本文選題：芥川龍之介 + 恍惚的不安　； 參考：《東北師范大學(xué)》2017年碩士論文

【摘要】：芥川龍之介在其短短的35年的生涯中留下了近150余篇短篇小說(shuō),可以稱(chēng)得上是日本大正時(shí)期文壇中的翹楚。1927年芥川龍之介的自殺震驚了整個(gè)日本文壇,同時(shí)他的死也標(biāo)志著日本大正時(shí)期文學(xué)的終結(jié)。而芥川龍之介的死還給后世文壇留下了眾多謎團(tuán),乃至成為千萬(wàn)擁躉者研究芥川文學(xué)的契機(jī)。其后問(wèn)世的文論中,芥川龍之介的自殺多被歸結(jié)為是由于他的“恍惚的不安”。但對(duì)于芥川所自詡的“恍惚的不安”的成因及其該成因?qū)ψ骷揖袷澜绲某砷L(zhǎng)以及創(chuàng)作心態(tài)的掣肘,中日學(xué)者歧見(jiàn)輩出。通過(guò)對(duì)芥川龍之介生存的時(shí)代土壤與政治文化特點(diǎn)的考察,以及對(duì)其塑造的栩栩如生的性格鮮明的人物形象的剖析,筆者認(rèn)為他的這種“恍惚的不安”之心緒首先來(lái)源于幼年坎坷的生活經(jīng)歷,由此而衍生敏感脆弱的神經(jīng)導(dǎo)致了某種病態(tài)心理,繼而在他與激烈變動(dòng)的時(shí)代碰撞中,其纖細(xì)的神經(jīng)無(wú)力抗衡新舊階級(jí)的博弈產(chǎn)生出極度惶恐的心緒。而這種“恍惚的不安”的心緒伴隨了芥川的一生。芥川人生經(jīng)歷坎坷,自幼不安的生活環(huán)境羈絆其一生。養(yǎng)子的身份抑壓了他天性的自由發(fā)展。明治維新后,日本開(kāi)始對(duì)外擴(kuò)張,先后發(fā)動(dòng)的4次大規(guī)模的對(duì)外侵略戰(zhàn)爭(zhēng)使日本躋身于帝國(guó)主義行列,對(duì)外掠奪對(duì)內(nèi)殘酷鎮(zhèn)壓的國(guó)情制約了芥川思想意識(shí)的宣泄。他懷揣一顆“不安”的心靈,登上文壇伊始,正是日本工人運(yùn)動(dòng)風(fēng)起云涌,農(nóng)民的“米騷動(dòng)”頻頻發(fā)生之時(shí),加之在十月革命的影響下,先進(jìn)的工人和知識(shí)分子趨向社會(huì)主義,日本共產(chǎn)黨和各種伸展個(gè)性,主張民權(quán)的組織相繼誕生,無(wú)產(chǎn)階級(jí)作為一支生力軍開(kāi)始登上文壇。人性的丑惡,社會(huì)動(dòng)蕩的不安,都成為作家筆下的精彩圖畫(huà)。1916年發(fā)表的短篇小說(shuō)《鼻子》使作者躍入龍門(mén)。小說(shuō)揭示了世間人性的丑惡,描摹了初登文壇的作者對(duì)希望的渴求和“希望達(dá)到后的不安”。一顆謹(jǐn)小慎微,陰翳叢生的心靈極力要在這不安的世界中尋得一方立錐之地。但是映在作者眼前的是“不安”的生存語(yǔ)境。1919年芥川發(fā)表的短篇小說(shuō)《桔子》是他作品中的少有的亮色基調(diào)小品。在人生競(jìng)技場(chǎng)上決斗得疲憊倦怠的資產(chǎn)階級(jí)“我”偶然間目睹了一直被我乜斜而視的無(wú)產(chǎn)階級(jí)的“橘紅色的”、“艷麗”的美德,驟然間讓“我”感到一種驚詫的美麗的同時(shí)也讓人隱隱的不安。1916年工人文學(xué)登上文壇,十余年的時(shí)間就蓬勃發(fā)展成為一股時(shí)代的洪流,給既有的資產(chǎn)階級(jí)文學(xué)造成強(qiáng)烈的沖擊,也刺激和影響到了對(duì)社會(huì)變動(dòng)極其敏感的芥川。1927年神經(jīng)纖細(xì)、身體羸弱的芥川發(fā)表了《玄鶴山房》和《河童》兩部作品,前者針砭了資本主義社會(huì)的利己痼疾,后者激烈地抨擊了資本主義社會(huì)體制的諸多方面。這兩部作品是芥川對(duì)其生活時(shí)代的高度概括性的藝術(shù)縮寫(xiě),兩個(gè)月后留下遺書(shū),無(wú)力與新時(shí)代擁抱,在“恍惚的不安”中自殺身亡。本研究按照時(shí)間順序,從探析蘊(yùn)含了不安萌芽的早期作品《鼻子》入手,繼而又選取芥川中期及晚年時(shí)期較為有代表性的作品,即《桔子》(1919年)、《河童》(1927年)與《玄鶴山房》(1927年),進(jìn)行剖析。本文結(jié)合時(shí)代背景,力求翔實(shí)地闡釋芥川龍之介“不安”心態(tài)的創(chuàng)作流變及其思想的蛻變過(guò)程,重點(diǎn)關(guān)注芥川龍之介筆下的資產(chǎn)階級(jí)和無(wú)產(chǎn)階級(jí)博弈引發(fā)的社會(huì)變革的形象寓意,從而揭示其“不安文學(xué)”的紆回走向及其背后的深刻涵義。本研究主要分為以下幾個(gè)部分:引言部分闡述選題的意義和背景以及先行研究的概述。第一章“希望之后的不安”。透過(guò)他的早期作品《鼻子》窺探其隱藏在心中的陰翳“不安”,以及他不幸的人生經(jīng)歷給他帶來(lái)的影響。第二章“倦怠的不安”——《桔子》,通過(guò)對(duì)《桔子》中人物形象與意象的深刻解析,闡述芥川面對(duì)新興無(wú)產(chǎn)階級(jí)的艷羨與隱隱的不安。第三章“恍惚的不安”——《河童》、《玄鶴山房》。這兩部作品發(fā)表時(shí)間相近,芥川的晚年心境更是在這兩部作品之中顯露出層層遞進(jìn)的變化,因而將其放在同一章進(jìn)行討論。通過(guò)對(duì)芥川晚年這兩部代表性作品的分析,探討芥川于激烈的社會(huì)變革的背景下對(duì)資產(chǎn)階級(jí)社會(huì)的恍惚不安和失望之情。第四章,芥川龍之介“不安文學(xué)”的歷史認(rèn)知價(jià)值。分別從芥川個(gè)人經(jīng)歷的角度與20世紀(jì)初日本社會(huì)背景的角度考察芥川的“不安”心理生成的時(shí)代根基,以及歷史巨變之時(shí)敏感作家自殺的世界共生現(xiàn)象。
[Abstract]:In his short 35 year career, Akutagawa Ryunosuke left over 150 short stories. It can be called the suicide of the Japanese literary world in.1927, which shocked the whole Japanese literary world. At the same time, his death also marked the end of the Japanese literary period. And Akutagawa Ryunosuke's death returned to the literary world of later generations. There are many puzzles, and even the opportunity for thousands of fans to study the literature of mustard. In the later literary theory, Akutagawa Ryunosuke's suicide is attributed to his "trance uneasiness". But the cause of the "trance uneasiness" and the cause of the cause and the creative mentality of the writer's spiritual world Through the investigation of the soil and political and cultural characteristics of the times of Akutagawa Ryunosuke's existence and the analysis of the vivid characters of his vivid character, the author thinks that his "trance uneasiness" is first derived from the rough life experience of the young and derived from this. The fragile nerve leads to a certain psychic mentality, and then in the collision of the age of intense change, his delicate nerves are unable to counterbalance the old and the old classes to create a very terrified mood. After the Meiji Restoration, Japan began to expand after the Meiji Restoration, and the 4 large-scale war of aggression launched by Japan made Japan into the ranks of imperialism. The national conditions of the brutal repression of the foreign country restricted the catharsis of the ideological consciousness of mustard. At the beginning of the literary world, it was the surge of Japanese workers' movement and the frequent occurrence of the "rice riots" of the peasants. In addition, under the influence of the October revolution, the advanced workers and intellectuals tended to socialism. The Japanese Communist Party and all kinds of extensional personality and civil rights organizations were born, and the proletariat began to ascend as a new force. The ugliness of the human nature, the unrest of the social unrest, has become a short story published by the writer in.1916's short story, "nose", which makes the author leap into Longmen. The novel reveals the ugly of the human nature in the world, portrays the desire of the author of the literary world and the "unrest of hope". To find a place in this uneasy world, it is the "uneasiness" of the author's existence in the context of the "uneasy" context of.1919. The "orange red" and "gorgeous" virtues of the proletariat, which are squinted and apparent, suddenly let the "I" feel a kind of astonishing beauty and the hidden uneasiness of.1916 workers' literature on the literary world. For more than ten years, it has flourished to become a flood of the times, which has caused a strong impact on the existing bourgeois literature. It also stimulates and affects the slender nerve of.1927, which is extremely sensitive to social changes. The weak body of the mustard has published the two works of "the mountain house" and the "river children". The former criticize the chronic disease of capitalism in the capitalist society, and the latter fiercely criticize many aspects of the capitalist social system. The two works are the life of mustard. The highly generality of the art abbreviation of the times, two months later left his remains, unable to embrace the new era and commit suicide in the "trance uneasiness". This study, according to the time sequence, starts with the analysis of the early works containing the uneasy bud, and then selects the more representative works of the middle and late years of the mustard, that is, the orange. (1919), "river boy >" (1927) and < Xuan He Shan house > (1927), carry on the analysis. This article, combining the background of the times, strives to elaborate and elaborate on the creations and changes of Akutagawa Ryunosuke's "uneasiness" mentality and the transformation process of his thought, focusing on the image implication of the social change caused by Akutagawa Ryunosuke's asset order and the proletarian game. This study is mainly divided into the following parts: the introduction explains the significance and background of the topic and the overview of the first research. The first chapter, "the unrest after hope". And the influence of his unfortunate life experience. The second chapter "the uneasiness of burnout" - "orange >", through a profound analysis of the image and image of the characters in the oranges, it expounds the envy of the new proletariat and the hidden unrest. The third chapter, "the trance uneasiness", "the river boy >" the mountain house of Xuan he is more than. The publication of the two works. When the time is similar, the mood of the late years of mustard has revealed the changes of progressive progressiveness in the two works. Therefore, it is discussed in the same chapter. Through the analysis of the two representative works of the late years of the mustard Sichuan, we discuss the trance and disappointment of the bourgeois society under the background of the fierce social change. Fourth chapters The historical cognitive value of Akutagawa Ryunosuke's "uneasy literature", from the point of view of the personal experience of mustard and the social background of Japan in the early twentieth Century, examines the foundation of the "uneasiness" of the "uneasiness" of the mustard, as well as the symbiotic phenomenon of the suicidal world of the sensitive writers at the time of the great change of history.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：I313.074

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