本文選題：鏡子之家 + 三島��； 參考：《上海外國(guó)語大學(xué)》2012年碩士論文

【摘要】：三島由紀(jì)夫是日本近代文學(xué)、尤其是戰(zhàn)后文學(xué)的代表作家。無論是在日本還是在中國(guó)對(duì)他的評(píng)論都很多�！剁R子之家》在三島的文學(xué)世界中占有重要的地位，是三島由紀(jì)夫創(chuàng)作史上的一部重要作品，也是研究三島的一部不可或缺的作品，但該作品在中國(guó)尚未受到足夠的重視。本文主要通過對(duì)《鏡子之家》的研究來探究三島由紀(jì)夫的虛無主義，以此來接近和還原一個(gè)更加真實(shí)的三島。并希望能帶給對(duì)自身存在感到不安的現(xiàn)代人以超越虛無的啟示。 本文首先通過對(duì)《鏡子之家》的時(shí)代背景-戰(zhàn)后的分析，透視戰(zhàn)爭(zhēng)對(duì)三島由紀(jì)夫的虛無主義的影響。其影響主要有兩個(gè)方面：一是戰(zhàn)爭(zhēng)時(shí)期三島在幻滅中所體驗(yàn)的生的充實(shí)，另一個(gè)方面便是戰(zhàn)后隨著日本經(jīng)濟(jì)的不斷恢復(fù)、原有的價(jià)值觀的不復(fù)存在。戰(zhàn)后現(xiàn)實(shí)生活的日常性構(gòu)成了三島所的虛無。為對(duì)抗戰(zhàn)后日本社會(huì)所滋生的空虛，三島選擇了虛無主義。 在分析這一時(shí)代背景的基礎(chǔ)上，著重闡述與分析《鏡子之家》中的四位主人公的虛無主義。即他們?nèi)绾卫锰摕o主義來對(duì)抗現(xiàn)實(shí)生活的日常性所帶來的虛無的。深井峻吉通過行動(dòng)來對(duì)抗虛無，這是主動(dòng)性的虛無主義。然而峻吉的行動(dòng)只能將他更深地拉入現(xiàn)實(shí)生活的日常性中。舟木收用肉體來武裝自己，并打算以此來證明自己的存在。但是，肉體存在的時(shí)間性，讓他只能選擇死亡。山形夏雄的感受性讓他一直與虛無和平相處，，并從中體味到幸福。但這種平衡很快被外界打破。杉木清一郎則堅(jiān)信世界即將崩潰，將所有的虛無納入并消滅在自己的內(nèi)部。在戰(zhàn)后這一時(shí)代背景下，他們用自己的方式走上了虛無主義的道路。 在上述內(nèi)容的基礎(chǔ)上，本文進(jìn)一步指出三島虛無主義的實(shí)質(zhì)，即對(duì)現(xiàn)實(shí)的拒絕。在考察三島的其他作品的基礎(chǔ)上揭示出虛無主義是貫穿于三島創(chuàng)作始終的。而《鏡子之家》則直接從正面對(duì)虛無主義進(jìn)行了探討。在與戰(zhàn)后日本社會(huì)格格不入的鏡子之家，主人公開始了他們對(duì)戰(zhàn)后日常性的反抗。并隨著鏡子之家的崩潰而不得不進(jìn)入到現(xiàn)實(shí)生活中。 同時(shí)結(jié)合三島的現(xiàn)實(shí)生活，對(duì)三島在《鏡子之家》中研究虛無主義的動(dòng)機(jī)進(jìn)行分析。當(dāng)時(shí)，三島與杉山結(jié)婚，并通過一系列的活動(dòng)積極地投入到現(xiàn)實(shí)生活中，在《鏡子之家》中研究虛無主義是對(duì)今后作為藝術(shù)家如何面對(duì)現(xiàn)實(shí)生活中的日常性所做出的嘗試。即作為藝術(shù)家像夏雄那樣獲得救贖，前往巴西開始新的生活。作為現(xiàn)實(shí)生活中的人，則像清一郎那樣將一切虛無消滅在自己的內(nèi)部，從而在現(xiàn)實(shí)生活中活下去。而《鏡子之家》卻遭到了冷落，這對(duì)三島來說，是一個(gè)巨大的打擊。 從上述分析中可以看出，《鏡子之家》這部作品對(duì)三島的意義重大。本文在借鑒國(guó)內(nèi)外對(duì)三島由紀(jì)夫的研究的基礎(chǔ)上，主要通過《鏡子之家》這部作品，結(jié)合當(dāng)時(shí)的時(shí)代背景對(duì)三島由紀(jì)夫虛無主義的各個(gè)方面進(jìn)行了分析。希望能為更好地理解三島由紀(jì)夫的文學(xué)世界提供參考。
[Abstract]:Yukio Mishima is a representative writer of modern Japanese literature, especially after the postwar literature. Both in Japan and in China, there are many comments on him. The "mirror house" occupies an important position in Mishima's literary world. It is an important work in the history of Yukio Mishima's creation, but also an indispensable work to study Mishima, but it is also an indispensable work to study Mishima. This work has not received enough attention in China. This article mainly explores the nihilism of Mishima and Yukio through the study of the house of the mirror to approach and restore a more true Mishima. And it is hoped that the modern people who are uneasy about their own existence will be able to transcend the apocalypse.
This article first analyzes the influence of war on Yukio Mishima's nihilism through the analysis of the background of the era of "the home of the mirror" and after the post-war analysis. The influence of the war is mainly two aspects: first, the living enrichment experienced in the disillusionment of the three islands during the war period, and the other is the original value outlook with the continuous recovery of the Japanese economy after the war. No longer exists. The daily life of postwar real life constituted Mishima's nihility. Mishima chose nihilism for the emptiness of Japanese society after the war of resistance against Japan.
On the basis of the analysis of the background of this era, the nihilism of the four protagonists in the house of the mirror is emphasized and analyzed. That is, how they use nihilism to combat the nothingness of the daily life of the real life. Fukai Shunyoshi acts against nihilism by action. This is the nihilism of the main movement. It draws him deeper into the daily life of the real life. The boat uses the body to arm himself and intends to prove his existence. But the temporality of the body makes him only choose to die. The sensibility of the mountain Xia Xiong makes him live with nihility and be happy. But this balance is quickly broken by the outside world. Sugiki Shinichiro believed that the world was going to collapse, and put all the nihilism into and out of his own. In the context of the post-war era, they took the way of nihilism in their own way.
On the basis of the above, this article further points out the essence of Mishima's nihilism, that is, the refusal of reality. On the basis of investigating other works of Mishima, nihilism runs through Mishima's creation, while the mirror house is directly from the front of nihilism. It is incompatible with the postwar Japanese Society. In the mirror house, the protagonist began their daily resistance against the war, and had to enter the real life with the collapse of the mirror home.
At the same time, combining with Mishima's real life, Mishima analyses the motive of nihilism in the house of the mirror. At that time, Mishima was married to Shanshan, and was actively engaged in the real life through a series of activities, and the study of nihilism in the house of the mirror was for the future as an artist how to face the daily life of the real life. The attempt to make a redemption as an artist, like Xia Xiong, went to Brazil to start a new life. As a real man, as Shinichi Ro did, he eliminated all the nihilism in his own interior and lived in the real life. And the house of the mirror was left out, which was a great blow to Mishima.
From the above analysis, we can see that "the house of the mirror" is of great significance to Mishima. On the basis of the study of Yukio Mishima at home and abroad, this article analyses the various aspects of Yukio Mishima's nihilism mainly through the works of the house of the mirror and the background of the time of the time. It provides a reference for Yukio Mishima's literary world.
【學(xué)位授予單位】：上海外國(guó)語大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I313.074

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 葉琳;“死亡”、“自然”與美的統(tǒng)一——三島由紀(jì)夫美學(xué)觀芻議[J];解放軍外國(guó)語學(xué)院學(xué)報(bào);2001年01期

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