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川端康成似乎对镜子有着特殊的情结,《雪国》就是以一段著名的“暮景镜”开场。《现代日本文学史》就指出:“《雪国》通过‘暮景’和‘晨景’两面镜子将岛村引入虚无的回忆。”此外,南京大学沈俊发表在《日语知识》2002年第8期的《川端的「镜世界」》也详细阐明了这一观点。本文在以上研究的基础上,通过从主客观等方面对川端文学的代表作品《雪国》、《古都》中“镜子”作用的进一步分析,表明“镜子”正是川端文学达到虚实合一这一境界所借助的媒介。
Kawabata Yasunari seems to have a special relationship with the mirror, “Snow Country” is a well-known “Twilight Scene ” opening. “History of Modern Japanese Literature” states: “Snow Country introduces the island village into nothingness through the mirror of ’Twilight Scene’ and ’Morning Scene’.” In addition, Shen Jun of Nanjing University was published in “Japanese Knowledge” in 2002 The eighth issue of Kawabata’s Mirror World also elaborates on this view. Based on the above research, further analysis of the role of “Mirror” in Kawabata’s representative works “Snow Country” and “Ancient Capital” from the aspects of subjectivity and objectivity shows that Kawabata’s literature has reached its true and false The medium through which this realm is united.