中国文坛对日本唯美主义的译介与接受——以民国时期田汉、郁达夫及周作人为例

Translation and Acceptance of Japanese Aestheticism in Chinese Literary World:Take Tian Han,Yu Dafu and Zhou Zuoren in the 1920s and 1930s for Example

二十世纪二三十年代,以田汉、郁达夫和周作人等人为代表的留日文人将日本唯美主义译介到中国文坛,从作家的自觉意识出发,积极学习和模仿谷崎润一郎等人的作品进行文艺创作。本文通过考察这三位中国文人对三位日本唯美主义代表作家及作品的译介与接受情况,从作品的人物形象、主题风格、艺术审美等层面进行比较研究和分析,归纳出这一时期中国文坛对日本唯美主义译介和接受情况的特点。其中,接受度最高的是谷崎润一郎文学中的恶魔主义、女性崇拜和虐恋主义;佐藤春夫文学中的世纪末情调和青年忧郁症;永井荷风文学中的文明批判和市井情怀。同时,这三位中国文人分别从各自不同的立场和文艺观出发,对日本唯美主义展开了自觉的文艺批评。

Chinese writers studying in Japan,represented by Tian Han,Yu Dafu,Zhou Zuoren,translated and introduced Japanese aestheticism to Chinese literary world in 1920s and 1930s.They studied and imitated the works by writers such as Junichiro Tanizaki and began to write plays and literature consciously.Thispaper examines the translation and acceptance of Japanese aestheticism in Chinese literary world by analyzing the character image,theme,aestheticism style and etc.The result of the analysis is the highest acceptance include three features,Satanism,feminism and sadism in the works of Junichiro Tanizaki;decadence and hypochondria in the works of Haruo Sato;criticism of civilization and the folk customs in the works of Kafu Nagai.Meanwhile,these three writers launched literary criticism on the Japanese Aestheticism consciously,standing in different positions and cultural views.