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本文从川端康成的“镜情结”出发,研究分析在《雪国》《古都》等重要作品中镜子作为道具对作品的结构布局和人物关系产生的重要作用,探讨川端康成喜爱使用镜子的原因,展现川端文学与佛禅文化和新感觉审美实践的密切关系。
This paper starts with “Mirror Complex” of Kawabata Yasunari and analyzes the important role of the mirror as a prop in the important works such as “Snow Country” and “Ancient Capital” on the structural layout and characters of the works, and discusses the reasons why Kawabata likes to use the mirror , Showing the close relationship between Kawabata’s literature and Buddha’s Buddhist culture and new perceptions of aesthetic practice.