《雪国》中对虚无世界的构造与解构

Construction and Deconstruction of the Nothingness World in Snow Country

作为日本新感觉派代表人物,川端康成的《雪国》被日本评论家青野季吉誉为“精纯的珠玉之作”,它继承了日本文学幽玄妖艳的美学传统,从岛村“都市逃离者”的同视角出发,通过模糊淡化的时空、飘渺的人物身份和空虚的思想三个角度构造了一个只属于《雪国》的虚无世界,在这一世界中作者充分表达了他所追求的“虚无”的概念。但这种“虚无”并非作者全部的价值取向,川端康成不断与他人分别的少时经历,使得他又从“都市向往者”的同视角出发,通过文中女性角色驹子对自我意志的期望和叶子的价值选择,在一定程度上解构了这种“虚无”主义,展现了女性反抗附属价值的力量和作为独立个体的意识觉醒。

Kawabata Yasunari’s Snow Country, a representative of Japan’s New Sensualism, is praised by Japanese critic Kiyoshi Aono as a “pure pearl work”. It inherits the aesthetic tradition of Japanese literature. From the same perspective as Shimamura’s “urban escapist”, it constructs a nothingness world that belongs only to Snow Country from three aspects: fuzzy space-time, vague characters and vacuous ideas. In this world, the author fully expresses the concept of “nothingness” that he pursues. However, this “nothingness” is not the author’s total value orientation. Kawabata Yasunari’s youth experience of constantly being separated from others makes him deconstruct this “nothingness” to a certain extent through the expectation of self-volition of the female character Kozi and the choice of the value of Yezi from the same perspective as an “urban aspirant”, and shows the power of women to resist the value of others and their consciousness as independent individuals.