莫言与川端康成及以川端为代表的日本新感觉派——以民族性的世界写作、感觉世界的构建为中心  

On Mo Yan, Kawabata Yasunari and New Sense School Represented by Kawabata

作　　者：魏雯[1,2] 

机构地区：[1]四川外国语大学南方翻译学院,重庆400031 [2]北京外国语大学日本学研究中心,北京100089

出　　处：《四川外国语大学学报（哲学社会科学版）》2013年第1期11-17,共7页

摘　　要：提要：直至进入20世纪70年代末和80年代，中国文坛才开始掀起了关于川端康成研究、翻译及其技法讨论的高潮，川端开始被作为亚洲作家学习的榜样加以关注。川端的《雪国》直接导致了莫言的转型，从川端身上，莫言寻找到用新的现代派表现手法进行民族性、本土化写作的一种可能性。这对当时正在寻找今后的创作方向的莫言至关重要。另外，虽说川端后来转入新心理主义，但在80年代，川端康成在很大程度上被介绍得最多的就是作为新感觉派作家的诺贝尔奖获得者的头衔。新感觉派运动虽在日本文学史上如昙花一现，但却对80年代的中国文坛产生了不可忽视的影响，其对莫言的影响也不可小觑。在莫言早期作品中能够找到明显的新感觉派特征：重视主观感觉；感觉成为了外在世界与内部心理世界的桥梁，建构出独特的主观感觉世界。The research on and translation of Kawabata Yasunari＇ s works and discussion on his writing techniques just rea- ches high tide in Chinese literary world in the end of 1970s and in the 1980s. Kawabata begins to become the focus of attention as a model of Asian writers. Kawabata＇ s Snow Country directly to the transformation of the writing style of Mo Yan. Mo Yah finds a possibility of native theme with new modern expression means, learning from Kawabata, which is of vital importance to Mo Yan who is searching future creative direction at that time. Furthermore, in the 1980s, what is introduced most about Kawabata is his title of the representative of the new sense school and Nobel Prize Winner, although he turns to the new psychologism later. The New Sense School Movement is transient in the history of Japanese Culture, while it strongly influenced Chinese literary world in the 1980s, and its impact on Mo Yan can not be underestimated, either. Obvious characteristics of the New Sense School are shown in Mo Yan＇ s early works especially.

关 键 词：莫言 川端康成 新感觉派 民族性 本土化 感觉世界 新颖表现手法 色彩 

分 类 号：I206.7[文学—中国文学]