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一部1731年的译作《赵氏孤儿》在欧洲流通,启迪了一些远离中国源泉的题材。皮耶特罗·梅塔斯塔西奥于1735到1753年所创作的歌剧和十八世纪上半叶巴黎德芬街的音乐短剧只是借中国为名,或者是为了嘲弄西方自身,或者是为了创作大型娱乐歌舞。异国情调则通过西方人想象的汉语得到表现。因此,十七和十八世纪欧洲和中国的真正文化交流似乎只是处于次要的层面,艺术难道不是突出同时代中国文明的表达方式?可以肯定的是,中国作品的传入欧洲改变了启蒙时代欧洲人的喜好与创作。
A 1731 translation “Orphan of Zhao” circulated in Europe, enlightening some themes far from China’s source. The opera that Pietro Metatásio produced in 1735 and 1753 and the musical skit in Debrecen in Paris in the first half of the eighteenth century were borrowed only from China or to mock the West himself or In order to create large entertainment song and dance. Exoticism is expressed through Westerners’ imagined Chinese. Therefore, the real cultural exchange between Europe and China in the 17th and 18th centuries seems to be at a secondary level. Does art not emphasize the expression of Chinese civilization in the same period? To be sure, the introduction of Chinese works into Europe has changed the era of Enlightenment European preferences and creations.