A Study Of Chinese Mirror In Iberian Travel Literature In The 14-17th Century

The thesis uses the relevant theories of comparative literary imagery to study the Chinese image in western literature,and selects the 14-17th century and Spain and Portugal as the theoretical framework.The 14th-17th century was the Renaissance period.The opening of new European routes opened a new window for Westerners to understand the world.The discovery of "human" also brought a new understanding of"China" by Europeans.In the development of new routes,Spain and Portugal are at the forefront of European countries,and their understanding of China’s image is of pioneering special significance.This is also the value of this topic.The article is divided into four parts.The first part briefly outlines the definition,origin and relationship between imaginology and Jixing literature,and the rationality of analyzing the literary genre of Jixing literature using the relevant theories of imagination.The second part revolves around "Chinese Landscape in the Ilibian Literature in the Sixteenth and Seventeenth Centuries","History of the Great Chinese Empire","Great China","Journey to the Far","Orientalism" and "Chinese China in Portuguese Literature in the Sixteenth Century "Overview of the Empire","Sixteenth Century Southern China Travel" and "Portuguese Records in China" and other chronicle works,multi-angle combing the 14-16 century Spanish and Portuguese eyes of China.The Chinese national image,Chinese institutional cultural image,Chinese scientific and technological cultural image,and Chinese folk cultural image outlined in these works are sorted out separately.The third part discusses the causes and deformation of the image.According to the theory of imageology,due to the "social imagination" and the writer’s personal factors,there must be some deformation and misreading of these images.Some of these misreadings are intentional and unintentional.Based on this,the article further analyzes the causes and essence of Chinese image transformation from the perspective of creators and social environment.From the perspective of cultural utilization,it is the result of Westerners’ positive and negative recognition,and it is mainly positive;from the perspective of cultural identity,it is the product of the shaper’s confirmation of his own cultural identity.The fourth part discusses the important value of this type of Chinese image in the history of Chinese image.By combing and comparing the Chinese images in the early and later works,it can be found that this type of Chinese image has shifted its focus from the object level to the ideological and cultural level.This transformation provided a source of thought for the French Enlightenment Movement and the 18th-century European "China Fever".