發(fā)布時間：2018-06-30 17:40

  本文選題：深河 + 遠(yuǎn)藤周作��； 參考：《湖南大學(xué)》2012年碩士論文

【摘要】：對天主教作家遠(yuǎn)藤周作（1923-1996）作品中的耶穌像和耶穌之愛的研究一直是遠(yuǎn)藤周作研究中的一個重要課題。但相對于數(shù)量龐大的其早期作品而言。由于受作家去世的影響，對有“集大成之作”之稱的作者的最后一部長篇小說《深河》研究數(shù)量驟減。在此背景下選取該小說中的主要出場人物、并采用合適的方法對作品中表現(xiàn)出來的各種“愛”與耶穌之愛的關(guān)聯(lián)加以考察，進(jìn)而闡明《深河》中遠(yuǎn)藤的基督教文學(xué)中的愛的思想顯得非常必要。 從第二章開始，筆者就天主教作家遠(yuǎn)藤周作終其一生訴說的耶穌之愛結(jié)合其著作年表，自1947-1993的作品依照作家對耶穌之愛的理解程度分為了矛盾階段，相互理解階段，以及融合階段。而其三個階段的作品中的耶穌形象最后歸結(jié)為母性之神，具體體現(xiàn)為“人生同路人”。同時筆者也認(rèn)為遠(yuǎn)藤的“人生同路人”的母性之神的追求歸因于作者青年在法國留學(xué)時遭受的歧視以及晚年患病時體會到的孤獨(dú)感，此外日本傳統(tǒng)宗教中的觀音以及古神道對母體的敬畏習(xí)慣也對作為日本人的作家產(chǎn)生了一定影響。 在第三章中，將遠(yuǎn)藤一貫闡述的“人生同路人”的耶穌之愛投射于作品中的磯邊與妻子的夫婦之愛和童話作家沼田的人與動物之愛進(jìn)行了論述，而第四章中則通過女主人公美津子和神父大津各自追求的“真正的愛”以及“洋蔥的愛”闡明了耶穌的愛是一種無償?shù)膼�。具體來看，磯邊的夫婦之愛是通過身患癌癥的妻子臨死之前的轉(zhuǎn)世遺言從而引發(fā)出他為尋找妻子的轉(zhuǎn)世印度之旅展開的，目睹了恒河的磯邊妻子對自己的愛與恒河形象加以重合，最終得出所謂夫婦的緣分就是人生同路人的緣分這一結(jié)論。接著論述了將作者自身經(jīng)歷大量投射其中的童話作家的沼田，他與作者同樣喜歡以基督教救贖為主題的法國畫家魯奧的繪畫，而其之所以與少年時飼養(yǎng)的狗—小黑以及成年后買來的犀鳥、九宮鳥能夠進(jìn)行靈魂的溝通正是由于從動物身上感受到了魯奧畫中對苦難充分理解的人生同路人的耶穌形象。 在第四章筆者采用了榮格的原型理論，考察了美津子追求的真正的愛是無償?shù)囊d之愛，其中，通過美津子將忍受病痛，依然用萎縮的乳房喂奶給孩子與印度共患難的女神查姆達(dá)的形象與大津，進(jìn)而是瘦弱的耶穌重疊從而印證了耶穌的無償?shù)膼�。而通過神父大津?qū)⒋砟感缘暮愫优c“洋蔥”相結(jié)合考察出“洋蔥之愛”是一種無償?shù)膼�，大津更是在恒河上�?shí)踐了這一無償?shù)膼�。此外，遠(yuǎn)藤在《深河》中使用了“轉(zhuǎn)世”這一概念使其貫穿于四個出場人物之中，，使得耶穌之愛得到了進(jìn)一步的升華。
[Abstract]:The study of the image of Jesus and the love of Jesus in the works of Catholic writer Endo Shusaku (1923-1996) has been an important subject in the study of Endo Shusaku. But relative to a large number of his early works. As a result of the writer's death, the number of studies on the author's last novel, Deep River, has plummeted. In this context, the main characters in the novel are selected, and the relationship between the "love" and the love of Jesus is investigated by appropriate methods. It is necessary to expound the thought of love in the Christian literature of Shenghe. From the second chapter, the author divides his works from 1947-1993 into contradictory stages and mutual understanding stages according to the writer's understanding of Jesus love, according to the love of Jesus told by Catholic writer Endo Shusaku all his life combined with the chronology of his works. And the fusion stage. The image of Jesus in the three stages of his works comes down to the god of motherhood, which is embodied in "fellow passers-by in life". At the same time, the author also believes that the pursuit of the maternal god of Endo's "fellow passers-by" is attributed to the discrimination suffered by the author's youth while studying abroad in France and the loneliness he experienced in his old age when he fell ill. In addition, the Guanyin in the traditional Japanese religion and the reverence of the ancient Shinto to the mother also had a certain influence on the Japanese writer. In the third chapter, the love of Jesus, which is consistently described by Endo, is projected to the love of wife and couple in his works, and the love of man and animal of fairy tale writer Maruda. In the fourth chapter, the author explains that Jesus' love is a kind of free love through the "true love" and "onion love" which the heroine and Father Dazin pursue. Specifically, the love of the couple in Cepin was triggered by the reincarnation of his wife with cancer before she died, leading him to a journey to reincarnation India in search of his wife. After seeing the Ganges wife overlap her love with the image of the Ganges, the conclusion is that the fate of the couple is the fate of the same person in life. Then the author discusses the author's own experience of a large projection of the fairy tale writer, he and the author of the same theme of the Christian salvation of the French painter Ruo painting, And the reason he was able to communicate with the young dog, Little Black, and the hococeros he bought in adulthood, was because of the image of Jesus, a fellow human being, who understood the suffering in the animal painting. In the fourth chapter, the author adopts Jung's archetypal theory to investigate that the true love pursued by Mizin is the free love of Jesus. Still breast-feeding the child with shrunken breasts, the image of the Hindu goddess Chamda overlaps with that of the emaciated Jesus, thus testifying to Jesus' unremunerated love. Through Father Dajin, he combined the Ganges, which represents motherhood, with the Onion, and found out that Onion Love is a kind of free love, and Onion practices this free love on the Ganges River. In addition, the concept of reincarnation is used in the Deep River to further sublimate the love of Jesus.
【學(xué)位授予單位】：湖南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：I313.074

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本文編號：2086317