從“神圣愚人”題材作品看芥川龍之介的“中國(guó)趣味”
發(fā)布時(shí)間：2019-05-15 02:54
【摘要】：芥川龍之介是日本近代文學(xué)史上的巨匠，也是與中國(guó)頗具淵源的作家。自幼接觸漢學(xué)的芥川具備深厚的漢學(xué)素養(yǎng)，在其一生的創(chuàng)作中都心懷對(duì)中國(guó)的關(guān)切，同時(shí)也留下了諸多中國(guó)題材作品，因此芥川也被稱為懷有“中國(guó)趣味”的作家。那么，芥川的“中國(guó)趣味”的內(nèi)核究竟為何物？且在其不同時(shí)期的創(chuàng)作中，“中國(guó)趣味”有著怎樣的變化呢？圍繞以上問(wèn)題，本論以同屬于“神圣愚人”題材作品群的四篇中國(guó)相關(guān)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(guó)趣味”的內(nèi)核與變遷。 根據(jù)本論的考察，芥川的“中國(guó)趣味”并非是靜止不變的，而是在不同的創(chuàng)作時(shí)期展現(xiàn)了不同的關(guān)注視點(diǎn)和樣態(tài)。在“神圣愚人”題材作品的創(chuàng)作中，從關(guān)注視點(diǎn)來(lái)看，芥川的“中國(guó)趣味”經(jīng)歷了兩大轉(zhuǎn)折。首先關(guān)注的重點(diǎn)從古典中國(guó)轉(zhuǎn)為近代中國(guó)，之后又在作品中出現(xiàn)了對(duì)于中國(guó)的回避和疏離。這種變化與芥川本人的中國(guó)旅行及其體驗(yàn)有著深切關(guān)聯(lián)。因?yàn)閺男〗佑|漢學(xué)的關(guān)系，芥川養(yǎng)成了深厚的古典中國(guó)情結(jié)，原本芥川“中國(guó)趣味”的關(guān)注焦點(diǎn)也集中于古典中國(guó)。然而，《南京的基督》創(chuàng)作的時(shí)期恰逢芥川決意到中國(guó)旅行之時(shí)，加上谷崎潤(rùn)一郎《秦淮之夜》的影響，因此將視線移向近代中國(guó)也就成為必然。在此之后，，因?yàn)榻?jīng)歷了中國(guó)旅行，目睹了現(xiàn)實(shí)中國(guó)的狀況，造成了其中國(guó)幻想的破滅，因此在歸國(guó)后的中國(guó)題材作品的創(chuàng)作中，出現(xiàn)了回避中國(guó)的傾向。 另一方面，雖然從創(chuàng)作時(shí)間來(lái)看，芥川“中國(guó)趣味”的關(guān)注視點(diǎn)雖有所不同，但是對(duì)于中國(guó)古典文化的熱愛(ài)及其背后隱匿的對(duì)于東方文化的回歸意識(shí)卻貫穿于芥川創(chuàng)作的始終。此點(diǎn)也正是芥川“中國(guó)趣味”的內(nèi)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(xué)位授予單位】：重慶大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：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(xué)位授予單位】：重慶大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I313.074
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相關(guān)期刊論文 前8條
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