丰子恺与厨川白村文艺思想比较研究

发布时间：2018-11-18 16:12

【摘要】： 丰子恺曾翻译过日本大正时期的文艺理论家厨川白村的《苦闷的象征》,他认同厨川白村关于“文艺是苦闷的象征”的提法,并称自己的文章正是“二重人格的苦闷的象征”。但是,厨川白村的文艺观对丰子恺早期的文艺创作活动影响究竟有多大?目前学界仍是语焉不详。本文拟通过对丰子恺与厨川白村二人文艺观的比较,探明二者文艺思想的异同,也希冀从一个侧面揭示丰子恺独特的艺术人生观。本论文共分三章。第一章“文艺是苦闷的象征”。论述正是厨川白村所说的“人间苦”引发丰子恺的共鸣;丰子恺有关“人生的苦闷”的阐释,即有明显的厨川白村印迹。而艺术对人类精神自由的作用也是丰子恺与厨川白村的又一共识之处。只是宗教信仰以及中国传统文化的熏陶,使丰子恺对“苦闷”的理解与认识多了一种宗教情怀与儒家文化的观照。由于各自不同的文化背景与人生体验,他们对“文艺与道德”这一问题的看法亦有所不同。第二章“艺术人生”。尽管丰子恺与厨川白村一样,既强调人的个性与主观性对文艺创作的重要性,也注重艺术与人生二者之间的相关联系,并努力寻求二者之间的平衡。但是,厨川白村注重的是人的精神世界,追求的是人的心灵自由与个性解放;相比之下,丰子恺更多强调的是人的个体生命的价值,以及普世意义上对芸芸众生的关护与怜爱。第三章“走出象牙塔”。厨川白村强调艺术家要“走出象牙塔”,身处民族忧患时期的丰子恺亦最终走出“象牙塔”,毅然走向广场。虽然丰子恺没像厨川白村那样在社会批评与文明批评方面表现得极为辛辣与尖刻,但却更多地表现出对人类的关爱与浓厚的人文情怀。厨川白村的文艺观对丰子恺的文艺思想形成确有影响,但丰子恺对厨川白村并非全盘接收。特定的个人气质与悲天悯人的宗教情怀,成就了他的艺术与人生。丰子恺的文艺创作活动总是体现着深深的人类关爱与人文关怀,这是他与厨川白村甚为不同的地方。相比厨川白村追求个性的舒展却忽视个体生命的价值,以及对战争给人类造成深重灾难的冷漠,丰子恺无疑是一种超越。
[Abstract]:Feng Zikai has translated the "symbol of boredom" by the literary theorist of Taisho period in Japan. He agrees with the idea that "literature and art is a symbol of boredom", and claims that his article is "the symbol of depression of dual personality". However, how much influence on Feng Zikai's early literary and artistic creation activities has been affected by the literary and artistic outlook of Kuichuan White Village? At present, the academic circle is still vague. Through the comparison between Feng Zikai and Kaochuanbai Village, this paper tries to find out the similarities and differences of their literary and artistic ideas, and hopes to reveal Feng Zikai's unique outlook on art and life from one side. This thesis is divided into three chapters. Chapter one: literature and Art is a symbol of boredom. It is the "human suffering" that has aroused Feng Zikai's resonance, and the explanation of "the boredom of life" by Feng Zikai, that is, there are obvious imprinting in Kokukawa White Village. And the effect of art on human spiritual freedom is another common ground between Feng Zikai and Kaochuan White Village. Only the influence of religious belief and Chinese traditional culture makes Feng Zikai's understanding and understanding of "distress" more religious feelings and Confucian culture. Due to their different cultural backgrounds and life experiences, their views on the issue of literature and morality are different. Chapter two, Art Life. Even though Feng Zikai, like Kou Chuanbai Village, emphasizes the importance of personality and subjectivity in literary creation, he also pays attention to the correlation between art and life, and tries to find a balance between them. However, Kaochuan White Village emphasizes the spiritual world of human beings and pursues the freedom of human mind and the liberation of personality. In contrast, Feng Zikai emphasizes more on the value of individual life of human beings, as well as on the care and love of the masses in the universal sense. Chapter three: walk out of the ivory tower. Chouchuan White Village stressed that artists should "walk out of the ivory tower" and Feng Zikai, who was in the period of national distress, finally walked out of the "ivory tower" and resolutely walked to the square. Although Feng Zikai is not as bitter and bitter in social criticism and civilization criticism as Kokukawa White Village, he shows more concern for human beings and strong humanistic feelings. The view of literature and art of Chouchuan White Village had an influence on Feng Zikai's literary and artistic thought, but Feng Zikai did not completely accept it. His special personal temperament and compassionate religious feelings have made his art and life. Feng Zikai's literary and artistic creation activities always reflect the deep human love and humanistic concern, which is very different from Kaochuan White Village. Compared with the pursuit of personality expansion but neglect of the value of individual life and indifference to the deep disaster caused by war, Feng Zikai is undoubtedly a kind of transcendence.
【学位授予单位】：华侨大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：I0-03

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