《聊斋志异》在芥川龙之介怪异小说中的体现

发布时间：2018-05-20 01:38

本文选题：怪异 + 聊斋志异　；参考：《四川外国语大学》2013年硕士论文

【摘要】：芥川龙之介被称为日本文坛的“鬼才”。他的作品被广大读者所喜爱，并被给予了很高的评价。他的作品总能给读者带来新鲜的感觉，这也许同他所代表的“新思潮派”的文学特色有一定的关系。新思潮派的很多作品都是通过理性的思考来独特地解释由对人生冷静的观察而捕捉到的现实，并运用历史题材，以现代思维来剖析其中的人物心理，从而揭示出人的内心，尤其是利己主义。因此，新思潮派又被称为新理智派和新技巧派。总之，新思潮派的作家倾向于用理智来抑制情感，不仅从日常生活中，还从历史故事中汲取素材，并依靠运用自己独特的技巧来客观地批判现实和主张个人的思想。在这种意义上，芥川龙之介总是在寻找属于自己的创作素材。而且，中国古典文学常常成为日本作家们的首选素材，因而，芥川会选择中国的古典文学作品《聊斋志异》作为自己创作的原材料也自在情理之中。《聊斋志异》是中国清代小说家蒲松龄（1649年——1715年）创作的短篇小说集。“聊斋”是蒲松龄的书房的名字，而《聊斋志异》就是“在聊斋记录奇怪事情”的意思。《聊斋志异》主要描写的是当时民间流传的一些奇闻异事，多与神仙、幽灵、妖狐等相关。作者通过这些奇闻异事来讽刺当时社会的丑陋现实。芥川龙之介受到《聊斋志异》的影响，创作了很多怪异小说。例如：《酒虫》、《仙人》（大正四年）、《仙人》（大正十一年）、《马腿》、《魔术》等作品就属于这一范畴，至今都被广大读者所喜爱，为学者们所瞩目，并催生了不少研究论文。本论文将基于前人的研究成果，重点论述关于芥川在创作这5篇小说时受到了《聊斋志异》的何种影响，以及芥川是如何巧用素材，并加以自己独到的解释，对作品的人物心理进行现代性的巧妙分析，从而揭示出人物内心世界的。本论文的结构如下。序论首先，将关于芥川的《酒虫》、《仙人》（大正四年）、《仙人》（大正十一年）、《马腿》、《魔术》等五部作品和关于《聊斋志异》的先行研究进行分类归纳。在此基础上来提出问题，，说明本论文的研究方法，概述研究目的等。本论第一章通过多方面比较芥川龙之介的“酒虫”和《聊斋志异》的“酒虫”，说明两者之间的关系，同时，阐述芥川对于《聊斋志异》的“酒虫”的独到见解。由此得出结论——芥川所改写的“酒虫”，不仅仅是单纯的增添文章篇幅，而且也加入了自己的思维，并糅合了《聊斋志异》中其他故事中的形象和内容。第二章通过多方面比较芥川龙之介的“仙人”（大正四年）和《聊斋志异》中的“小二”“丐僧”“雨钱”,进一步证明第一章得出的结论。通过对比“仙人”（大正十一年）和《聊斋志异》的“崂山道士”，论述芥川在借用素材的时候，并不是照搬原著，通过写出有时候也通过改写成与原著完全相反的故事，来贯彻自己的技巧和思想。第三章通过比较芥川的“马腿”和《聊斋志异》的“王兰”、“耿十八”，分析芥川是如何将自己的汉文学素养活用于自己的创作之中的。第四章芥川的“魔术”与《聊斋志异》的“佟客”乍一看似乎没有什么直接联系，但通过对两个故事的主要内容的分析，证明两者其实在故事情节上是相似的。同时，通过佐藤春夫在《支那童话集》的序言中的话语，力证“魔术”等小说其实受到了《聊斋志异》很大影响的事实。第五章芥川之所以如此喜爱以《聊斋志异》的故事为素材，其原因归纳有三。第一，得益于芥川对汉文学的热爱；第二，《聊斋志异》本身的文学魅力吸引了芥川；第三，芥川是新技巧派的代表作家，他经常借助古典素材，并在其中加入自己的见解。而正因为《聊斋志异》符合芥川的选材要求，因而成为了他的素材源泉。结论《聊斋志异》给予了芥川非常深远的影响。同时，芥川也借助《聊斋志异》贯穿了自己的技巧和思想。
[Abstract]:His works can always bring fresh feelings to the readers , which may bring fresh feelings to the readers . In short , the author of the new trend of thought has always been called the new reason and the new skill . In a word , the new trend of thought has always been called the new reason and the new skill pie . In a word , the new trend of thought has always been called the new reason and the new skill pie .

Liaozhai Studio is the name of Pu Songling ( 1649 years _ 1715 ) in the Qing Dynasty . The Liaozhai Studio is the name of Pu Songling ' s study house , and Liaozhai Studio is the meaning of " Strange Things in Liaozhai " . The main description of Liaozhai Studio is that there were some strange things that were popular at the time . The author satirized the ugly reality of the society through these strange things .

This thesis is based on the research results of predecessors , and has produced many research papers . This thesis is based on the research results of predecessors , and has produced many research papers . This thesis is based on the research results of predecessors , and has produced many research papers . This thesis will focus on how to use the material and explain it to scholars .

The structure of this paper is as follows .

First of all , the author classifies the five works of Mustard of Mustard of Mustard ( Da Zheng in the last four years ) , the Buddha ' s Leg Guards , the Magic Magic and the other five works , as well as the leading research on the Strange Stories of the Liaozhai Studio . On the basis of this , this paper puts forward the question , explains the research method of this paper , summarizes the research purpose and so on .

the theory

In the first chapter , we compare the relationship between the " liquor worm " and " wine worm " , which is different from the " wine worm " and " wine worm " of Liaozhai Zhi Yi Zhi . At the same time , the author concludes that the " wine worm " written by Mustard is not only a simple addition to the text , but also its own thinking , and combines the image and content of other stories in Liaozhai Studio .

In the second chapter , the author further proves the conclusion of the first chapter by comparing the " fairy " ( four years old ) and " Xiaoji " in Liaozhai Zhiyi of Mustard . Through comparing the " fairies " and " Laoshan Taoist priest " of Liaozhaizhiyi , this paper discusses that Muchuan is not carrying out his own skills and ideas by comparing the story of " Xianren " ( Dazheng eleven years ) and " Laoshan Taoist " of Liaozhaizhiyi .

In the third chapter , by comparing " Wang Lan " and " Geng18 " of Mustard ' s " horse leg " and " Liaozhai Zhi Yi Zhi Yi Zhi " , how to use his Chinese literary accomplishment in his creation is analyzed .

The fourth chapter does not seem to be directly related to the " Tongke " at first glance , but through the analysis of the main contents of the two stories , it is proved that both are similar in the story plot . At the same time , through the words in the preface to the fairy tale set by Sat艒 Chun - fu , it is proved that the novel such as " magic " is actually influenced by the Strange Stories of the Liaozhai Studio .

The fifth chapter is so fond of the story of Strange Stories from the Liaozhai Studio . The reason is three . First , thanks to Muchuan ' s love for Chinese literature ;
Secondly , the charm of the literary charm of Liaoid al - Studio itself attracted the mustard ;
Third , Mustard is a representative writer of the new skill group . He often makes use of classical material and adds his own opinions .

Conclusion : Liaozhaizhiyi has had far - reaching influence on Mustard . Meanwhile , Mustard also used his skill and thought through Liaozhai Studio .
【学位授予单位】：四川外国语大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：I313.074;I207.41

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