Acceptance Research Of The Image Of "Madame Bovary" In The History Of Modern Chinese Novels

Western literature has exerted an extraordinary influence over the development of Chinese literature in the 20 th century.Every since the “May 4th” literary revolution,Madame Bovary,a novel written by the celebrated French writer Gustave Flauber,also made its way to China’s literary world.The world-renowned classic image of “Madame Bovary” has been circulated,absorbed and changed in the history of modern Chinese novels,from which a lot of “sinicized” images of “Madame Bovary” emerge.Therefore,this paper attempts to supplement and improve such research based on the summary of previous research findings.This paper first sorts out the spread of the image of “Madame Bovary” in modern China,the introduction of Flaubert and Madame Bovary in the early stage of modern China,and the acceptance of the image of “Madame Bovary” in modern China to suggest its widespread and profound influence.Moreover,through case studies of three typical images in the history of modern Chinese novels: Safi and Amao in Chinese writer Ding Ling’s works and Cai in Li Jieren’s work,this paper analyzes the text acceptance and adaption representation of the image of “Madame Bovary” in the history of modern Chinese novels.It is found through text comparison that there are similarities as well as differences between “Madame Bovary” and figures created by modern Chinese writers.In the end,based on the theory of reception aesthetics and from the perspective of the image,era and writer,this paper explains the inner logic in the acceptance of the image of “Madame Bovary” in the history of modern Chinese novels.This paper aims to offer thoughts and references for the relevant study of the image of “Madame Bovary” and the acceptance of modern Chinese novels through the acceptance research of “Madame Bovary” in modern Chinese novels.