佐藤春夫《南方纪行》的中国书写

Satoharuo’s China in Nanpokiko

佐藤春夫是日本近代文学史上和中国渊源颇深的一位作家，自称是“中国趣味爱好者”的“最后一人”。纪行文《南方纪行》根据其1920年7月在厦门、漳州的旅行经历而作。文中用侦探小说中令人恐惧不安的怪异氛围来形容厦门，并将高唱革命口号的陈炯明建设的漳州视作“赝品”。作者身处众多的中国人中间，有较为强烈的身为“异邦人”的疏离感，只能从自己向往的代表着中国传统文化的风物中寻求安慰。而作者对于中国传统文化的欣赏又是通过西方文化的理论方法进行，并由此来发现和阐释中国传统文化的价值，不能不说这种向往中隐藏着作为先行文明开化国家国民的优越意识。归根结底，“中国趣味爱好者”的中国书写仍然是在同时代日本对中国认识的框架中进行的。

As a Japanese writer who showed much concern about China and who called himself ＂the last lover of Chinoiserie,＂ Satoharuo based his Nanpokiko, a sketchbook, on his travel experiences in July 1920 in Xiamen and Zhangzhou, two southern cities in China＇s Fujian Province. In his depiction, the former has a dread and weird atmosphere as is frequently found in detective stories and the latter, with revolutionary slogans ringing loud under the leadership of Chen Jiongming, is a ＂counterfeit＂. The writer had a strong sense of being a stranger and intended to seek consolation from his beloved exotica that are representatives of traditional Chinese culture. However, his appreciation is set in a western theoretical framework from which he tried to find and interpret its value. This undoubtedly reveals the writer＇s deep-rooted national superiority as a citizen of a country which believed itself to be ahead of others in civilization. In final analysis, the description of China by the ＂lover of Chinoiserie＂ has not escaped the framework of the then Japanese knowledge of China.