合理主义与传统亲情的对立——菊池宽的独幕剧《父归》  

The Contradict of Rationalism and Traditional Affection: Kan Kikuchi’s One-actor Father Comes Back

作　　者：孙耀珠[1] 

机构地区：[1]华南师范大学外文学院,广东广州510631

出　　处：《日本学论坛》2005年第2期48-52,共5页Japanese Study Forum

摘　　要：菊池宽的独幕剧《父归》是一部反映父子亲情与家庭伦理问题的现实主义作品。菊池宽通过描写父亲与长子的对立冲突,深刻地反映了明治和大正时代,近代的自我意识渗透到社会各阶层,并开始挑战以父权为中心的封建家长制的社会现实。以及在这种社会现实之下生活的普通百姓的自我觉醒与烦恼。Father Comes Back, a realistic one-actor written by Kan Kikuchi, reflects the affection between the father and his son and family ethics. Kan Kikuchi's depiction of the conflict between the father and his son reflects that in Meiji and Taisho periods, modern self-consciousness had infiltrated into the whole society and began to challenge the feudal patriarchy. This one-actor also reflects common people's self-consciousness and unhappiness at that time.

关 键 词：合理主义 传统亲情 对立 现实主义 

分 类 号：I313[文学—其他各国文学]