voplitВопросы литературыVoprosy literatury0042-8795Avtonomnaja nekommercheskaja organizacija Redakcija zhurnala kritiki i literaturovedenija «Voprosy literatury»10.31425/0042-8795-2020-2-70-88voplit-305Research ArticleСРАВНИТЕЛЬНАЯ ПОЭТИКАCOMPARATIVE STUDIES«Шараваджи» У. Темпла и поэтика мировой литературыWilliam Temple’s ‘Sharawadji’ and the poetics of world literatureПоловинкинаО. И.PolovinkinaO. I.

Ольга Ивановна Половинкина – доктор филологических наук

125993, г. Москва, Миусская пл., д.6, корп. 1

Olga  I.  Polovinkina – Doctor of Philology

6/1 Miusskaya Sq., Moscow, 125993

olgapmail@mail.ruРоссийский государственный гуманитарный университет; Институт мировой литературы имени А. М. Горького Российской академии наукРоссияRussian State University for the Humanities; A. M. Gorky Institute of World Literature of the Russian Academy of SciencesRussian Federation202028072020027088Copyright © Avtonomnaja nekommercheskaja organizacija Redakcija zhurnala kritiki i literaturovedenija «Voprosy literatury», 20202020Avtonomnaja nekommercheskaja organizacija Redakcija zhurnala kritiki i literaturovedenija «Voprosy literatury»Avtonomnaja nekommercheskaja organizacija Redakcija zhurnala kritiki i literaturovedenija «Voprosy literatury»https://www.voplit.com/jour/about/submissions#copyrightNoticehttps://www.voplit.com/jour/article/view/305

В статье анализируется активное присутствие китайского сада в культурной и литературной истории английского «августинского века», в частности, роль У. Темпла как посредника при восприятии инокультурного явления, циркулирующего в виртуальном пространстве обмена между культурами.

The article examines the ‘active presence’ (D. Damrosch) of the Chinese garden in the literary and cultural history of the English Augustan Age. Special attention is paid to W. Temple’s role as an intermediary in the comprehension of a foreign cultural phenomenon; interpretations of his description of the Chinese garden generated an entirely new tradition in the English literature of the early 18th c. J. Addison identified the Chinese garden with the idea of harmony, making it part and parcel of Neoclassical aesthetics. Pope followed the same logic. In his essay, Castell brings together the classical and the Chinese traditions, where the former does not act as an approving authority, rather it is the Chinese tradition that helps give it a more nuanced description. Quite a few English country homes display a combination of Neoclassical principles and elements of the Chinese garden, the new landscaping style summarized by Pope. Augustans’ Chinese garden draws on two national worldviews, but just like the world ‘sharawadji’ introduced byTemple, it belongs to the realm of imagination, at the crossroads of languages and cultures, none of which can fully claim it as their own.

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The authors declare that there are no conflicts of interest present.