摘要
在日本大正文坛上,谷崎润一郎引领的“中国情趣”曾兴盛一时,代表作家除谷崎外,还有芥川龙之介、木下杢太郎、佐藤春夫、村松梢风等人。谷崎、芥川、村松三人分别于1918年、1921年、1923年访华并写下游记作品。虽然三人来华游历的时间不同、路线不同、城市不同,但三人都曾到过苏州,并表达出对苏州溢于言表的喜爱之情。然而与此同时,他们在游记中也不约而同地塑造出景观荒废破败、社会停滞落后、市民愚昧荒唐、文化消极颓废等苏州形象的另一面。本文选取三人的经典游记文本,以文献分析的方法剖析上述苏州形象的生成过程,再以跨文化形象学理论和方法对大正时期日本知识分子的中国形象进行解读,探究隐藏在这一时期中国形象背后的日本意欲树立自身国家形象的内在需求。
In Japan’s Taisho literary world,the“Chinese taste”led by Junichiro Tanizaki flourished for a time.Besides Tanizaki,the representative writers include Akutagawa,Kinoshita,Sato and Matsumura.Tanizaki,Akutagawa and Matsumura visited China in the year 1918,1921,and 1923,and wrote their works soon.Although they traveled to China at different times,in different routes,and to different cities,they all visited Suzhou and expressed their love for Suzhou.However,at the same time,in their travel words,they also invariably shaped the contradictory Suzhou images of landscape ruins,dilapidated society,ignorant citizens,and negative culture.Taking their classical travelogue texts as study case,drawing on the methodology of literature analysis,this paper analyzes the above-mentioned Suzhou image generation process,and interprets the Chinese image of Japanese intellectuals in the Taisho era by means of cross-cultural image theory and methods,so that to explore the inherent needs of Japan to establish its own national images hidden behind the images of China during this period.
出处
《东北亚外语研究》
2020年第2期38-43,59,共7页
Foreign Language Research in Northeast Asia
基金
江苏省高校哲学社会科学研究项目“近代日本旅华游记中的江南文化记忆研究”(2017SJB1766)的阶段性成果。