本文選題：室生犀星　切入點：妖怪　出處：《東北師范大學》2017年碩士論文　論文類型：學位論文

【摘要】：日本是一個崇尚自然、神靈的民族,從繩文時代開始一直信奉神靈、鬼怪的存在,形成了“八百萬神”的民間信仰。在這種文化背景之下,借鑒中國鬼怪文化的基礎(chǔ)上,建立了豐富多彩的妖怪文化,塑造了大量的、鮮活的妖怪形象,形成了日本文化中的重要組成部分。并且妖怪文化已經(jīng)滲透到日本人們生活的各個方面,通過漫畫、影視、繪畫、文學作品等形式得以呈現(xiàn)和發(fā)展。特別是在整個日本文學史進程中涌現(xiàn)出眾多書寫妖怪的作家和作品,形成了獨特的妖怪文學�？梢哉f妖怪文學是探討日本民族文化的一個特殊而又不可忽視的方面。本文探討日本近代文學中以妖怪形象創(chuàng)作為特點的作家室生犀星,分析其作品集《童子》中描繪的各類妖怪形象。室生犀星(むろう·さいせい),1889年8月1日出生于日本北陸地區(qū)保守、傳統(tǒng)的文化之城——金澤市。他的創(chuàng)作生涯歷經(jīng)了明治、大正、昭和三個重要的時期,活躍于日本近代文壇。故鄉(xiāng)的山川、悲慘的童年、坎坷的人生經(jīng)歷讓他對生命、社會、人性有著獨到的見解,也孕育了他獨特、細膩的創(chuàng)作風格。他在作品中描繪了眾多、鮮活、典型的妖怪形象,塑造了充滿幻想性的文學世界。妖怪形象的頻繁登場,不僅是室生犀星文學創(chuàng)作的主要特點,更是圍繞犀星的創(chuàng)作產(chǎn)生爭議的主要原因。迄今為止,國內(nèi)外從妖怪視角對其作品進行探究的成果較少,因此對其妖怪形象的闡釋有利于深入探究室生犀星的文學創(chuàng)作和精神世界。作品集《童子》是犀星妖怪創(chuàng)作的代表,其中的作品都是在混亂、動蕩的大正年間創(chuàng)作出來的,是作家和時代的共同產(chǎn)物。本文結(jié)合日本民間故事和民俗學方面的知識,分類探究室生犀星作品中的妖怪形象特質(zhì),從而探索作家創(chuàng)作的深層動機以及帶來的影響和意義。室生犀星通過變態(tài)、直接的感官表現(xiàn)以及善與惡的交織當中塑造了童子、超能力女性以及金澤傳說中出現(xiàn)的人魚、天狗等眾多妖怪形象,從而折射出自己對不安、陰暗的人以及動蕩的社會的深刻思考和體會,有著深刻的寓意和現(xiàn)實意義。同時,室生犀星的妖怪形象突破了傳統(tǒng)妖怪給人帶來恐怖和危害的特點,更多表達出了一種淡淡的哀傷和脈脈的溫情,而且透過表面的陰暗,感受到的不是頹廢和消極,而是在逆境和不幸中仍能向上的、積極的生活態(tài)度以及對美好、理想的向往。室生犀星借助不可思議的妖怪世界傳達著對人性的關(guān)懷,這也是他回歸人之自然本性以及崇尚神秘、美好信仰的“原鄉(xiāng)”動機的重要體現(xiàn)。
[Abstract]:Japan is a nation that advocates nature and deities. It has always believed in gods and ghosts since the period of rope writing. The existence of ghosts and monsters has formed the folk belief of "8 million gods." on the basis of this kind of cultural background and drawing lessons from the Chinese culture of ghosts and monsters, Has established a rich and colorful monster culture, created a large number of vivid monster images, and formed an important part of Japanese culture. And the genie culture has penetrated into all aspects of Japanese people's lives, through cartoons, movies and television, Painting, literary works and other forms have been presented and developed. Especially in the whole history of Japanese literature, many writers and works of genie writing have emerged. It can be said that genie literature is a special and unneglectable aspect of Japanese national culture. An analysis of the images of various geniuses depicted in his collection of works "Boy Scouts". Kawazawa, a conservative and traditional cultural city in Japan's northern land region, was born in August 1st 1889. His creative career has gone through the Meiji period. The three important periods of Taisho and Showa were active in modern Japanese literary circles. His tragic childhood and bumpy life experience made him have unique views on life, society and human nature, and gave birth to his uniqueness. In his works, he depicts numerous, vivid and typical genie images and shapes a literary world full of illusions. The frequent appearance of monster images is not only the main feature of the literary creation of Rhinoceros. It is also the main reason of controversy around the creation of Rhinoceros. So far, there have been few achievements in exploring his works from the perspective of monsters at home and abroad. Therefore, the interpretation of its monster image is conducive to the in-depth exploration of the literary creation and spiritual world of Rhinoceros. The collection of works, Boy Scouts, is the representative of the creation of the Rhinoceros Monster, whose works were created during the chaotic and turbulent years of Dazheng. This paper, combined with Japanese folk stories and folklore knowledge, classifies and explores the genie image characteristics in Miyasheng Rhinoceros' works. Thus exploring the deep motive and the influence and significance of the writer's creation. Through perversion, direct sensual expression and the interweaving of good and evil, the room born Rhinoceros molds the child, the supernatural female and the mermaid in the legend of Kanazawa. The images of many monsters, such as the Heavenly Dog, reflect their profound thinking and experience of the restless, dark people and the turbulent society. At the same time, they have profound moral and practical significance. The image of the genie of the Rhinoceros breaks through the characteristics of terror and harm brought by the traditional genie, and more expresses a faint sadness and the warmth of MaiMai, and through the shadow of the surface, what is felt is not decadence and negativity. But still able to rise in adversity and misfortune, a positive attitude to life and a yearning for beauty and ideals. The Rhinoceros convey their concern for humanity with the help of the incredible world of monsters. This is also an important embodiment of his return to the natural nature of man and his "original country" motive of advocating mystery and good faith.
【學位授予單位】：東北師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I313.06

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