论谷崎润一郎文学中触觉的审美意义——以《柳汤事件》和《美食俱乐部》为中心

The Aesthetic Power of Touch in Tanizaki Junichiro’s Literary World:Based on the Study of The Incident at Willow Bath House and The Gourmet Club

以《刺青》为代表的谷崎润一郎早期作品中明显带有强烈的视觉审美效果,而中后期他又创作了《盲目物语》《春琴抄》《闻书抄》等一系列屏蔽视觉而强化触觉和听觉的作品,以此实现了对近代西方建立起来的视觉至上的感官秩序的颠覆。谷崎何以要进行这样的颠覆?在这个过程中,触觉是怎样体现其审美意义的呢?《柳汤事件》和《美食俱乐部》是谷崎文学中仅有的直接以触觉感受为对象的作品,并且这两部作品正好处于前期视觉重视阶段和后期视觉弱化阶段的过渡期和转折点上,具有关键意义。本文通过对这两部作品的解读,结合《荫翳礼赞》《恋爱及色情》等随笔作品中的话语,论述了谷崎文学中,触觉是通向"母体回归""极致审美"和"文化乡愁"三个审美境域的路径。

The Tattooer,a work of fiction from the start of Tanizaki’s writing career,is characterized by its intense aesthetic response.Yet much of his middle and later works such as A Blind Man’s Tale,A Portrait of Shunkin,and A Continuation of a Blind Man’s Tale exploit distinctly different themes which highlight the sense of touch and hearing so as to shield the sense of vision,marking an overturn of the vision-above-all sensory order established by modern Western literature.So why does Tanizaki take a revolutionary approach?And how is the power of aesthetics represented by the sense of touch in his works?The Incident at Willow Bath House and The Gourmet Club are the only two of in Tanizaki’s literary works that explore the sense of touch and pursue it as a theme.The very fact that these two works are created during the period of transition from an emphasis on the sense of vision to its decrescendo suggests their significance in studying Tanizaki Junichiro’s literature.By interpreting the The Incident at Willow Bath House and The Gourmet Club along with essays such as In Praise of Shadows and Love and Eroticism,this article discusses how representations of touch illuminate Tanizaki’s aesthetic values,and concludes that the sense of touch is the key to unlock the the doors to the three aesthetic realms of Japanese literature,respectively,"returning to Japan","extreme aesthetics",and"cultural nostalgia".