This paper is a historical survey of western construction of the images of Con-fucianism ranging from the sixteenth century to nineteenth century. The historical process ofWestern version of Confucianism originally wa...This paper is a historical survey of western construction of the images of Con-fucianism ranging from the sixteenth century to nineteenth century. The historical process ofWestern version of Confucianism originally was traced back to European missionaries, whoplayed crucial role in collecting Confucian primary sources and praising the ethical and socialvalues of Confucianism. Inspired by the primary sources of Confucianism, Enlightenmentscholars represented the image of Confucianism as romanticized ideal of natural theory andpractical morality for European culture. However, western＇ s imagination of Confucianism inthe nineteenth century shifted from a cultural and political ideal to childish and static traditioninferior to European culture, as emphasized in Hegel and Herder＇ s works. All these Westernimages of Confucianism illustrate the historical expressions of European self - presentation,self- confirmation and self- criticism.展开更多
William Shakespeare’s The Merchant of Venice(1600)is controversial as a result of its negative depiction of the Jewish figure Shylock.In translating this literary work into Chinese,the translator is quite possibly in...William Shakespeare’s The Merchant of Venice(1600)is controversial as a result of its negative depiction of the Jewish figure Shylock.In translating this literary work into Chinese,the translator is quite possibly involved in reconstructing the image of Jews,as Shylock being the representative in The Merchant of Venice,consciously,or unconsciously.In this paper,the translation of The Merchant of Venice by Shiqiu Liang(2001)is selected to find out how the image of Jews is conveyed to the Chinese readers.Due to the translator’s translation principle of being loyal to the original text,the content in the original text is transferred to the target readers without manipulation.However,the translation work was conducted with a particular social background which is believed to have influenced the translator’s interpretation of the original text.Accompanied the selected translation is a paratext,in which the translator expresses his own opinion on both the playwright and the Jewish and non-Jewish figures in the play;with this paratext,the target readers understand the figures in the play in a different way.Therefore,a different image of Jews is reconstructed in the translation,which is mainly analyzed at the level of larger textual units reflecting hierarchical relations from the perspective of imagology.展开更多
This paper discusses the overseas dissemination of Wu Zetian’s image as a stateswoman and a pragmatic“thinker”.The author studies Wu Zetian’s attitude towards Confucianism and Buddhism,and analyzes her manipulatio...This paper discusses the overseas dissemination of Wu Zetian’s image as a stateswoman and a pragmatic“thinker”.The author studies Wu Zetian’s attitude towards Confucianism and Buddhism,and analyzes her manipulation of Confucianism and Buddhism for political purposes.展开更多
This article scrutinizes three texts about Xun Zi written during the Qin-Han period： the final part of ＂The Questions of Yao＂ in the Xunzi, a rebuttal by one of Xun Zi＇s disciples of the idea that Xun Zi was infer...This article scrutinizes three texts about Xun Zi written during the Qin-Han period： the final part of ＂The Questions of Yao＂ in the Xunzi, a rebuttal by one of Xun Zi＇s disciples of the idea that Xun Zi was inferior to Confucius; ＂Mencius and Xun Zi＂ by Sima Qian in his Records of the Grand Historian; and the Annotated Book of the Xunzi by Liu Xiang. We explore the images of Xun Zi as a great Confucian （大儒） that emerge from these texts, as well as their authors＇ motives for writing. These texts are understood within three contexts： first, the self-identification of a Confucian; second, the dispute between Confucianism and Daoism; and lastly, the distinction between the classics and the annals and biographies. Due to their different discourse environments, Xun Zi＇s great Confucian image project a different significance in each： in one, he is a model of action who can act in accordance with perfected morality; in another, he is a model of ＂private words,＂ who can counter the philosophers of his day and become the teacher of kings; and finally, he is a model of ＂official learning,＂ able to use his knowledge of the classics in practical statecraft and elucidate the kingly Way. Overall, these three texts represent three types of discourse on a great Confucian. At thesame time, they also exhibit their writers＇ consciousness of their times and their views of the genealogy of daotong, or transmission of the Way; hence their significance for intellectual history.展开更多
文摘This paper is a historical survey of western construction of the images of Con-fucianism ranging from the sixteenth century to nineteenth century. The historical process ofWestern version of Confucianism originally was traced back to European missionaries, whoplayed crucial role in collecting Confucian primary sources and praising the ethical and socialvalues of Confucianism. Inspired by the primary sources of Confucianism, Enlightenmentscholars represented the image of Confucianism as romanticized ideal of natural theory andpractical morality for European culture. However, western＇ s imagination of Confucianism inthe nineteenth century shifted from a cultural and political ideal to childish and static traditioninferior to European culture, as emphasized in Hegel and Herder＇ s works. All these Westernimages of Confucianism illustrate the historical expressions of European self - presentation,self- confirmation and self- criticism.
基金This paper is adapted from my Ph.D.dissertation which was finished under the supervision of Prof.Rachel Weissbrod at Bar-Ilan University,Israel in 2017.
文摘William Shakespeare’s The Merchant of Venice(1600)is controversial as a result of its negative depiction of the Jewish figure Shylock.In translating this literary work into Chinese,the translator is quite possibly involved in reconstructing the image of Jews,as Shylock being the representative in The Merchant of Venice,consciously,or unconsciously.In this paper,the translation of The Merchant of Venice by Shiqiu Liang(2001)is selected to find out how the image of Jews is conveyed to the Chinese readers.Due to the translator’s translation principle of being loyal to the original text,the content in the original text is transferred to the target readers without manipulation.However,the translation work was conducted with a particular social background which is believed to have influenced the translator’s interpretation of the original text.Accompanied the selected translation is a paratext,in which the translator expresses his own opinion on both the playwright and the Jewish and non-Jewish figures in the play;with this paratext,the target readers understand the figures in the play in a different way.Therefore,a different image of Jews is reconstructed in the translation,which is mainly analyzed at the level of larger textual units reflecting hierarchical relations from the perspective of imagology.
基金This Essay is an achievement of the project of“Overseas Dissemination of Wu Zetian’s Image from the Perspective of Cross-civilization”(SCWZT-2021-09)Sichuan Wu Zetian Research Center and undergraduate innovation and entrepreneurship project of“Overseas Dissemination of Wu Zetian’s Image and Publicity of Guangyuan’s Image”(202110621253)sponsored by Chengdu University of Information Technology.
文摘This paper discusses the overseas dissemination of Wu Zetian’s image as a stateswoman and a pragmatic“thinker”.The author studies Wu Zetian’s attitude towards Confucianism and Buddhism,and analyzes her manipulation of Confucianism and Buddhism for political purposes.
文摘This article scrutinizes three texts about Xun Zi written during the Qin-Han period： the final part of ＂The Questions of Yao＂ in the Xunzi, a rebuttal by one of Xun Zi＇s disciples of the idea that Xun Zi was inferior to Confucius; ＂Mencius and Xun Zi＂ by Sima Qian in his Records of the Grand Historian; and the Annotated Book of the Xunzi by Liu Xiang. We explore the images of Xun Zi as a great Confucian （大儒） that emerge from these texts, as well as their authors＇ motives for writing. These texts are understood within three contexts： first, the self-identification of a Confucian; second, the dispute between Confucianism and Daoism; and lastly, the distinction between the classics and the annals and biographies. Due to their different discourse environments, Xun Zi＇s great Confucian image project a different significance in each： in one, he is a model of action who can act in accordance with perfected morality; in another, he is a model of ＂private words,＂ who can counter the philosophers of his day and become the teacher of kings; and finally, he is a model of ＂official learning,＂ able to use his knowledge of the classics in practical statecraft and elucidate the kingly Way. Overall, these three texts represent three types of discourse on a great Confucian. At thesame time, they also exhibit their writers＇ consciousness of their times and their views of the genealogy of daotong, or transmission of the Way; hence their significance for intellectual history.
