從“神圣愚人”題材作品看芥川龍之介的“中國趣味”
發(fā)布時間：2019-05-15 02:54
【摘要】：芥川龍之介是日本近代文學史上的巨匠，也是與中國頗具淵源的作家。自幼接觸漢學的芥川具備深厚的漢學素養(yǎng)，在其一生的創(chuàng)作中都心懷對中國的關切，同時也留下了諸多中國題材作品，因此芥川也被稱為懷有“中國趣味”的作家。那么，芥川的“中國趣味”的內核究竟為何物？且在其不同時期的創(chuàng)作中，“中國趣味”有著怎樣的變化呢？圍繞以上問題，本論以同屬于“神圣愚人”題材作品群的四篇中國相關題材作品--《圣克里斯朵夫》、《尾生之信》、《南京的基督》、《仙人》為中心，考察了芥川“中國趣味”的內核與變遷。 根據(jù)本論的考察，芥川的“中國趣味”并非是靜止不變的，而是在不同的創(chuàng)作時期展現(xiàn)了不同的關注視點和樣態(tài)。在“神圣愚人”題材作品的創(chuàng)作中，從關注視點來看，芥川的“中國趣味”經歷了兩大轉折。首先關注的重點從古典中國轉為近代中國，之后又在作品中出現(xiàn)了對于中國的回避和疏離。這種變化與芥川本人的中國旅行及其體驗有著深切關聯(lián)。因為從小接觸漢學的關系，芥川養(yǎng)成了深厚的古典中國情結，原本芥川“中國趣味”的關注焦點也集中于古典中國。然而，《南京的基督》創(chuàng)作的時期恰逢芥川決意到中國旅行之時，加上谷崎潤一郎《秦淮之夜》的影響，因此將視線移向近代中國也就成為必然。在此之后，，因為經歷了中國旅行，目睹了現(xiàn)實中國的狀況，造成了其中國幻想的破滅，因此在歸國后的中國題材作品的創(chuàng)作中，出現(xiàn)了回避中國的傾向。 另一方面，雖然從創(chuàng)作時間來看，芥川“中國趣味”的關注視點雖有所不同，但是對于中國古典文化的熱愛及其背后隱匿的對于東方文化的回歸意識卻貫穿于芥川創(chuàng)作的始終。此點也正是芥川“中國趣味”的內核所在。
[Abstract]:Takeshi Akutagawa is not only a giant in the history of modern Japanese literature, but also a writer of great origin with China. Akutagawa, who came into contact with Sinology from an early age, has a profound Sinology accomplishment, and has been concerned about China in his life's creation. At the same time, he has also left behind many works of Chinese theme, so Akagawa is also known as a writer with "Chinese interest". So, what is the core of Akutagawa's "Chinese interest"? And in its different periods of creation, "Chinese interest" has what kind of change? Around the above problems, this theory centers on four Chinese related works that belong to the theme group of "Holy Fool"-"St. Christoff", "the letter of the end", "Christ in Nanjing", "Fairy Man", "Holy Fool", "Holy Fool". The core and changes of Akutagawa's Chinese interest are investigated. According to the investigation of this theory, Akutagawa's "Chinese interest" is not static, but shows different viewpoints and patterns of attention in different creative periods. In the creation of the theme works of Holy Fool, from the point of view of attention, Akutagawa's Chinese interest has gone through two major turns. First of all, the focus of attention has changed from classical China to modern China, and then there has been avoidance and alienation of China in the works. This change is deeply related to Akutagawa's own travel to China and its experience. Because of the contact with Sinology from an early age, Akutagawa developed a profound classical Chinese complex, and the original focus of Akutagawa's "Chinese interest" was also on classical China. However, the period of Christ in Nanjing coincided with Akutagawa's determination to travel to China, coupled with the influence of Ichiro Tanizaki's the Night of Qin and Huai, so it was inevitable to shift his attention to modern China. After that, because of the experience of Chinese travel, witnessed the situation of real China, resulting in the disillusionment of his Chinese fantasy, there is a tendency to avoid China in the creation of Chinese theme works after returning to China. On the other hand, although Akutagawa's "Chinese interest" has different viewpoints from the point of view of creation time, the love of Chinese classical culture and its hidden sense of return to oriental culture run through Akutagawa's creation. This is also the core of Akutagawa's Chinese interest.
【學位授予單位】：重慶大學
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：I313.074
[Abstract]:Takeshi Akutagawa is not only a giant in the history of modern Japanese literature, but also a writer of great origin with China. Akutagawa, who came into contact with Sinology from an early age, has a profound Sinology accomplishment, and has been concerned about China in his life's creation. At the same time, he has also left behind many works of Chinese theme, so Akagawa is also known as a writer with "Chinese interest". So, what is the core of Akutagawa's "Chinese interest"? And in its different periods of creation, "Chinese interest" has what kind of change? Around the above problems, this theory centers on four Chinese related works that belong to the theme group of "Holy Fool"-"St. Christoff", "the letter of the end", "Christ in Nanjing", "Fairy Man", "Holy Fool", "Holy Fool". The core and changes of Akutagawa's Chinese interest are investigated. According to the investigation of this theory, Akutagawa's "Chinese interest" is not static, but shows different viewpoints and patterns of attention in different creative periods. In the creation of the theme works of Holy Fool, from the point of view of attention, Akutagawa's Chinese interest has gone through two major turns. First of all, the focus of attention has changed from classical China to modern China, and then there has been avoidance and alienation of China in the works. This change is deeply related to Akutagawa's own travel to China and its experience. Because of the contact with Sinology from an early age, Akutagawa developed a profound classical Chinese complex, and the original focus of Akutagawa's "Chinese interest" was also on classical China. However, the period of Christ in Nanjing coincided with Akutagawa's determination to travel to China, coupled with the influence of Ichiro Tanizaki's the Night of Qin and Huai, so it was inevitable to shift his attention to modern China. After that, because of the experience of Chinese travel, witnessed the situation of real China, resulting in the disillusionment of his Chinese fantasy, there is a tendency to avoid China in the creation of Chinese theme works after returning to China. On the other hand, although Akutagawa's "Chinese interest" has different viewpoints from the point of view of creation time, the love of Chinese classical culture and its hidden sense of return to oriental culture run through Akutagawa's creation. This is also the core of Akutagawa's Chinese interest.
【學位授予單位】：重慶大學
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：I313.074
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相關期刊論文 前8條
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