《孽海花》中异国故事的叙事学读解

本文以比较文学形象学理论为出发点,借用叙事学理论对晚清最重要的谴责小说《孽海花》中的异国想象图谱进行细读分析。分析发现,文本对日本、德国及俄国的想象性呈现,是以各不相同的叙事策略组织构建起来的。这些细微的差异在文本深层拓开了另一重空间,使我们得以窥见晚清中西文化碰撞中知识分子躁郁难安的心态,他们如何试图于本国文化传统与他者强势文化之间获得转圜余地,相应地确定自处的可能范围,同时借文本表述舒缓对他者的仰慕及憎厌交糅的复杂情感。     

The cologne map publisher Peter Overadt (fl. 1590–1652)

Abstract

Peter Overadt is one of the many lesser‐known figures of the second generation of the Cologne school of map making, which had been founded about 1570 by Frans Hogenberg. Overadt is noteworthy as the first continental publisher (aside from Jodocus I Hondius, who was at that time active in London) to have decorated printed topographical maps with marginal historical‐political images. During the first phase of his business (1592–1600), he issued eight maps, with a three‐sheet map of Germania as the pinnacle of his production. After 1600, Overadt's firm was primarily engaged in the publication of religious prints with a Catholic orientation. Topographical productions from this later period are three large town views and the re‐issue of a map of the Rhine area, printed from a re‐worked copper plate of 1594 by Theodoor de Bry.     

Chosŏn Korea in the Ryūkoku Kangnido: Dating the Oldest Extant Korean Map of the World (15th Century)

The date of the earliest extant Korean world map, entitled Honil kangni y?ktae kukto chi to (Map of Integrated Lands and Regions of Historical Countries and Capitals) and now in the ōmiya Library, Ryūkoku University Academic Information Center, Kyoto, Japan, is unknown. The Ryūkoku Kangnido (as the map is commonly referred to), along with three other Korean world maps believed to have been made in Chos?n Korea in the fifteenth or sixteenth century, is thought to have been derived from a now‐lost world map made in Chos?n Korea in 1402. Opinions on possible dates for the Ryūkoku Kangnido have varied widely. In this paper, a revised date of between early 1479 and late 1485 is proposed on the basis of a study of the Korean place‐names in the map and changes in the Korean civil and military administration they reflect. It is also suggested that, despite showing most of the rest of the world, the Korean officials who produced the Ryūkoku Kangnido were less interested in portraying current images of neighbouring Asian countries than in presenting an up‐to‐date image of Chos?n Korea.