【摘要】：從甲午戰(zhàn)爭(zhēng)到抗日戰(zhàn)爭(zhēng),再到戰(zhàn)后的今天,中曰關(guān)系在百年來幾經(jīng)波折之后,又呈現(xiàn)出日益嚴(yán)峻的勢(shì)態(tài)。繼而,對(duì)于中日關(guān)系發(fā)展的關(guān)注引起了筆者追溯抗日戰(zhàn)爭(zhēng)的開端一一“盧溝橋事變”的興趣。1937年見證了事變的北京城,作為一種文學(xué)敘述,己在諸如林語堂的《京華煙云》、老舍的《四世同堂》等蜚聲海內(nèi)外的中國(guó)作家的名作中得到了生動(dòng)而淋漓盡致地再現(xiàn)。然而,若想全方位地認(rèn)知事變前后的北京,考察并解讀以外部視點(diǎn)觀察北京的作品就顯得尤為重要。為此,作為一名日本文學(xué)研究者,筆者將關(guān)注的焦點(diǎn)投向了日本作家創(chuàng)作的、敘述事變前后的北京的作品。而在為數(shù)眾多的北京敘述中,筆者選擇了日本昭和名作一一阿部知二的《北京》作為研究對(duì)象。小說取材于作者1935年為期兩周的“北京之旅”,在1937年1月首先作為以《燕京》為題的中篇小說在雜志上發(fā)表后,經(jīng)過作者的擴(kuò)充與改寫,又在事變爆發(fā)后的1938年4月改為以《北京》為題的長(zhǎng)篇單行本小說出版。作者將小說的背景設(shè)定為1935年的北京,可以說是構(gòu)建于其“北京體驗(yàn)”的記憶與想象之.卜的一部作品。在這部以抗戰(zhàn)即將爆發(fā)時(shí)的中國(guó)都市為題材的日本文學(xué)作品之巾,潛藏著作者對(duì)于時(shí)局、中國(guó)文化與日本文化乃至中日關(guān)系怎樣的認(rèn)識(shí)與思考?從“東方主義”的視角出發(fā),作為伴隨著日本軍國(guó)主義的崛起而成長(zhǎng)的自由主義知識(shí)分子,阿部知二的這種認(rèn)識(shí)與思考又存在著怎樣的局限性與危險(xiǎn)性?對(duì)于這些問題,本論將小說文本和l作者同時(shí)期發(fā)表的相關(guān)隨筆、評(píng)論以及同時(shí)代作品等相結(jié)合,在文本對(duì)比芙聯(lián)和文本分析的基礎(chǔ)上進(jìn)行了探討。序論部分筆者在介紹了本論的研究動(dòng)機(jī)以及《北京》的創(chuàng)作背景之后,塒予《北京》的研究現(xiàn)狀進(jìn)行了簡(jiǎn)要闡述,總結(jié)出先行研究存在的一些問題一一對(duì)小說的“時(shí)局性”缺乏深入分析,關(guān)于人物形象的討論不夠全面、趨于模式化且忽視了現(xiàn)實(shí)意義,而對(duì)于作品中流露出的“東方主義”的批判亦不夠具體。第一章筆者首先從人物設(shè)定入手,對(duì)小說中的三個(gè)日本人一一東京某大學(xué)教師“大門勇”、青年“加茂”以及某通信社頭目“沼”進(jìn)行了分析。與實(shí)現(xiàn)了從徘徊者到行動(dòng)者轉(zhuǎn)變的中國(guó)知識(shí)分子王子明相對(duì),主人公大門由始至終保持著旁觀者的姿態(tài)。作為作者的分身,大門的這種旁觀性可以說與作者是相通的。而他對(duì)于下層民眾的視線也帶有濃厚的東方主義色彩。大門曾經(jīng)的學(xué)生加茂,看似是“為東洋大地甘灑熱血”的日本青年,實(shí)則成為了不斷實(shí)行侵略擴(kuò)張的日本帝國(guó)主義的幫兇。而加茂的上司沼,在與他有著相同的殖民者優(yōu)越感的同時(shí),也是尚武尊強(qiáng)的民族主義者。與第·章相對(duì),筆者在第二章圍繞小說中登場(chǎng)的中國(guó)人一一北京某人學(xué)教師“王子明”、王家的家庭教師“楊素清”和妓女“鴻妹”以及清朝遺老“葉先生”進(jìn)行了討論。一直在“親日”與“抗日”間徘徊掙扎的王子明,在與意欲發(fā)國(guó)難財(cái)?shù)馁I辦商人父親王世金劃清界限的同時(shí),逐漸走上了“抗日”之路并與信仰共產(chǎn)主義的少女結(jié)婚。通過這一出身于資產(chǎn)階級(jí)家庭卻從尼采哲學(xué)與中國(guó)的反抗傳統(tǒng)中獲得革命意識(shí)與覺悟的中國(guó)知識(shí)分子形象,作者對(duì)中國(guó)知識(shí)階級(jí)的動(dòng)向和中國(guó)革命的發(fā)展的關(guān)心與洞察可見一斑,他欲喚起日本人對(duì)中國(guó)人的無窮力量所應(yīng)有的畏懼之意亦不容忽視。另一方面,作者著力刻畫的兩個(gè)中國(guó)女性——楊素清和鴻妹在具備“直面時(shí)代勇敢生存”的精神的同時(shí),也存在著作為女性革命者或擁有特務(wù)身份的“女英雄”而被重新解讀的可能性。最后,作者通過在《北京》中加入渴望清朝復(fù)辟的葉先生這一形象,展示了故都逐年荒廢的現(xiàn)實(shí)以及他對(duì)當(dāng)時(shí)中國(guó)存在的政治力學(xué)和利害關(guān)系的認(rèn)識(shí)。第三章筆者通過對(duì)“元代歷史”的言說和充滿幻想性的“萬壽山的一天”進(jìn)行檢證,挖掘出具有象征性的北京表象及中日關(guān)系的表象�！绑E雨”等意象象征著充斥著紛爭(zhēng)與沖突的中日關(guān)系,仿佛預(yù)告了一觸即發(fā)的全面戰(zhàn)爭(zhēng)�！昂谝吕蠇D的半身”象征著在明清以來的歷史巨變中漸漸荒廢的北京城；與此相對(duì),“婀娜少女的半身”則象征了北京表象的二重性——所謂“令人感到美麗不可方物”是指在“動(dòng)蕩的氛圍”中而愈發(fā)風(fēng)姿綽約的停留在作者記憶中的北京,而“又令人感到平凡如丑陋村姑”則是指因“動(dòng)蕩的氛圍”而走向衰敗的存在于作者想象中的北京。以上兩個(gè)中國(guó)女性的幻象對(duì)于大門的排斥,印證了個(gè)人的好意在民族沖突面前的無力性。然而在這些意象背后,暗含著作者潛意識(shí)中身為異國(guó)人的優(yōu)越感以及與中國(guó)人理應(yīng)感到的憤慨和屈辱所互不相容的表達(dá)。第四章筆者分別以關(guān)于“同化力”和“時(shí)間對(duì)空間”的兩段討論為線索,挖掘出作者所認(rèn)為的擁有“世界無比的同化力”和“堅(jiān)韌力”的中國(guó),以及他對(duì)于不斷入侵中國(guó)的帝國(guó)日本未來的隱憂,揭示被相對(duì)化的、靜止的中國(guó)與進(jìn)步的日本�！侗本分嘘P(guān)于中國(guó)的“靜止性”的言說恰好與同時(shí)期出版的戰(zhàn)地文學(xué)——石川達(dá)三《活著的士兵》中的部分內(nèi)容相一致。然而,在那一時(shí)期這樣的“類型化”認(rèn)識(shí)恰恰存在著正當(dāng)化侵略戰(zhàn)爭(zhēng)的危險(xiǎn)性。以盧溝橋事變?yōu)楸尘?小說《北京》展示出身為自由主義知識(shí)分子的阿部知二在風(fēng)云變幻之際對(duì)于時(shí)局走向、中國(guó)和中國(guó)人的潛在力量以及中日關(guān)系的獨(dú)到見解,表現(xiàn)了他對(duì)日本人的警示和日本未來的擔(dān)憂。與此同時(shí),小說中多處流露出東方主義色彩,并且存在著正當(dāng)化侵略戰(zhàn)爭(zhēng)的危險(xiǎn)性。阿部知二于其后的太平洋戰(zhàn)爭(zhēng)中成為陸軍宣傳班的一員奔赴印尼爪哇島為日本搖旗吶喊,可以說恰好印證了他思想上的局限性。
[Abstract]:From the Sino-Japanese War of 1894-1895 to the War of Resistance Against Japan, and then to the present day after the war, Sino-Japanese relations in the past hundred years after several twists and turns, but also presents an increasingly serious situation. The study of narrative has been vividly and vividly reproduced in the famous works of Chinese writers at home and abroad, such as Lin Yutang's The Smoke of Beijing and Lao She's The Fourth Generation in the Hall. However, it is particularly important to investigate and interpret the works of Beijing from an external perspective if we want to fully understand the Beijing before and after the incident. Among the numerous Beijing narratives, the author chooses "Beijing" by the famous Japanese writer Ichiro Abe as the research object. The novel is based on the author's two-week "trip to Beijing" in 1935. After the novella first published in the magazine in January 1937 with the theme of "Yanjing", it was expanded and rewritten by the author, and then published in April 1938 with the theme of "Beijing". The author set the background of the novel as Beijing in 1935, which can be said to be a record of his "Beijing Experience". In this Japanese literary work with the theme of Chinese cities at the time of the outbreak of the War of Resistance Against Japan, how does the author understand and think about the current situation, Chinese culture, Japanese culture and even Sino-Japanese relations? Starting from the perspective of Orientalism, as a result of the rise of Japanese militarism What are the limitations and dangers of Abe's understanding and thinking of the growing liberal intellectuals? To these problems, this paper combines the text of the novel with the relevant essays, comments and contemporary works published by the author at the same time, and explores the basis of the text on the basis of the analysis of the text of Biafluen and text. After introducing the motivation of the study and the background of the creation of Beijing, the author briefly expounds the present situation of the study of Shengyu's Beijing, sums up some problems existing in the previous study, one by one, lacks in-depth analysis of the "current situation" of the novel, and the discussion about the characters is not comprehensive enough, tends to be stereotyped and abrupt. In the first chapter, the author begins with the characterization of the three Japanese in the novel, namely, a university teacher in Tokyo, "Damon Yong", "Kamao" and the leader of a telecommunications agency "Marsh". In contrast to the Chinese intellectuals Prince Ming, the protagonist's gate keeps an onlooker attitude from beginning to end. As the author's separation, the bystander of the gate can be said to be connected with the author. And his vision of the lower class also has a strong Orientalism color. In fact, the Japanese youths who are willing to shed their blood for the land of the East have become accomplices of the Japanese imperialists who are constantly carrying out aggression and expansion. While Kamao's boss has the same sense of superiority as his colonists, he is also a nationalist who advocates military superiority. Contrary to Chapter 2, the author is the first Chinese to appear in the novel. Wang's governess, Yang Suqing, discussed with prostitute Hongmei and the Qing Dynasty elder Ye. Prince Ming, who had been struggling between "pro-Japanese" and "anti-Japanese", drew a line with Wang Shijin, the father of a comprador businessman who wanted to make a fortune in his own country. Through this image of Chinese intellectuals born in a bourgeois family but gaining revolutionary consciousness and consciousness from Nietzsche's philosophy and Chinese revolutionary tradition, the author's concern and insight into the trend of the Chinese intellectuals and the development of the Chinese revolution can be seen. He wishes to On the other hand, Yang Suqing and Hongmei, the two Chinese women who are depicted by the author, have the spirit of "living bravely in the face of the times", but also have the "heroines" who are regarded as female revolutionaries or have the status of special agents. Finally, by adding the image of Mr. Ye yearning for the restoration of the Qing Dynasty to Beijing, the author shows the fact that the capital was abandoned year by year and his understanding of the political mechanics and interests of China at that time. "One day" to verify, excavate the symbolic image of Beijing and the image of Sino-Japanese relations. "Sudden rain" and other images symbolize the disputed and conflicting Sino-Japanese relations, as if to herald a full-blown war. On the contrary, the half-length of a graceful girl symbolizes the duality of Beijing's image --- the so-called "beautiful things" refers to Beijing, which is more graceful and graceful in the "turbulent atmosphere", and the "ugly village aunt" refers to the trend due to the "turbulent atmosphere" The rejection of these two Chinese women's visions of the gates confirms the powerlessness of personal goodwill in the face of ethnic conflict. Yet behind these images lies the author's subconscious sense of superiority as an alien and the indignation and humiliation that the Chinese should feel. In the fourth chapter, the author takes the discussion of "assimilative power" and "time versus space" as clues to excavate what the author thinks is China with "incomparable assimilative power of the world" and "tenacity" as well as his hidden worries about the future of the invading Japanese empire, revealing a relatively static China. With progressive Japan. about China's "static" is exactly the same as part of the war literature published at the same time, Ishikawa Dasan's "living soldier". However, in that period such a "typological" understanding precisely exists the danger of legitimizing the war of aggression. Take the Lugouqiao Incident as the background. Abe Chi-er, a liberal intellectual, shows his warning to the Japanese and his worries about the future of Japan in the changing times, the potential power of China and the Chinese people, and his unique views on the relationship between China and Japan. In justifying the dangers of aggression, Abe became a member of the Army's propaganda team in the subsequent Pacific War and went to Java, Indonesia, to wave the flag and shout for Japan, which can be said to confirm his ideological limitations.
【學(xué)位授予單位】：北京外國(guó)語大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類號(hào)】：I313.074
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本文編號(hào)：2212832

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