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20世纪60年代初,井上靖的作品开始在我国翻译出版,80年代形成译介井上靖文学的高潮。本文主要从三个方面研究井上靖《孔子》的艺术特色。其一,虚实结合,将它与史实进行比较,史实与虚构之间折射出作者的影子。从尊重史实的态度出发,井上靖根据自己的审美理想和审美感情塑造孔子,从众多史实中抽取能够表现人物性格的内容,据此塑造出一个有血有肉的真实的孔子;其二,感情真挚,从简洁朴实中探求其背后的伤感;其三,井上靖创作孔子这一人物形象取决于他对《论语》的感知、对民族文化的传承、他的艺术想象以及作家自身对孔子故乡的亲身体验,结构谨严,起伏跌宕的情节之中仍寻求前后照应。
In the early 1960s, Inoue Yasuharu’s works began to be translated and published in our country, and in the 1980s a climax of translation and ingenuation of literary well Jingjing was formed. This article mainly studies the artistic characteristics of “Confucius” in Jingjing Inoue from three aspects. First, combining the actual situation and the actual situation, it compares the historical facts with the fictional ones and reflects the author’s shadow. Starting from the attitude of respecting historical facts, Inoue Jing shaped the Confucius according to his own aesthetic ideal and aesthetic feeling, and extracted from many historical facts the content that can represent the character of the character, thereby creating a flesh-and-blood true Confucianism. Second, sincerely, Simple and plain to explore the sadness behind them; Third, Inoue Jing’s creation of this character depends on his image of the Analects of Confucius, the inheritance of national culture, his artistic imagination and the writer’s own personal experience of the hometown of Confucius, Cautious structure, ups and downs of the plot is still looking forward to and after care.