哪位好心人帮我翻译下这段文章?As his title indicates, Shang Wei's rambling study does not so much utilize the intellectual history of the time to help illuminate these literary questions as it uses the literary work to help illuminate th

哪位好心人帮我翻译下这段文章?As his title indicates, Shang Wei's rambling study does not so much utilize the intellectual history of the time to help illuminate these literary questions as it uses the literary work to help illuminate th
哪位好心人帮我翻译下这段文章?
As his title indicates, Shang Wei's rambling study does not so much utilize the intellectual history of the time to help illuminate these literary questions as it uses the literary work to help illuminate the intellectual history. This is of course valid, even though he essentially ignores the important question of why Wu Jingzi would choose to express something of such national and philosophical import as Confucian ritual in the lowly regarded fictional medium, employing the vernacular rather than the classical language, leaving out his name from the manuscript-a choice that caused his friend Cheng Jinfang to comment in a poem (ca. 1748-1750) that "I grieve for this man," because he had to be "by fiction known."
Like so many current considerations of the fiction medium (xiaoshuo, literally "minor narratives") of old China, Shang Wei's study essentially sidesteps any real distinctions between this medium and the novels which rose in eighteenth- and nineteenth-century Europe and America. He follows the lead of Shuen-fu Lin's early (1977) article "Ritual and Narrative Structure in Ju-Un Wai-shih"2 in identifying chapter 37 of Rulin waishi as its structural core, while of course going much further. In terms of content, however, chapter 37 is different from most of the rest of the narrative in two important ways. As Shang Wei is of course aware, it is much more a dry, almost recipe account of a Confucian ceremony to an ancient sage than it is a piece of storytelling, and, moreover, it is much more a ritualistic and positive presentation of an ideal than any criticism, ironic or otherwise, of a society that, in all the other chapters, is portrayed as falling short of the ideal because of its pragmatic obsession with social recognition and all that such recognition brings. By molding his study around chapter 37, Shang Wei essentially denies the satirical character of Rulin waishi, seeing it instead as Wu Jingzi's personal exploration of the intricacies and ironies of eighteenth-century ritualistic thought and practice of Nanjing literati. To him, this exploration is what makes Rulin waishi "one of the highest achievements of the Chinese novel, on the same level as the contemporary [and much acclaimed] Honglou meng (Dream of the red chamber or The story of the stone)" (p. 1), and hence something more complex than the "unambiguous moral vision" required by "the model of satire" (p. 280).

哪位好心人帮我翻译下这段文章?As his title indicates, Shang Wei's rambling study does not so much utilize the intellectual history of the time to help illuminate these literary questions as it uses the literary work to help illuminate th
作为他的标题所示,尚伟的漫谈研究并没有这么多利用智慧的历史的时间,以帮助照亮了这些文学的问题,因为它使用的文学作品,以帮助照亮智力的历史.当然,这是有效的,即使他基本上忽略了重要的问题,为什么吴敬梓会选择表达的东西,例如国家和哲学的进口作为儒家礼仪在卑微,把虚构的媒介,运用白话,而非古典的语言,离开了他的名字从这份手稿-一个选择,造成他的朋友郑金芳评论在一首诗（约1748至1750年）说：“我感到悲伤,为这名男子” ,因为他要“由著名的小说” .
像目前这么多的考虑,小说中（ xiaoshuo ,从字面上的“小叙述” ）的旧中国,尚伟的研究基本上是避开任何实质的区别,这中等和小说,其中玫瑰在第十八和十九世纪欧洲和美洲.他如下带头船林建甫的早期（ 1977年）的文章“的仪式和叙事结构在巨联合国围师” 2 ,在确定第37章儒林waishi作为其结构的核心,而当然会更进一步.在条款的内容,不过,第37章是不同的其余大部分的叙事在两个重要的途径.作为尚伟是当然知道,这是更为干燥,几乎食谱帐户的儒家仪式,以一比古代圣人,这是一块讲故事,和,此外,它是更为仪式,并积极介绍一个理想的比任何的批评,讽刺或否则,一个社会,在所有其他章节,描绘属于短期的理想,因为它务实的痴迷与社会的承认和所有这样的识别带来了.由成型,他周围的研究第37章,尚伟,基本上否认讽刺性质的儒林waishi ,看到它,而是作为吴敬梓的个人探索的复杂性和讽刺的十八世纪的老一套的思想和实践南京文人.他说,这种探索是什么使儒林waishi “最高的国家之一的成就,中国小说,在同样的水平,作为当代[和许多著名的]红楼梦（红楼梦或故事的石头） ” （第1页） ,因此,一些更复杂,比“毫不含糊的道德视野”所要求的“示范的讽刺” （ 280页） .