文化转型初期的一种中国想象——论《中国人自画像》、《中国人的精神》、《吾国吾民》的中国形象塑造

在古代中国向现代中国转型的关键期，陈季同描述的'家庭中国'、辜鸿铭塑造的'道德中国'以及林语堂想象的审美化的'人文中国'，向西方展示了一种价值中国的形象，这是对文化转型时中西文化冲突的一种积极回应。这一回应的特殊之处体现在两个层面： 一方面，这些中国形象都隐含着对西方现代性理念的认同，是通过中国人建构中国形象而参与到西方中国想象的话语谱系之中；另一方面，它是以中国自身的形象建构表现出对西方中国想象的反拨与重建，明显地带有对西方问题的思考和想象，由此形成了中国形象与西方中国想象以及与西方自身想象的一种对话关系，这不仅可以改变西方原本存在的中国想象，也能够让西方世界从对话的场域中重新发现自己。

China's Self-portrait in the Beginning Stage of Cultural Transition:China Image in The Chinese Self-portrait,The Spirits of Chinese and My Country and My People

In the critical period of transition from ancient China to modern China，the 'Family China' described by Tcheng Ki-tong，the 'Moral China' written by Ku Hung-ming and the aesthetic 'Cultural China' praised by Lin Yutang demonstrated to the Western world the value of China image.The concepts of these Chinese self-portraits were realized from two perspectives: on the one hand，these China images implied a recognition of the Western concept of modernity，which formed part of the discussions about the China image among the Western world，but on the other hand，they corrected the Western images of China and created a new image for China，taking into account the problems in the Western world.As a result，there was a dialogue between the Chinese self-portraits，Chinese Image projections by the Westerners and their self recognition.This interactive relationship has helped the Westerners not only to change their understanding of China，but also to discover more about themselves.