后殖民主义视角下的上海想像: 以≪点石斋画报≫为中心

• 발행기관: 중국인문학회
• 저자명: 张颖
• 간행물 정보: 『중국인문과학 』제73집, 579~594쪽, 전체 16쪽
• 주제분류: 인문학 > 문학
• 파일형태: PDF
• 발행일자: 2019.12.30

영문 초록

Since Modern times, the description of Shangha' is start with the novels of the late Qing Dynasty. The description of Shanghai is basically based on the two aspects of “reform” and “corruption”. In the 19th century, with the development of printing and the introduction of photography technology, the visual media represented by images gradually popularized, which brought great changes to human visual experience. Pictorial is the product of the meeting of printing technology and visual media. Shanghai, once the holy land of the printing industry, also publishes the most pictorial newspapers. There have been two “pictorial boom” in Shanghai. Among them, the first “pictorial boom” can be said to have been set off by Dianshizhai pictorial. Consequently Dianshizhai pictorial occupies an important position in the history of pictorial newspaper. Dianshizhai pictorial was founded in Shanghai in 1884 by Ernest major. At the beginning, it was published as a ten-day journal, accompanied by Shun Bao. It was closed in 1898 and published for nearly 15 years. Eight pictures were published in each issue, and by the time it was closed in 1898, more than 4000 “records” had been published. Dianshizhai pictorial visually reappears the face of great changes in modern China at the end of the 19th century. Because of this, Dianshizhai pictorial is another important material to study the modern history of China from a different perspective, that is, from a visual perspective. With the help of the postcolonial theory of Bhabha·Homi, this paper analyzes the images in Dianshizhai pictorial, and explores the postcolonial nature reflected in the imagination of Shanghai in the late Qing Dynasty. The Shanghai concession described in Dianshizhai pictorial is a space of otherness. This kind of space of integration of eastern and Western cultures can be said to be the third space of post colonialism. The main writers of Dianshizhai pictorial inthe semi colonial pictorial, belittle the main western colonists and turn others into the others, reflecting the subversion and reversal of colonial / colonized relations.

목차

Ⅰ. 绪论

Ⅱ. 从文字文化到视觉文化

Ⅲ. 上海想像的后殖民性

Ⅳ. 结语

키워드

Dianshizhai pictorial Shanghai imagination Postcolonialism The Third Space Hybridity Mimicry