The Dissemination And Acceptance Of Oscar Wilde In Modenrn China

As the advocate of Aestheticism, Oscar Wilde has long been considered as a paradoxical figure in literary history. With his literary theory and practice, Wilde has created a furor and exerted far-reaching influences upon western and oriental literature. This dissertation makes an analysis on the influence and acceptance of Wilde in Modern Chinese Literature from the perspective of comparative cultural study.Since the translation and introduction of The Happy Prince by Zhou Zuoren in 1909, Wilde's works have been translated into China in succession. Chen Duxiu, the leader of the May 4^th Movement, thought highly of Wilde and his works, setting him as an example for Chinese New Literature Movement. Yet at that time, Wilde was respected as a rebellious writer, and the most populous translations were his social comedies, while the aesthetic values of his works were ignored consciously or unconsciously. With translation growing and research furthering, his masterpiece Salome fascinated the Chinese public as well as Chinese writers who tried to imitate the work both in content and in form. Wilde's Aestheticism theory was utilized as the theoretical foundation by Creation Society, Crescent Society and other literary groups. His view of life and artistic style influenced many Chinese writers and nourished the modern Chinese literature.Compared with the enthusiasm and continuity in the 1920s, the acceptance and dissemination of Wilde were more individualized in the 1930s. Wilde's Hedonism was integrated with the yearn of Chinese traditional intellectuals for leisure and refined taste; and his view of 'art for art's sake' was combined with the idea of Chinese Gong'an School and Jingling School. Wilde's influence was like an undercurrent flowing beneath the ideal of Beijing School for refined life and elegant art. On the other hand, aestheticism of Wilde found a distinctive manifestation in the works of Shanghai School, which conveyed somewhat commercial meaning. Salome, who represented a rebellious new female in 1920s, became a city siren. Oscar Wilde, once held as the spiritual leader in the May 4th Movement, now was changed into a consumption image in fashion. The overemphasis on sensory satisfaction neutralized the Aestheticism's resistance against philistinism and commercialization.The translation and introduction of Wilde declined in 1940s when his influence became weaker. But his art theory had already permeated through the literary principles and artistic creation of Chinese writers, especially such writers as Zhang Ailing, Xu Xu and Wu Mingshi, whose works with their gorgeous color, mysterious mood and unusual style had formed an exotic landscape against the background of monotonous realistic works. Up till now, Wilde's aestheticism was no longer a literary label, but an organic part of their literary creation.It has been 100 years since Wilde' works were first translated into China. With his artistic charm, Wilde has influenced generations of Chinese writers. His artistic idea and works have been topics for theoretical debates and artistic practices of the 20^th century literature in China. A review on the dissemination and acceptance of Wilde in modern China may provide fuel for thought over the development of Chinese literature in the multi-cultural context of globalization.