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本稿主要通过考察谷崎润一郎放弃“支那趣味”转向日本回归的原因,分析其中国观的变化。第二次中国之行后,谷崎放弃了“支那趣味”文学创作。这说明“支那”、西洋乃至日本,对谷崎来说都是唯美之梦的载体。不同的是,“支那”这个幻想的他者,曾一度满足了他的“支那趣味”与“西洋崇拜”的异国情趣;而“中国”则不能继续承载他的梦想,变成了他敬而远之、冷静旁观的对象。其中,移居关西及第二次中国之行后中日关系的本质性、历史性转变成为谷崎中国观变化的决定性因素。
This essay mainly analyzes the reasons for the return of Japan to Japan by abandoning “Tani Fun” by Tanizaki Tanizaki and analyzing the changes in his view of China. After the second trip to China, Tanizawa gave up his literary creation of “Chizhinya”. This shows that “Chinalina”, Western Japan and even Japan are the beauties dreams for Tanizaki. The difference is that the illusionist “Cina” had once met his exotic taste of “triumph” and “cult of the West”, while “China” could not continue to carry his Dream, became his object at arm’s length, calm on the sidelines. Among them, the substantive and historic changes of the Sino-Japanese relations after they moved to Kansai and the second China trip have become the decisive factors in the transformation of Tanizaki’s outlook on China.