关于小川未明童话创作中的“消极”色彩研究

发布时间：2018-06-06 10:54

本文选题：小川未明 + 童话　；参考：《南京大学》2012年硕士论文

【摘要】：小川未明(1882-1961)在日本儿童文学界是一个代表性的存在,被誉为“日本的童话之父”,儿童文学理论界更是把他的童话称作是日本近代儿童文学的起点。小川未明在他50年的创作生涯中留下了近千篇的童话作品,可以说是一位多产的作家,至今仍有很多作品深受孩子们喜爱,广为流传。1926年发表“童话宣言”之前,小川未明曾经创作过小说,不过相比之下,他的童话作品拥有更广泛的读者群。然而,战后很多儿童文学理论家对他的童话作品从各个角度进行了批判。其中批判最多的是其作品中流露出的“消极”色彩。特别是从1950年代中期起至1960年兴起的小川未明批判运动中,古田足日、鸟越信等儿童文学研究家因为其作品中的“消极”色彩而对小川未明的童话予以全盘否定。他们提出的理由是“童话世界格调暗淡,主题消极”。因此,“消极色彩”可以说是未明童话不可忽视的论题。为什么小川未明的童话会给读者一种色彩“消极”的感觉呢?他的童话中的“消极”色彩又是如何表现出来的?另外,关于未明童话的主题,是否真如古田足日、鸟越信等人所说那样都是消极暗淡的呢?作为童话作家,小川未明通过这种“消极”色彩的创作想要表达怎样的主题?如果通过这种消极色彩所表现出来的主题具有积极性的话,那么就不应该因为色彩“消极”而受到批判。于是笔者怀揣上述疑问和假设对小川未明童话世界的消极色彩进行了考察探究。本文主要选取了小川未明的代表作品作为考察对象,即创作生涯鼎盛时期创作的、被公认为能够充分体现未明童话特征的部分作品。小川未明的创作生涯大致分为两个时期：即前期泛浪漫主义时代和后期写实主义时代,其中从大正中期到昭和三、四年左右,为小川未明童话的浪漫主义开花鼎盛时期,这十年左右期间创作的作品充分体现了小川未明童话的特色。具体作品有：《牛女》《铁环》(1919年)、《大螃蟹》(1920年)、《抵达港口的黑人》《星星们的对话》(1921年)、《红蜡烛和人鱼》《月夜和眼镜》《小岛傍晚的故事》(1922年)、《巧克力天使》《野蔷薇》(1923年)、《月亮和海豹》(1924年)、《负伤的线路和月亮》(1925年)、《下雪前高原的故事》(1926年)、《酒店伙计》《北方少女》(1924年)。本文主要采用文本分析法,着重围绕小川未明童话的“消极”色彩的文本体现、使用消极色彩创作童话的原因、消极色彩中蕴含的主题以及运用消极色彩体现明朗主题的艺术效果四个方面进行考察。具体内容共由四章构成。第一章主要从语言表达、自然景色的描写以及情节内容的展开三方面考察小川未明童话的基本格调是如何体现出来的。第二章主要针对第一章所体现的格调背后隐藏的原因进行考察。小川未明在创作童话的过程中大量使用消极格调与小川未明本人少年时代和中年时代的人生经历是密切相关的。故乡单调多雪的自然特点为小川未明的自然描写提供了很多素材；少年时代的孤独生活以及中年时期痛失爱子使他的童话染上一层淡淡的灰暗孤单的色彩。第三章中,在第一章考察格调的基础上,针对未明童话被批判的理由,即“格调暗淡,主题消极”,进一步考察格调中所蕴藏的主题。考察发现虽然童话泛有淡淡的忧伤,但是主题却是明朗的,其中体现了爱与王义、憧憬与希望等许多人性中深刻的一面。第四章主要围绕未明童话独特的创作手法带来的艺术效果进行探讨。小川未明童话创作中“消极”格调与明朗主题相互交错,往往带来意想不到的结局,达到进一步深化主题的效果。正是这样的艺术风格提高了作品的艺术魅力,引起了读者的好奇心和兴趣,吸引读者迫不及待地阅读。笔者经过考察认为：小川未明的童话作品不应该因为格调暗淡而遭到批判,这种独特的创作手法正是未明童话吸引读者的地方。在解读研究小川未明童话的过程中应该着重关注其在创作过程中使用的消极色彩的艺术价值所在。
[Abstract]:Ogawa Miki (1882-1961) is a representative existence in Japanese children's literary world and is known as "the father of Japanese fairy tales". The theoretical circle of children's literature calls his fairy tales a starting point for modern Japanese children's literature. So far, many of the works are popular with children. Ogawa Miki once wrote novels before the "Declaration of fairy tales" published in.1926, but by contrast, his fairy tales have a wider audience.
However, many children's literary theorists criticized his fairy tales from various angles after the war. Among them, the most critical is the "negative" color in his works. Especially in the uncritical movement of Xiao Chuan, which rose from the mid 1950s to 1960, the children literature researchers such as the Gutian foot day, the bird Yue letter and so on because of their works Ogawa Miki's fairy tales are completely negated by the "negative" color. The reason they put forward is that "the fairy tale world is dim and the theme is negative". Therefore, "negative color" can be said to be an unignorable topic in unwise fairy tales.
Why does Ogawa Miki's fairy tale give the reader a sense of "negative" color? How does the "negative" color in his fairy tale show? And, whether the theme of the unknown fairy tale is like the Gutian foot day, the bird Yue and others say it is negative and dark? As a fairy tale writer, Ogawa Miki passed this If the theme of "negative" color wants to express the theme, if the theme expressed through this negative color is positive, it should not be criticized because of the "negative" color. So I have studied and explored the negative color of Ogawa Miki's fairy tale world with the above questions and assumptions.
This article mainly selects the representative works of Ogawa Miki as the object of investigation, which is created at the peak of his creative career. It is recognized as a part of the works that can fully reflect the characteristics of the unknown fairy tales. Ogawa Miki's creative career is divided into two periods: the period of the early romantic period and the later realism, from the great center During the period of three, four years, the romantic flowering of Ogawa Miki's fairy tales was in the flourishing period, and the works created during the period of about ten years fully reflect the characteristics of Ogawa Miki's fairy tales.
The specific works include: < bull > < iron ring > (1919), < big crab > (1920), < blacks from arriving at the port > < the dialogue of the stars > (1921), < the red candle and the mermaid > the moon and the spectacles > < the evening of the island > (1922), < the chocolate Angel > < wild rose > (1923), < moon and seal > (1924), < the injured line and the moon > (1925), < before snow. < The story of plateau (1926), "Hotel dude > North girl > (1924).
This article mainly adopts the text analysis method, focusing on the text embodiment of "negative" color of Ogawa Miki's fairy tales, the reasons of using negative color to create fairy tales, the themes contained in the negative color and the artistic effect of expressing the bright theme in four aspects.
The specific content is composed of four chapters.
The first chapter mainly from the three aspects of the language expression, the description of the natural scenery and the development of the plot content, how the basic style of Ogawa Miki's fairy tales is reflected.
The second chapter mainly investigates the hidden causes behind the tone in the first chapter. In the process of creating the fairy tale, Ogawa Miki uses a lot of negative style to be closely related to Ogawa Miki's own teenage and middle-aged life experiences. The natural characteristics of the monotonous and multi snow in his hometown provide the natural description of Ogawa Miki. A lot of material, lonely life in adolescence, and loss of love in middle age make his fairy tale a dull, lonely color.
In the third chapter, in the first chapter, on the basis of the investigation of the style, the theme of the uncriticized fairy tales, namely "the dim tone and the negative theme", is further investigated. The study finds that although the fairy tales have pale melancholy, the theme is clear, which embodies many human nature, such as love and Wang Yi, longing and hope. A deep side.
The fourth chapter mainly focuses on the artistic effect of the unique creative techniques of the unknown fairy tales. The "negative" and bright themes in Ogawa Miki's fairy tales interlaced each other, often bringing unexpected ending to further deepening the effect of the theme. It is this art style that has raised the artistic charm of the works and caused the artistic charm of the works. Readers' curiosity and interest attract readers to read.
The author thinks that Ogawa Miki's fairy tales should not be criticized because of the dim tone of the style. This unique creation method is the place where the unknown fairy tales attract readers. In the process of reading and studying Ogawa Miki's fairy tales, we should pay more attention to the artistic value of the negative colors used in the process of creation.
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I313.078

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