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伪满时期,爵青、古丁、金音等大多数作家陷入忧郁之中。从自身的忧郁体验出发,伪满洲国作家的忧郁书写在伪满洲国文坛大行其道,创造了为数众多的忧郁的文学形象。在伪满洲国作家笔下,“忧郁”溢出了单纯的生理疾病概念,而被赋予了政治反抗的含义。伪满洲国的“忧郁”是正义匮乏、高压恐怖的日本殖民统治强加给人们的普遍的切身体验,是殖民现代性的病态表征。伪满洲国作家的忧郁书写,揭露了日本殖民者竭力鼓吹的“大东亚共荣”的欺骗性,表达了日本殖民统治给殖民地民众带来的精神戕害与人性摧残,也因此成为受殖者进行精神抵抗的一种方式。
During the Manchukuo period, most writers such as Jue Qing, Gudin and Jinyin plunged into melancholy. Starting from its own melancholy experience, the melancholy writing of puppet Manchurian writers became popular in the puppet Manchukuo literary world and created a large number of melancholic literary images. Under the false Manchukuo writers, “Melancholy ” overflowed the concept of purely physiological disease, and was given the meaning of political resistance. The “melancholy” of the puppet Manchuria is a common personal experience imposed on people by Japan’s colonial rule of just scarcity and high pressure and terror, and is a morbid sign of colonial modernity. The melancholy writing of puppet Manchukuo writers revealed the deceitfulness of the “Great East Asia Common Prosperity” advocated by the Japanese colonists and expressed the detrimental effects of the Japanese colonial rule on the colonial people and their human nature, A way of mental resistance.