从“神圣愚人”题材作品看芥川龙之介的“中国趣味”

发布时间：2019-05-15 02:54

【摘要】：芥川龙之介是日本近代文学史上的巨匠，也是与中国颇具渊源的作家。自幼接触汉学的芥川具备深厚的汉学素养，在其一生的创作中都心怀对中国的关切，同时也留下了诸多中国题材作品，因此芥川也被称为怀有“中国趣味”的作家。那么，芥川的“中国趣味”的内核究竟为何物？且在其不同时期的创作中，“中国趣味”有着怎样的变化呢？围绕以上问题，本论以同属于“神圣愚人”题材作品群的四篇中国相关题材作品--《圣克里斯朵夫》、《尾生之信》、《南京的基督》、《仙人》为中心，考察了芥川“中国趣味”的内核与变迁。根据本论的考察，芥川的“中国趣味”并非是静止不变的，而是在不同的创作时期展现了不同的关注视点和样态。在“神圣愚人”题材作品的创作中，从关注视点来看，芥川的“中国趣味”经历了两大转折。首先关注的重点从古典中国转为近代中国，之后又在作品中出现了对于中国的回避和疏离。这种变化与芥川本人的中国旅行及其体验有着深切关联。因为从小接触汉学的关系，芥川养成了深厚的古典中国情结，原本芥川“中国趣味”的关注焦点也集中于古典中国。然而，《南京的基督》创作的时期恰逢芥川决意到中国旅行之时，加上谷崎润一郎《秦淮之夜》的影响，因此将视线移向近代中国也就成为必然。在此之后，，因为经历了中国旅行，目睹了现实中国的状况，造成了其中国幻想的破灭，因此在归国后的中国题材作品的创作中，出现了回避中国的倾向。另一方面，虽然从创作时间来看，芥川“中国趣味”的关注视点虽有所不同，但是对于中国古典文化的热爱及其背后隐匿的对于东方文化的回归意识却贯穿于芥川创作的始终。此点也正是芥川“中国趣味”的内核所在。
[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.
【学位授予单位】：重庆大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I313.074

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