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20世纪二三十年代,日本唯美派作家谷崎润一郎采用传统的“物语”形式进行文学创作,其代表作《春琴抄》等在日本乃至国际文坛上颇为引人注目。施蛰存先生也盛赞其为“文体家”。众所周知,施蛰存先生因《鸠摩罗什》、《将军底头》等小说注重心理分析,着重描写人物的意识流动,而成为中国“新感觉派”作家的旗手。但是,笔者无意将施蛰存先生笔下人物的病态心理与谷崎润一郎作品中的病态嗜
In 1920s and 1930s, Japanese aesthetically pleasing writer Tanizaki Taniyama used the traditional form of “storytelling” to carry out literary creation. His masterpiece “Chun-kin-chan” was quite notable in Japan and even the international literary world. Mr. Shi Zhecun praised it as “style body ”. As we all know, Mr. Shi Zhecun has focused on psychoanalysis in such novels as “Kumarajiva” and “General’s Empire,” focusing on describing the flow of consciousness among the characters and becoming the standard-bearer of China’s “New Sensationist” writers. However, I do not intend to put the morbid psychology of Mr. Shi Zhecun’s characters and the pathological addiction in the works of Tanizaki Junichiro