动荡与变革中的中国女性形象——论芥川龙之介《湖南的扇子》

The Image of Chinese Women in Turbulence and Change

1921年带着探索近代中国的伟大之处的打算来到中国的日本作家芥川龙之介,将他从女革命家秋瑾的事迹、五四运动以来女学生们的反帝反封建运动,以及高级妓女的日常生活与经历中收获的认识与感动进行浓缩与提炼,塑造了他生前最后一篇以同时代的中国为舞台的小说《湖南的扇子》中的“玉兰”与“含芳”这两名中国女性形象。小说标题中的“扇子”在象征着古典美并暗示了两位女性的艺伎身份的同时,也意味着湖南女性特有的坚韧不拔的革命精神。

In 1921,the Japanese writer Akutagawa,who came to China with the intention of exploring the greatness of modern China,condensed and refined his knowledge and touching from the deeds of Qiu Jin,a female revolutionary,the anti-imperialist and anti-feudal movement of female students since the May 4th Movement,and the daily life and experience of senior prostitutes.It portrays the images of"Magnolia"and"Haimang"in his last novel"Fan of Hunan",which takes contemporary China as the stage.In addition,Akutagawa opposes and coexists with"new life,progress,innovation"and"death,decadence,tradition"and what he has seen and heard in Hunan.