从岛村和宝玉看川端康成和曹雪芹的男性目光  

The Male gaze of Kawabata Yasunari and CAO Xue-qin through Shimamura and Bao-yu

作　　者：周密[1] 

机构地区：[1]暨南大学文学院,广东广州510632

出　　处：《暨南学报（哲学社会科学版）》2011年第4期91-94,163,共4页Jinan Journal(Philosophy and Social Sciences)

基　　金：湖南省教育厅一般项目<川端康成中间小说研究>(批准号:06C333)

摘　　要：无论是岛村还是宝玉,他们都各自拥有一个与现实和俗世相对的"女儿国",都有着对女性的爱与美的追求。如果说岛村是现实社会完全的逃避者,那么贾宝玉就是现实社会彻底的叛逆者,他们的追求看似都指向女性美,其旨归却是不同的。如果说岛村的男性视角是俯视姿态的话,那么宝玉则是典型的仰视的姿态了。然而岛村的姿态并不构成川端康成本人对女性居高临下的证明,与川端对岛村有意疏离的态度相比,贾宝玉则几乎是作为曹雪芹主体意识的传达者出现在作品中的。因而曹雪芹(或者说贾宝玉)一切梦想破灭之后无可奈何的选择,与岛村的虚无有着本质的不同。Both Shimamura and Bao-yu have a Daughter Kingdom which is a place far away from real and vulgar world,and they are both seeking women love and beauty.If Shimamura is a fully dropouts,then Bao-yu is a complete traitor of social reality.Though they are both the pursuit of female beauty,their purport is different.If Shimamura's male perspective is looking down posture,then Bao-yu's perspective is a typical gesture of looking up.But Shimamura's attitude does not prove that Kawabata Yasunari's condescending attitude towards women is true.Kawabata's attitude to Shimamura is intentional alienation.But JIA Bao-yu is almost CAO Xue-qin's bearer of consciousness.So CAO Xue-qin(or JIA Bao-yu)'s choice of helplessness after all his dreams shattered is essentially different from Shimamura nothingness.

关 键 词：岛村 宝玉 川端康成 曹雪芹 男性视角 

分 类 号：I313.06[文学—其他各国文学]