本文選題：幕末明治 + 域外漢詩(shī)��； 參考：《山西大學(xué)》2012年碩士論文

【摘要】：自江戶幕府末期“鎖國(guó)體制”被打破以后,日本一些有識(shí)之士開始關(guān)注海外世界,屢有出游海外并以文字記錄域外體驗(yàn)者。日I本人在積極吸收西方文明的同時(shí),對(duì)曾經(jīng)的“文化母國(guó)”——中國(guó)仍然十分關(guān)切,并引作借鑒,希望從中國(guó)的失利中思考日本的前途和命運(yùn),德川幕府1862年遣使上海正是這種關(guān)切的具體表現(xiàn)。明治維新后,日本各階層來中國(guó)者更是絡(luò)繹不絕,從官吏的出國(guó)考察、派遣駐華使節(jié)、到私人的中國(guó)游歷、留學(xué)生來華深造,再到民間士人的經(jīng)商,這些走出本國(guó)疆界的日本人大多具備漢文基礎(chǔ),在感受異域經(jīng)驗(yàn)之際,不少人用漢詩(shī)記錄下他們的中國(guó)體驗(yàn)。他們?cè)谠?shī)中描摹中國(guó)山水勝景,抒寫旅人情志,記述道里行程,評(píng)價(jià)中國(guó)政治、經(jīng)濟(jì)、文化、自然環(huán)境、社會(huì)風(fēng)俗等。 本文選取幕末明治時(shí)期來華日本人寫的漢詩(shī),首先概述這些來華日人的身份類型、來華目的以及他們漢詩(shī)創(chuàng)作中呈現(xiàn)的一些特征,然后分析了這些日本人漢詩(shī)中描繪的兩種“中國(guó)形象”：一種是山川秀麗、文化悠久、港口開放的正面形象；一種是社會(huì)動(dòng)蕩、民生凋蔽的負(fù)面形象。這些日本人在漢詩(shī)中表達(dá)的對(duì)“中國(guó)形象”的肯定與否定既有對(duì)晚清中國(guó)的客觀描述,但也不乏誤讀與偏見。他們?cè)跐h詩(shī)中流露的對(duì)中國(guó)現(xiàn)狀的失望之情以及他們看到現(xiàn)實(shí)中國(guó)與文化中國(guó)的落差,使他們的中國(guó)認(rèn)識(shí)發(fā)生了變化,這種變化影響了近代日I本人的中國(guó)觀,另外一些日本漢學(xué)者因親身感受了文化中國(guó)的衰落,失落之余甚至提議將日本文化引介到中國(guó),以促進(jìn)中國(guó)文化的現(xiàn)代化。 總之,幕末明治時(shí)期來華的日I本詩(shī)人們對(duì)晚清中國(guó)形象的描繪,正是他們所在社會(huì)和時(shí)代對(duì)中國(guó)的“集體想象”,這種觀察與后來日本人中圍觀的嬗變有著密切的關(guān)系。
[Abstract]:Since the end of the Edo shogunate "locked country system" was broken, some people of insight in Japan began to pay attention to the overseas world. While actively absorbing Western civilization, Japan I himself remains very concerned about the "cultural home country"-China, and draws lessons from it, hoping to reflect on the future and destiny of Japan from China's defeat. The Tokugawa shogunate sent Shanghai in 1862 as a concrete manifestation of this concern. After the Meiji Restoration, Japanese people from all walks of life came to China in an endless stream. From officials' visits abroad, sending envoys to China and visiting China in private, overseas students came to China to further their studies, and then to the business of private scholars. Most of the Japanese who have gone out of their own country have the foundation of Chinese language. When they feel the foreign experience, many people record their Chinese experience with Chinese poetry. In their poems, they describe the scenic landscape of China, express the feelings of travelers, describe the itinerary of Taoism, and evaluate Chinese politics, economy, culture, natural environment, social customs and so on. This article selects the Chinese poems written by the Japanese in the late period of the curtain and Meiji period, first of all, summarizes the identity types, the purpose of coming to China and some features of their Chinese poetry creation. Then it analyzes the two "Chinese images" described by these Japanese Chinese poems: one is the positive image of beautiful mountains and rivers with a long culture and the opening of the port; the other is the negative image of social unrest and people's livelihood masking. The affirmation and negation of "Chinese image" expressed by these Japanese poems not only give an objective description of China in the late Qing Dynasty, but also lack of misreading and prejudice. Their disappointment at the present situation of China and the gap between real China and cultural China have changed their understanding of China, which has influenced the modern Japanese's view of China. Other Japanese Chinese scholars have experienced the decline of cultural China and even proposed to introduce Japanese culture to China in order to promote the modernization of Chinese culture. In a word, the Japanese poets who came to China at the end of the curtain and Meiji period described the image of China in the late Qing Dynasty, which is precisely the "collective imagination" of their society and the times. This observation is closely related to the evolution of the onlookers among the Japanese.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I313.072

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本文編號(hào)：1928264