16世纪末至20世纪初西方人对国乐的译介研究

On Westerners’Translation and Introduction of Traditional Chinese Music from the End of the 16th Century to the Beginning of the 20th Century

自16世纪末至20世纪初,西方著述牢牢把控着国乐译介话语权,将中西方音乐文化之间的“不同”解读为“不及”与“原始”,塑造了国乐在西方的负面形象,对当前国乐译介产生了非常不利的影响。考察史料发现,利玛窦、曾德昭、杜赫德、阿里嗣的著作和《大英百科全书》(第七版,1842)等著述是这些负面印象的主要权威来源。当代国乐西传的译介实践应重新审视这些不利因素,进而探究如何有的放矢地进行国乐的译介与传播,逐渐清除西方社会对国乐的负面印象,以期为新时期的国乐西传、文明互鉴提供理论与实践上的支持。

From the end of the 16th century to the beginning of the 20th century,Western writings firmly controlled the discourse power in translating and introducing traditional Chinese music,and interpreted what Chinese musical culture was different from its Western counterpart as something“inferior”and something“primitive”,which shaped a negative image of traditional Chinese music in the West and had had a very negative impact on the current translation and introduction of traditional Chinese music.If we look at historical sources,works of Matteo Ricci,of Alvaro Semedo,of Jean-Baptiste Du Halde,and of Jules A.van Aalst,and the Encyclopaedia Britannica(7th edition,1842)are the main authoritative sources of the negative impression on traditional Chinese music.Although Joseph-Marie Amiot and other Westerners expressed their different views,it was still difficult to change the negative image that had been generally accepted and solidified.In the practice of the contemporary introduction of traditional Chinese music to the West,these unfavorable factors should be re-examined,and then how to carry out the translation and introduction of traditional Chinese music in a targeted way should be explored,and the negative impression of Western society on traditional Chinese music should be gradually eliminated,in order to provide theoretical and practical supports for the introduction of traditional Chinese music to the West and the mutual learning between civilizations in the New Era.