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川端康成是日本文学界公认的领军人物。他的作品不仅展现了他自己的精神世界,更重要的是他通过自己的观察和描述细致地刻画并延续了日本文学的传统美。《睡美人》作为他成熟时期的作品,从一问世就引起文学界的诸多探讨和争议。毫无疑问,作为晚年的作品,它多少带着作者创作方面的颓废和力不从心。但是,仅仅从这些来考虑当然是不全面的。至少这部作品在陈述作者毕生所追求的美学上有着无法掩盖的价值。看透了尘世沧桑的川端,也有着自己不同于常人的美学观,并且难得的在这部作品里展露无遗。本文将从《睡美人》落笔,浅析隐藏在小说里的川端半世沉淀下来的美学意义。
Kawabata Yasunari is a recognized leader in Japanese literature. His works not only show his own spiritual world, but more importantly, he carefully depicts and extends the traditional beauty of Japanese literature through his own observations and descriptions. Sleeping beauty as his mature works, from the advent of the literary community caused a lot of discussion and controversy. Undoubtedly, as a late-age work, it lacks the decadence and powerlessness of the author’s creation. However, it is of course not comprehensive to consider these alone. At least this work has an insidious value in stating the aesthetics of the author’s life. Kawabata saw the worldly vicissitudes of life, but also has its own different from ordinary people’s aesthetics, and a rare show in this work. This article will put “Sleeping Beauty” off, and analyze the aesthetic significance of the Kawabata half hidden in the novel.