Due to its construction of an image of modern Chinese philosopher who comments and reflects on what he has seen in England in comparison to China,Oliver Goldsmith’s The Citizen of the World(1760)has contradictorily b...Due to its construction of an image of modern Chinese philosopher who comments and reflects on what he has seen in England in comparison to China,Oliver Goldsmith’s The Citizen of the World(1760)has contradictorily been interpreted in two ways:One considers it as an orientalist discourse denigrating Chinese culture,while the other takes is as an utopian fabrication idealizing Chinese culture.Seeking“difference”between English and Chinese cultures is the underlying logic of these two types of interpretations.On the contrary,rooting on the“sameness”between them,this essay offers a new understanding about The Citizen of the World through a close textual analysis.The aim is to demonstrate how The Citizen of the World makes use of the image of Chinese philosopher to represent English cosmopolitanism featured with“polite”and“universal”and how the principle of equality operates through English cosmopolitanism.展开更多
In 2016 European Romantic Review published a special issue on China in Romantic literature and culture.The four articles in this issue examine China’s impact on such British cultural domains as gardening,periodicals,...In 2016 European Romantic Review published a special issue on China in Romantic literature and culture.The four articles in this issue examine China’s impact on such British cultural domains as gardening,periodicals,folktale,and tourism.In his introduction to this issue,Kitson argues that literary studies in the 21st century should renew their attention to China:"With the increasing presence...of China on the global stage,imminently about to assume the status of the world’s lar gest economy,it might now be argued that in the second decade of the twenty-first century our critical focus might be attuned to China and Southeast Asia"(3).展开更多
This article fashion＂ （＂Kitaischina＂） reign of Peter the First demonstrates the role Russo-Chinese cultural examines special features of ＂Chinoiserie＂ or ＂Chinese in Russia from the late 17th to the early 18th...This article fashion＂ （＂Kitaischina＂） reign of Peter the First demonstrates the role Russo-Chinese cultural examines special features of ＂Chinoiserie＂ or ＂Chinese in Russia from the late 17th to the early 18th century： The It discusses this cultural phenomenon＇s historical origins, of Chinese luxury goods and art objects in the era＇s exchange, and illustrates how Chinese decorative arts were used in Russian palaces. While Chinoiserie in Russia was influenced by similar trends in Western Europe, it was rooted in the unique history of regular contacts between Russia and the Qing Empire. Chinese objects not only appeared as commodities in the higher levels of Russian society, they also contributed to the prestige of the Russian state. Peter the First had a political purpose behind the collection, display and imitation of Chinese art objects in Russian palaces, as these practices demonstrated the growing wealth and power of newly established Russian Empire, which enjoyed trade connections with the Qing Empire. While contemporary perceptions of China in Russia were derived mostly by the exotic images of export art, ethnographic collections of genuine Chinese utensils, which were founded during that period, also contributed to Russian views of China. This research uses a comprehensive methodology, combining studies of material objects preserved in Russian museums and written sources, including archival records.展开更多
The term "chinoiserie" exemplifies the fascination of China for the West. From the 1700s to the present time,exotic, stylish,whimsical and sometimes playful Chinese imports have piqued Western imaginations. ...The term "chinoiserie" exemplifies the fascination of China for the West. From the 1700s to the present time,exotic, stylish,whimsical and sometimes playful Chinese imports have piqued Western imaginations. The word chinoiserie can be used展开更多
文摘Due to its construction of an image of modern Chinese philosopher who comments and reflects on what he has seen in England in comparison to China,Oliver Goldsmith’s The Citizen of the World(1760)has contradictorily been interpreted in two ways:One considers it as an orientalist discourse denigrating Chinese culture,while the other takes is as an utopian fabrication idealizing Chinese culture.Seeking“difference”between English and Chinese cultures is the underlying logic of these two types of interpretations.On the contrary,rooting on the“sameness”between them,this essay offers a new understanding about The Citizen of the World through a close textual analysis.The aim is to demonstrate how The Citizen of the World makes use of the image of Chinese philosopher to represent English cosmopolitanism featured with“polite”and“universal”and how the principle of equality operates through English cosmopolitanism.
文摘In 2016 European Romantic Review published a special issue on China in Romantic literature and culture.The four articles in this issue examine China’s impact on such British cultural domains as gardening,periodicals,folktale,and tourism.In his introduction to this issue,Kitson argues that literary studies in the 21st century should renew their attention to China:"With the increasing presence...of China on the global stage,imminently about to assume the status of the world’s lar gest economy,it might now be argued that in the second decade of the twenty-first century our critical focus might be attuned to China and Southeast Asia"(3).
文摘This article fashion＂ （＂Kitaischina＂） reign of Peter the First demonstrates the role Russo-Chinese cultural examines special features of ＂Chinoiserie＂ or ＂Chinese in Russia from the late 17th to the early 18th century： The It discusses this cultural phenomenon＇s historical origins, of Chinese luxury goods and art objects in the era＇s exchange, and illustrates how Chinese decorative arts were used in Russian palaces. While Chinoiserie in Russia was influenced by similar trends in Western Europe, it was rooted in the unique history of regular contacts between Russia and the Qing Empire. Chinese objects not only appeared as commodities in the higher levels of Russian society, they also contributed to the prestige of the Russian state. Peter the First had a political purpose behind the collection, display and imitation of Chinese art objects in Russian palaces, as these practices demonstrated the growing wealth and power of newly established Russian Empire, which enjoyed trade connections with the Qing Empire. While contemporary perceptions of China in Russia were derived mostly by the exotic images of export art, ethnographic collections of genuine Chinese utensils, which were founded during that period, also contributed to Russian views of China. This research uses a comprehensive methodology, combining studies of material objects preserved in Russian museums and written sources, including archival records.
文摘The term "chinoiserie" exemplifies the fascination of China for the West. From the 1700s to the present time,exotic, stylish,whimsical and sometimes playful Chinese imports have piqued Western imaginations. The word chinoiserie can be used
