【作者】 丁国旗；

【导师】 蒋述卓；

【作者基本信息】 暨南大学 ， 文艺学， 2010， 博士

【摘要】 本课题的研究范围限定在奈良平安时代至江户时代明治维新之前的日本古代范围内。论文大致分为三大部分,按照时代先后次第展开论述：上编,奈良平安时代。此一阶段有日本学者称作“国风黑暗时代”,是日本大举吸收中国文化的时期。在这一阶段,因为日本没有一个像中国那样的文人阶层,既不具备物质上的也不具备思想上的土壤,因此虽有企慕隐逸的诗文出现,但也只是对中国的观念性的模仿。中编,中世(镰仓室町)时代。这一时期,日本战乱频仍,社会危机深重,否定思维由此发达,信奉净土宗、禅宗者日众,佛教的无常观盛行。在五山文学的汉诗文中,禅宗的影响很大,中国趣味浓厚,僧人中有很强的隐逸好尚。和文文学中号称隐逸文学双壁的《方丈记》和《徒然草》问世,促进了日本隐逸文学的发达。这一时期的隐逸文学表现出了不同于中国隐逸的特质,即其社会政治意义淡薄,从隐遁动机来看,主要是佛教的无常观在起支配作用。下编,江户时代。在这一时期,儒家思想成为日本的官方意识形态,朱子学居于支配地位,日本历史上开始出现士大夫知识分子阶层,他们表现出了很多属于中国知识分子的特征。在隐逸思想方面,出现了两部为隐者立传的著作,成为后世研究者的路标。一是林读耕斋的《本朝遁史》；一是元政上人的《扶桑隐逸传》。但是事实上,这一时期,作为隐逸文化标志的行动的隐者已经开始趋向“终熄”,他们更多的是追求中国士大夫田园牧歌式的所谓的“心隐”,隐者传的纷纷撰著是一种虚假繁荣,可以说是隐逸现象的回光返照。通过对以上三个阶段的宏观观照和个案分析,笔者得出了如下结论：中国的隐逸文学是一个不断演变的历史文化现象,日本对中国隐逸思想的接受明显也是一个动态的过程——奈良平安时代是观念上的,中世时期是佛教指向的,最后在江户时代才开始与政治意识形态挂钩,有了一些反体制的色彩,逐渐与中国趋同。除此之外,对日本的隐逸文化的溯源比较研究也是本论文的中心论题。日本的隐逸文化的形成有三个源头：一个是中国老庄式的隐逸的传统；另一个是日本本土的“隐遁佛教”、也就是以“圣”为代表的遁世者的传统；第三个是佛教无常观及佛教出家思想的影响。这几种影响渐次复合,最后形成了具有日本特色的、宗教色彩浓厚的隐遁文化。当然,三者之中,中国的隐逸文化作为主流影响最大,它直接影响并规定着日本隐逸文化的发展路向。但在接受过程中,由于上述诸因素以及由于日本的文明程度、社会形态、政治风土等与中国不同,因而产生出了很多变异,表现出了很多异于中国的性格特质。对此,笔者也倾力作了考察,提出了自己的见解和主张。更多还原

【Abstract】 Consisting of three parts in chronological order, the scope of this study is confined to the time from Nara period to Edo-period.Part 1 addresses Nara-Heian Period-also known as the "dark age of national customs", a period when Japanese tried to learn and absorb Chinese culture. At that time, there was no literati stratum in Japan as in China because there was no material or intellectual condition for that. Nevertheless, there did exist some poems and essays expressing admiring or escaping, but at best, they were only conceptual imitations of Chinese literature.Part II concerns Feudal-Kamakura-muromachi period --- non-peaceful times, when social crisis was very grave, negative thinking thrived, beliefs in pure land were popular, the number of believers in zen Buddhism was increasing, Buddhist fugacity was prevailing. In the poems and essays of five-mountain literature, the impact of zen sect could be found, strong Chinese flavor could be perceived. Monks had a strong tendency for escapism and loftiness. "Houjouki" and "Tsurezuregusa" appeared as the double master pieces of escapist literature in Japanese literature at that time, stimulating the development of Japanese escapist literature, differentiated from Chinese. Or rather, driven by Buddhist fugacity, literature within this period carried little political sense in view of escaping motivation.Part III is about Edo period when Confucianism became Japanese official ideology and Zhu Zi’s philosophy became dominant. From this period, strata of scholar-bureaucrat and intellectuals began to emerge in Japanese history. They had the typical features of Chinese intellectuals. In terms of escapism, there were two works making records of escapists, serving as the signposts for subsequent studies. One is "Hontyoutonshi" by Hayashi dokkousai, the other is "Fusou initsuden" by Gensei shounin. But in fact, within this period, the escapists representing the escapism in action gave way to escapism in mind, typical of pastoral style of Chinese scholar-bureaucrat. The accounts of escapists are only false prosperity, to be exact, they are only lightning before death of the escapist literature.In terms of a macro view of the three periods and case studies, conclusions are drawn as follows:Chinese escapist literature is a cultural phenomenon which is continuously evolved; Japanese acceptance of Chinese escapist literature is obviously a dynamic process--- conceptual in Nara-Heian Period, Buddhism-oriented in feudal era, political ideology-connected in Edo period, when literature carried anti-system tints, convergent with Chinese.In addition, the comparative study of the origin of Japanese escapist literature is the thesis statement of this dissertation. Japanese escapist literature originates from three sources:firstly, Chinese Taoist escaping tradition, secondly, Japanese local escapist Buddhism, thirdly, escapist tradition represented by "saints". The third one is the result of the influence of Buddhist fugacity and renunciation. The influence was so big that the typical Japanese escapist culture with heavy religious tint came into being. Of course, among the three, Chinese escapist culture was the main stream and was the most influential, directly shaping and controlling the direction of the development of Japanese escapist culture. But in the process of accepting, many variances were formed, which differentiated a lot from Chinese ones because of the differences between Japan and China in such aspects as civilization level, social configuration, political climate. Concerning this, this study attempts to make analysis and then presents some ideas and viewpoints accordingly.更多还原