厘清它们与生发于18世纪、形成于19世纪的法国汉学之间的关系,并由此进一步探讨汉学建构形象的功能。

Since the first Opium War（1840-42）, Sino-French relations turned to be worse. French journals and periodicals at that time were full of negative descriptions and reports of China written by those who came to visit China after the Opium War. On the other hand, it is interesting to note that a ＂poetic and charming＂ image of ＂cultural China＂ could be frequently found in many French literary canons. How could such a paradox exist in French literature？ This paper examines the works by Victor Hugo and Judith Gautier, reconsiders the relationship between French literature and French sinology that was born in the 18th century and flourished in the 19^th century, and further explores the function of sinology： in what ways it constructs an image of China.