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川端康成的虚无思想从本质上看不仅是东方传统文化中虚无精神的体现,而且是西方现代虚无艺术手法的彰显,而将东西方两种文化特性加以融合的最终成果,就是《雪国》这部巅峰之作的问世。《雪国》整部作品都洋溢着作者对美学的另类追求,充满了虚无、纯洁、悲哀的感情基调与色彩基调,将东方的虚无思想展露无遗,同时其虚无思想也与日本民族的“物哀”精神息息相通,无法割裂开来,可以说,《雪国》这部作品是展现日本民族精神特性的经典之作。本文从爱情的虚无、死亡的虚无和美的虚无这三个方面着手,对川端康成的小说《雪国》中的虚无思想进行深入的探讨。
In fact, Kawabata’s imaginary nothingness is not only an embodiment of the nihility in the traditional oriental culture, but also an expression of the modern art of nothingness in the West. The ultimate achievement of integrating the two cultural characteristics of East and West is that of Snow Country The advent of the pinnacle. The entire works of Snow Country are filled with the author’s alternative pursuit of aesthetics, filled with the emotional tone and color tone of nothingness, purity and sadness, and exposed the nihilistic thought of the East while its nihilism is also similar to that of the Japanese nation Sad “spirit can not be separated, can be said that” snow country "is a work to show the characteristics of Japan’s national spirit of the classic. This article starts from the three aspects of the nothingness of love, the nothingness of death and the nothingness of beauty, and probes deeply into the nihility thought of Kawabata Yasunari’s novel Snow Country.