从风景描写看《菜穗子》中的悲剧形象

发布时间：2018-06-29 04:16

本文选题：风景描写 + 悲剧形象　；参考：《吉林大学》2012年硕士论文

【摘要】：昭和十年代（1935年前后）日本的社会氛围黑暗且危险，令人窒息。国内外混乱四起。在这样剧烈动荡的形势下，极少数作家仍保持着平和稳定的心境投身于文学创作活动并且硕果累累。堀辰雄就是其中一位。可以说他是那个时代较为独特的作家，而《菜穗子》正是堀文学中别具一格的作品。从写作方法来看，作品以对位法的形式分别描写了两位主人公的悲剧形象，并且其中大量的风景描写被赋予以象征意义，对悲剧形象进行烘托。从内容来看，作品中没有波澜万丈的大喜大悲，但却自始至终飘荡着一缕淡淡的哀伤。本文结合风景描写就《菜穗子》中的悲剧形象进行了分析。第一部分分析的是菜穗子的悲剧形象。自欺欺人的菜穗子为了抵抗自己与母亲相同的本性，随意地结婚并试图将别人的家庭当做体面的避难所。但是，像被米槠树包围的丈夫家的房子所象征的那样，这个家庭实际上拒绝菜穗子这个外人的介入。这个只有母子二人的排他的家庭和丈夫的不理解只让她感受到了孤独。随后，她的母亲去世，她也随之丧失了忍耐这种与自己格格不入的生活的理由，因肺结核并发而躲进了远离现实生活的高原疗养院。刚开始她觉得疗养所是理想的避难所，并且在那里感受到了生的愉悦。但是，对已婚的菜穗子来说，这种生归根结底是脱离于现实生活的，如果她不倾听自己内心的声音找回自己的本性的话，这种感觉慢慢就会消逝。后来，她在疗养所中为周围的风景所触动开始对自己及生活进行思考，逐渐意识到了以上问题并且心境也发生了一些变化。最终，她在幼时好友都筑明真挚的姿态的感染下，为了与现实生活接触而鼓起勇气逃脱了疗养院回到东京。她暗自将自己的一生赌在丈夫见到自己时的反应上，然而丈夫冷漠的态度和对其母亲的妥协使得菜穗子在这场豪赌中一败涂地。在菜穗子的这种反抗-忍耐-追求新生-追求失败的过程中，菜穗子的悲剧形象逐渐被推上巅峰。因此，从最终不得不重回孤独的疗养院的菜穗子身上看不到丝毫希望和新生的可能性，她必须继续忍耐这种生活。这就是孤独且病弱的菜穗子的悲剧形象，也就是生者的命运。第二部分分析的是菜穗子的青梅竹马之交都筑明的悲剧形象。明幼时父母双亡，因此极为憧憬有母亲的世界。少年时代曾一时从菜穗子身上满足了对家的幻想，但是不久便破灭了。之后他因病再度回到了曾经与菜穗子一同度过美好童年的信州O村。O村对明来说象征着“母亲的世界”，所以那里的一切都令其魂牵梦绕。明虽然真挚地追求着“母亲的世界”，但是他的生命如落地后迅速融化并消逝的雪花一般脆弱，难以逃离死亡的厄运。这就是明的悲剧形象，也就是夭折者的命运。本文在最后一部分对作者创作时的精神状态进行了考察。艺术源于生活，堀辰雄之所以创造出了上述的悲剧形象，定与其内心深层紧密相关。作者也曾患几乎是不治之症的肺结核并长期在疗养院过着孤寂的生活。而且最初的文学同伴纷纷转向无产阶级文学，只有堀辰雄坚守自己对纯粹的文学世界的追求，不迎合时代潮流的他的孤独不言而喻。另外，从身边亲朋好友接连逝去所带来的冲击和消极的生活方式上，作者的悲观意识可窥一斑。作者还赋予O村以特殊的象征意义，以此来描写对母亲的思慕。总之，，堀辰雄是在孤独意识和悲观意识的作用下创造出《菜穗子》中主人公悲剧形象的。并且，作者有意识地赋予风景象征意义，从另外的角度衬托了作品中的悲剧形象。
[Abstract]:The social atmosphere of Japan in the ten years of 1935 (around 1935) was dark and dangerous and suffocating. There were four disorders at home and abroad. In such a turbulent situation, a few writers remained calm and stable in literary creation and fruitful. One of them, Hori Xiong, is one of the more unique times. In the form of writing, the works depict the tragic images of the two protagonists in the form of counterpart, and many of them are given symbolic meaning to the tragic image. From the content, there is no great great joy in the works. Great sadness, but there is a faint sadness from beginning to end. This article combines the scenery description to analyze the tragic image in the vegetable tassel.
The first part analyses the tragic image of the vegetable. In order to resist the same nature of his mother, the self deceit will marry and try to treat the family as a decent refuge. But, as symbolized by the house of the husband's house surrounded by a Castanopsis ASII, the family actually refuses the outsider. The incomprehension of the family and the husband of two of the mother and son only made her feel lonely. Then, her mother died, and she lost the reason to endure this kind of incompatible life, and she escaped from the real life of the plateau sanatorium because of tuberculosis. At first she felt that the sanatorium was The ideal refuge and the pleasure of living there. But for the married ear, this life is ultimately out of reality, and if she does not listen to her inner voice to retrieve her nature, the feeling will fade away. Thinking about yourself and life, gradually aware of the above problems and some changes in their mood, she finally got the courage to escape from the sanatorium to Tokyo in order to get in touch with real life, and she secretly bet her life on her husband's reaction to her husband. However, her husband's indifference attitude and his mother's compromise made it a defeat in this gamble. In the course of the resistance - the endurance - the pursuit of failure, the tragic image of the vegetable was gradually pushed to the top. Hope and the possibility of new life, she must continue to endure this kind of life. This is the tragic image of lonely and sick dishes, that is, the fate of the living.
The second part is an analysis of the tragic image of the bamboo and the bamboo and horse of the vegetable. The mother was very longing for his mother's world when he was young. The village of.O in O village of Xinzhou is a symbol of "the mother's world", so it is all about it. Although he sincerely seeks the "mother's world", the snowflakes, which melt and vanish quickly after the landing, are so fragile that it is difficult to escape the fate of death. This is the tragic image of the Ming Dynasty, that is, the death of his death. The fate of the man.
The last part of this article examines the mental state of the author's creation. Art originates from life. The reason why Hori Xiong created the tragic image is closely related to his deep heart. The author has been suffering from an almost incurable tuberculosis and lived a lonely life in a sanatorium for a long time. To the proletarian literature, only Hori Xiong sticks to his pursuit of the pure literary world and does not cater to the loneliness of the tide of the times. In addition, the writer's pessimistic consciousness can be seen from the impact and negative lifestyle of the relatives and friends who have passed away. The author also endows the O village with a special symbolic meaning. In this way, it describes the admiration of the mother. In a word, Hori Xiong created the tragic image of the hero under the action of loneliness and pessimistic consciousness. And the author consciously gives the symbolic meaning of the landscape and sets off the tragic image in the work from another angle.
【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I313.074

【相似文献】