【作者】 王天慧；

【导师】 尚侠；

【作者基本信息】 东北师范大学 ， 日语语言文学， 2011， 博士

【摘要】 以作品《头与腹》的问世为标志,1924年横光利一(1898—1947)及其所开创的“新感觉派”正式登上了日本文坛。那以后在为期3年左右的时间里,这一流派成为对当时文坛上影响最大的存在。可以认为,20世纪30年代的日本最令众多读者喜爱的小说家便是横光利一。在近30年的创作历程中,他先后参与创刊杂志《塔》、《街》和以“新感觉派”文学创作为宗旨的《文艺时代》杂志,完成了《太阳》、《苍蝇》、《春天乘着马车来》、《上海》、《寝园》、《旅愁》等主要作品。在当时对西方文学进行译介的日本文学界,横光以充满创造精神的文本,成为现代主义文学史上的第一位极具代表性的小说家。在这个意义上来说,他也代表了一个时代。横光利一的“新感觉派”小说,是近代文学解体期的产物,弥补了1920年世界经济大萧条以来日本现代文学的孱弱。小说语言的新颖独到、内容表现的多样化、文本所充溢的主观世界的感觉和变化,都是横光文学的最大个性所在。尽管对震后都市重建过程中人的存在价值等问题仅进行了自我理念上的解体与分裂,没有更加深入地探究到社会意识的层面,但是已经在很大程度上反映了近代机械文明和都市生活的性格。横光借助西方文学理念和表现技巧,完成了现代小说日本化的基本模式。这种文学创作精神,不仅引领着战前日本现代文学发展的潮流,同样影响了战后出现的以西方文学理念来描写和表现日本的不止一代的小说家。以横光文学为核心的日本“新感觉派”文学,在中国现代文学发生发展过程中的直接作用和明显效果,便是促成了中国现代文坛上的同名文学流派“新感觉派”的诞生。中国的“新感觉派”被纳入了30年代小说创作的长足发展的视野,成为现代文学史上登堂入室的一个文学流派。“新感觉派”文学的中国吸收与借鉴,不仅是近现代中日文学关系的重要存在,而且可见在当时的历史条件下,横光小说创作精神的在东方文学领域的影响之深远。横光利一又是一位命运多舛、生不逢时的作家。他所处的时代中,日本一度被法西斯主义的黑暗所笼罩。一方面,无力抵御日本集团志向型文化的强制力量,使横光最终成为那一代知识分子的一个典型的悲剧人物。另一方面,由于横光在战争中成为宣扬军国主义的中坚文人,而在战后受到彻底的清算。这样,社会文化演进的诸多原因,使得日本的文学已不再需要横光与他的作品。这令横光悲哀至极,关于自己在战争中的极端民族主义立场则无言以对。1947年12月,横光利一患病辞世。横光利一文学研究是日本现代主义文学史论的一个无可规避的重要存在。横光的文坛际遇,同时也是日本现代文学起伏跌宕的一种折光。日本学界对横光认识的矛盾起伏,从根本上说在于对作家所处时代精神特质的某种误读。在这个意义上,只有走进横光才有可能真正走进日本的现代文学。更多还原

【Abstract】 After publishing Head and Abdomen in 1924, Riichi (1898-1947) and the“new sensation (Shinkankakuha)”school he founded, came on to the modern Japanese literature stage. In the following 3 years, the“new sensation”school appeared as the most influential one in the literary world. It was believed that in 1930s Riichi was the most popular novelist in Japan. In his nearly 30 years writing career, he not only assisted in the launching of Bungei Jidai ("The Artistic Age") which centered the idea of“new sensation”, but also had written several import works, such as A Fly, Spring Comes in A Carriage, Shanghai, etc. When many of Japanese works were translated by the western counterparts, Riichi, whose works were characterized by creative spirit, turned to be a pioneering novelist. In this sense, he becomes the spokesman of his age.Riichi’s“new sensation”novels, deriving from the collapse of contemporary literature, filled the gap of Japanese modern literature since the Great Depression in 1920. Riichi’s novels were featured by innovative words, diverse forms and contents, and sensations and changes in the subjective world. Although not digging into the ideology of the society, Riichi’s novels reflected the modern civilization and city life. By dint of the notions and skills of western literature, he completed the basic mode of Japanese novels. His creative spirit did not only lead the development of prewar Japanese modern literature, but also influenced generations of postwar novelists who based their writings on the western literature theories and skills.Japanese“new sensation”school, with Riichi’s writing feature as the core, had direct impact and positive effect on Chinese modern literature and gave birth of“Chinese new sensation school”, which is the important proof of Chinese and Japanese literary relationship and the reflection of the influence of Riichi’s works on the oriental literature area.However, Riichi lived in the time when Japan was shadowed by Fascism. On one hand, unable to resist the force of the ambitious culture, Riichi became a typical tragic writer among his generation. On the other hand, he advocated militarism in the wartime and was punished after the war. At that time, it seemed that Riichi and his works were no longer needed in the Japanese literature because of various reasons. All of these left Riichi a miserable writer; in addition, he could not justify his extreme nationalism during the war time. He died in December 1947. The study of Riichi’s writing is essential part in Japanese modern literature history. Riichi’s writing experience mirrors the ups and downs of Japanese modern literature. The different understandings about him basically lie in the misreading of the uniqueness of his times. In this sense, to understand the Japanese modern literature, one should read Riichi first.更多还原