森鸥外《舞姬》的第一人称叙事与现代自我形塑

The First Person Narrative and Modern Self-shaping in Mori Ogai's The Dancing Girl

森鸥外的《舞姬》借助感伤的第一人称叙事讲述了一个现代个体自我觉醒、自我丧失,最终回归国家体制的身份认同的故事。在叙事上,小说的爱情忏悔叙事可视为一种源自现代个体精神觉醒的话语行为,表现了对压抑个人主体性的国家意识形态的隐形批判;在人物塑造和空间设置上,小说借助骗子、小丑式的人物和对照式的空间使小说“成长仪礼”结构得以成立。小说的空间和人物设置充分揭示了明治时期知识分子自我的分裂和身份认同的焦虑,深刻表现了国家伦理对日本近代知识分子的精神束缚,同时体现了浪漫主义抒情与现实主义描绘的高度结合,使小说本身具有了浓厚的现代反思意味。

Mori Ogai's The Dancing Girl tells the story of a modern individual's self-awareness,self loss,and eventual return to the national system through the sentimental first person narrative.In terms of narrative,the love confession narrative in the novel is seen as a discourse behavior originating from the awakening of modern individual spirit,expressing an implicit criticism of the state ideology that suppresses individual subjectivity.In terms of character portrayal and spatial setting,the novel utilizes a character akin to trickster or clown and a contrasting spatial setup to establish its initiation structure.In this sense,the space and character setting of the novel fully reveal the inner conflict and identity anxiety of intellectuals during the Meiji period,deeply reflect the spiritual constraints of national ethics on modern Japanese intellectuals,and embody a highly integrated blend of romantic lyricism and realistic depiction,giving the novel itself a strong sense of modern introspection.