【作者】 郝雯；

【导师】 尚侠；

【作者基本信息】 东北师范大学 ， 日语语言文学， 2008， 硕士

【摘要】 “灵魂不死”的信仰广泛存在于世界各民族的早期发展阶段,然而不同民族基于这种信仰,对“死亡、灵魂”问题的思考肯定存在差别。中日原始灵魂信仰分别是促成“鬼”与“幽灵”产生的重要因素。文学世界中,“鬼”与“幽灵”的形象更是多姿多彩。在中日古典文学史上,有一系列以“鬼”和“幽灵”为题材的作品,其中“鬼”与“幽灵”被借来表现和反思现实生活,从而在两国文化领域形成了别具特色的“鬼文化”和“幽灵文化”。中国古典小说中的“女鬼”形象既具有古代理想女性的品质特征,又因为“鬼”的身份而个性鲜明。复仇“女鬼”形象既是中国古代女性社会地位低下、遭受压迫的客观反映,也展现出了女性独立的立世精神,并且随着其形象在古典小说中“由少到多、由单一到多样化”的发展,逐渐被赋予了伦理教化的意味。日本最早的“幽灵”形象脱胎于中国古典志怪小说中的“鬼”形象,出现在平安时代初期的佛教说话集《日本灵异记》中,其后的《今昔物语》中始见真正反映日本原始死亡观念的“幽灵”形象。复仇“女幽灵”形象虽然可以追溯到平安时代,但集中出现却在江户时代,“累”、“阿菊”、“阿岩”、“矶良”的故事被民间传说、歌舞伎、小说等文艺形式反复演绎,她们最终被塑造成了具体而丰满的形象,成为“日本古代社会幽灵的代表”。然而,日本的复仇“女幽灵”形象,从“存在模式”到“形象内涵”,都不能和中国的复仇“女鬼”形象同日而语。探寻中日古典文学中复仇“女鬼”和“女幽灵”形象的异同是本文重点,然而“女幽灵”形象在发展中受到了中国文学的影响,因此两者之间的联系亦不可忽视。笔者首先分析了差异的源头——中国的“鬼”与日本“幽灵”的区别与联系,进而对两者“发展与集中”、“内涵演变与内涵延续”的不同发展趋势特征,以及复仇方式的演变与内涵、选择倾向、评价等方面的异同进行了具体阐述。笔者认为中日古典文学中的复仇“女鬼”与“女幽灵”形象本身,就属于中日文化中诸多外表相似、本质相异的因子之一。两者虽然同为生前遭受欺凌,死后化为鬼进行复仇,然而作为一种文学形象,在其各自发展趋势、复仇方式中无不流露出不同的文化内涵。究其本源,在于民俗宗教观念、复仇民族心理、中日社会历史发展状况的差异影响,因此笔者希望通过揭示这两种形象的异同,探求出基于中日文学、文化共性基础上的特殊性认识,加深对于中日文学、文化关系的理解。更多还原

【Abstract】 Faith in ghosts existed extensively at the early periods of the development of every nation’s culture. Its come about was influenced by the economic condition, religious belief, and fear of death of the ancient society. People placed irresolvable conflicts of real life on“ghosts”they conjured up. In literary works the image of ghosts is even more colorful. In Chinese classical works, stories of ghosts and phantoms of Wei and Jin Dynasties, legends of Tang and Song Dynasties, novels of Ming and Qing Dynasties in particular, various“ghost tales”and“ghost talks”sustained and developed. They usually appeared as a display of the phantom world which is, as it was mirror image of reality. The image of“woman ghosts”in it, embodying the ideal women of Chinese ancient society, possessed distinct characteristics of their own. It is more adequate to say that the identity as ghosts provided fundamental conditions to keep their personality than to say that it is a symbol of desolation and complaint.“Woman ghosts of revenge”is the objective reflection of ancient Chinese women’s low status and their suppression, as well as manifestation of the morality and values of male-power society. The earliest Japanese image of phantom taking its shape from Chinese ghosts stories, appeared in Tales of Japanese Phantoms, a collection of Buddhist tales at the early period of Heian Dynasty. In the afterwards Today’s Novels, we come to see the image of phantoms that really reflect ancient Japanese idea of death, whereas the image of woman phantom of revenge mainly appeared in more recent Edo time. The stories of“Lei”,“Aju”,“Ayan”,“Jiliang”have been repeatedly played in various art forms, such as novel, folklore, kabuki, no, etc. At last these images became mature and were called“representatives of phantoms ancient Japanese society”. However, Japanese woman phantoms of revenge can only wish to come close to their Chinese counterparts in terms of time of birth and number. The focus of this paper is to explore the difference of these two versions. The writer first sets out to analyze the difference between“Chinese ghosts”and“Japanese phantoms”, then analyses and compares their reasons for coming into being and backgrounds. After we come to the part where their different directions of development are compared, and the reasons behind analyzed. At the end, comparisons are made in terms of the change and meaning of the manner of revenge, liability of choice, appraisal, etc.Chinese and Japanese culture,“woman ghosts”and“woman phantoms”of revenge in the two nations’literary works share similar appearance, but differ in essence. Although both of them take revenge after they die from suppression and molestation, as a kind of literary image, they nonetheless reflect their shapers’values and morality in background, development and manner of revenge. In addition, under the influence of the two nations’different development situation, national mentality, and belief, these two images can be anything but the same in essence.更多还原