谷崎润一郎的中国观
发布时间：2018-08-18 08:17
【摘要】：日本作家谷崎润一郎(1886-1965)是日本文学史上的一代文豪,谷崎润一郎从早期的“西洋崇拜”到晚年的“回归日本”的创作历程中间,还穿插着一个“中国情趣”这一题材的创作。谷崎润一郎文学上的成长和成熟都与中国文化密不可分,作为异国情调的“中国情趣”也影响了其一生。 谷崎润一郎年少时就开始接触中国文化,学习汉学,吃中华料理,并开始了对中国的憧憬；第一次踏入中国土地的他又领略了中国的美好及中国古典文学中诗性的浪漫。再次来中国时又与中国文人倾心交谈,回到日本后也保持着跟文人的交往,可以说中国植根于谷崎润一郎的心灵深处。 本论文的主体分为四章。第一章介绍了大正时期的时代背景。在日本近代化的过程中,由于短时间内西方文化的大量输入,一方面旧物破坏摧毁了日本的传统,另一方面对西洋的模仿流于肤浅,此外,日本国内盛行国家主义和民族主义至上风气下,资产阶级民主运动的失败,使日本近代知识分子追求平等自由和近代生活的梦想逐渐破灭,为逃避厌恶的日本现实,寻找一个心灵避难所,对遥远异国的憧憬之情便由此唤起。大正时期的日本文坛是一个多元的时期,在自然主义文学依然存在的同时又迎来了白桦派,新思潮派与新浪漫主义三派鼎立的时代。谷崎润一郎就是新浪漫派的代表。 第二章本章主要讨论了从小受中国文化熏陶的谷崎润一郎及其创作中的“支那趣味”。并通过对作品《麒麟》内容的分析,总结了这一时期他对中国的幻想的特点,即西洋和中国的二重异乡性,文化惯性下的固定认识和对有些细节不准确的理解。 第三章通过谷崎润一郎两次到访中国后的创作中,来探讨他亲身来到中国后的中国认识。1918年谷崎润一郎从朝鲜进入中国,历访了沈阳,天津,北京,汉口,九江,南京,苏州,上海和杭州,历时2个月。回国后创作了大量的中国题材的作品。本论文通过这一时期的其中一篇作品《西湖之月》为例,通过对文本中中国元素,特别是作品中出现的诗人,学者,古典故事等的分析和介绍,勾勒出谷崎心中诗意而浪漫的中国形象。1926年谷崎第二次踏上中国大陆,只在上海这一城市度过了整一个月,和郭沫若,田汉,欧阳予倩等文坛作家们进行了深入的交往。 第四章主要分析谷崎润一郎的中国观。两次中国之行使谷崎逐渐认识和接受现实的中国。而随着对现实中国的接受,也断绝了谷崎一直对中国的憧憬和文学上的启发。因此他放弃了中国趣味作品的创作。谷崎润一郎在移居关西后,也开始进入古典回归的创作时期。日本自古以来继承和融合着中国的传统文化,中国文化存在于日本古典文化之中,这一时期谷崎对日本传统美的再次发现,也不可避免的使他对传统的追溯联系到内心的中国情趣上。 本论文将谷崎的中国题材的作品分为来中国前的憧憬之作,到中国后流连忘返的作品,以及之后告别中国情趣后的生活状况三个层次,通过对各个时期作品中的中国元素的分析,以理论依据,事实说明,文本分析,并结合有关专家的研究成果,来认识和了解谷崎对中国传统文化和中国形象的认识,并对谷崎润一郎的中国观的发展变化进行探讨。
[Abstract]:Yoichiro Tanizaki (1886-1965), a Japanese writer, is a literary hero in the history of Japanese literature. From his early "Western worship" to his later "return to Japan", Yoichiro Tanizaki's literary growth and maturity are closely related to Chinese culture. As an exotic "Chinese sentiment", it has also affected its whole life.
As a young man, Tanizaki began to contact Chinese culture, learn Sinology, eat Chinese cuisine, and began to look forward to China; the first time he stepped into China, he also appreciated the beauty of China and the poetic romance of Chinese classical literature. He also talked with Chinese scholars when he came to China again, and kept talking with them after returning to Japan. It can be said that China is rooted in the heart of Yazaki Junichiro.
The main body of this paper is divided into four chapters. The first chapter introduces the background of the Dazheng Period. In the process of Japanese modernization, because of the large amount of western culture input in a short time, on the one hand, the old things destroyed Japanese tradition, on the other hand, the imitation of the West was superficial. In addition, nationalism and nationalism prevailed in Japan. The failure of the bourgeois democratic movement in the upper atmosphere gradually shattered the Japanese intellectuals'dream of pursuing equality, freedom and modern life. In order to escape the disgusting reality of Japan and find a soul refuge, the longing for a distant country was aroused. The Japanese literary circle in the Orthodox Age was a pluralistic period, and it was a natural autonomy. While the righteous literature still exists, the White Birch School, the New Trend of Thought and the New Romanticism, stand in opposition. Tanizaki Yunichiro is the representative of the New Romanticism.
In the second chapter, this chapter mainly discusses Yazaki Junichiro and his "taste of China" from his * * * influenced by Chinese culture. By analyzing the content of his works, he summarizes the characteristics of his fantasy of China in this period, that is, the two foreign lands of the West and China, the fixed understanding of cultural inertia and the inaccuracy of some details. True understanding.
Chapter Three discusses Tanizaki's understanding of China after his two visits to China. In 1918, Tanizaki entered China from Korea and visited Shenyang, Tianjin, Beijing, Hankou, Jiujiang, Nanjing, Suzhou, Shanghai and Hangzhou for two months. Through the analysis and introduction of the Chinese elements in the text, especially the poets, scholars and classical stories appearing in the works, the poetic and romantic image of China in Tanizaki's heart is outlined in this paper. Throughout the month, Guo Moruo and Tian Han, Ouyang Yuqian and other literary writers have conducted in-depth exchanges.
Chapter Four mainly analyzes Tanizaki's view of China. During his two trips to China, Tanizaki gradually realized and accepted the reality of China. With the acceptance of the reality of China, Tanizaki also cut off his longing for China and his literary enlightenment. Japan has inherited and merged Chinese traditional culture since ancient times, and Chinese culture exists in Japanese classical culture. During this period, Tanizaki's rediscovery of Japanese traditional beauty inevitably linked his traceability to his inner Chinese taste.
This thesis divides Tanizaki's works on Chinese subject matter into three levels, i.e. his works of longing before coming to China, his works of lingering in China and his living conditions after leaving China. Through the analysis of the Chinese elements in his works of various periods, the author explains the theoretical basis, the facts, the text analysis and the research of relevant experts. The achievement is to understand and understand Tanizaki's understanding of Chinese traditional culture and Chinese image, and to explore Tanizaki's development and change of Chinese outlook.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：I313.06
本文编号：2188902
[Abstract]:Yoichiro Tanizaki (1886-1965), a Japanese writer, is a literary hero in the history of Japanese literature. From his early "Western worship" to his later "return to Japan", Yoichiro Tanizaki's literary growth and maturity are closely related to Chinese culture. As an exotic "Chinese sentiment", it has also affected its whole life.
As a young man, Tanizaki began to contact Chinese culture, learn Sinology, eat Chinese cuisine, and began to look forward to China; the first time he stepped into China, he also appreciated the beauty of China and the poetic romance of Chinese classical literature. He also talked with Chinese scholars when he came to China again, and kept talking with them after returning to Japan. It can be said that China is rooted in the heart of Yazaki Junichiro.
The main body of this paper is divided into four chapters. The first chapter introduces the background of the Dazheng Period. In the process of Japanese modernization, because of the large amount of western culture input in a short time, on the one hand, the old things destroyed Japanese tradition, on the other hand, the imitation of the West was superficial. In addition, nationalism and nationalism prevailed in Japan. The failure of the bourgeois democratic movement in the upper atmosphere gradually shattered the Japanese intellectuals'dream of pursuing equality, freedom and modern life. In order to escape the disgusting reality of Japan and find a soul refuge, the longing for a distant country was aroused. The Japanese literary circle in the Orthodox Age was a pluralistic period, and it was a natural autonomy. While the righteous literature still exists, the White Birch School, the New Trend of Thought and the New Romanticism, stand in opposition. Tanizaki Yunichiro is the representative of the New Romanticism.
In the second chapter, this chapter mainly discusses Yazaki Junichiro and his "taste of China" from his * * * influenced by Chinese culture. By analyzing the content of his works, he summarizes the characteristics of his fantasy of China in this period, that is, the two foreign lands of the West and China, the fixed understanding of cultural inertia and the inaccuracy of some details. True understanding.
Chapter Three discusses Tanizaki's understanding of China after his two visits to China. In 1918, Tanizaki entered China from Korea and visited Shenyang, Tianjin, Beijing, Hankou, Jiujiang, Nanjing, Suzhou, Shanghai and Hangzhou for two months. Through the analysis and introduction of the Chinese elements in the text, especially the poets, scholars and classical stories appearing in the works, the poetic and romantic image of China in Tanizaki's heart is outlined in this paper. Throughout the month, Guo Moruo and Tian Han, Ouyang Yuqian and other literary writers have conducted in-depth exchanges.
Chapter Four mainly analyzes Tanizaki's view of China. During his two trips to China, Tanizaki gradually realized and accepted the reality of China. With the acceptance of the reality of China, Tanizaki also cut off his longing for China and his literary enlightenment. Japan has inherited and merged Chinese traditional culture since ancient times, and Chinese culture exists in Japanese classical culture. During this period, Tanizaki's rediscovery of Japanese traditional beauty inevitably linked his traceability to his inner Chinese taste.
This thesis divides Tanizaki's works on Chinese subject matter into three levels, i.e. his works of longing before coming to China, his works of lingering in China and his living conditions after leaving China. Through the analysis of the Chinese elements in his works of various periods, the author explains the theoretical basis, the facts, the text analysis and the research of relevant experts. The achievement is to understand and understand Tanizaki's understanding of Chinese traditional culture and Chinese image, and to explore Tanizaki's development and change of Chinese outlook.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：I313.06
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相关期刊论文 前5条
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