摘要
芥川龙之介是日本新思潮派的代表作家,也是日本"私小说"文学题材的代表作家,在日本文坛享有"大正文学的象征"之称。芥川创作的"戏作三昧"与"地狱变",在其文学作品中具有独特的风格,充分反映了芥川的艺术观。本文在对"戏作三昧"和"地狱变"进行文本分析的基础上,从两部作品中创作主体与接受对象的隔阂、创作题材与生活压力的矛盾、文学创作与文学管制的博弈、艺术自律与功利主义的冲突等方面进行分析,认为芥川龙之介通过"戏作三昧"和"地狱变",反映了其既推崇艺术至上主义,又不得不直面现实生活的矛盾的艺术创作观。
As a representative of the new sense school and the literature subject of ＂Private tiction＂, Ryunosuke is regarded as the great symbol of the Classical Taisyou literature in Japan. Gesakusanmi and Jigokuhen, two of his works, have a unique style in the Akutagawa literature,which reflect his view of art. Based on the text analyses of Gesakusanmi and Jigokuhen, the paper analyzes Ryuunosuke Akutagawa＇ s view of art reflected by these two works from binary oppositions such as the estrangement between the the main body of creation and the object, the contradiction between the theme and the pressure of life, the game between literary creation and literary regulation, the conflict between literary self-discipline and utilitarianism, which reflect his view of artistic creation--the conflict between the artistic supremacy in ideal and facing life in reality.
出处
《外国文学研究》
CSSCI
北大核心
2012年第6期93-101,共9页
Foreign Literature Studies
