扭曲的“镇魂曲”与日本民族文化记忆塑造——以吉田满《大和战舰的末日》为例  

Distorted Requiem and Ethnic Cultural Memory——A Study on Yoshida Mitsuru’s Revisions of His Senkan Yamato-no Saigo

作　　者：李向格 刘研[1] Li Xiangge;Liu Yan

机构地区：[1]东北师范大学文学院

出　　处：《外国问题研究》2019年第3期103-109,120,共8页FOREIGN HISTORY STUDIES

基　　金：教育部人文社会科学研究一般项目“平成年代战争小说的症候式研究”（编号；17YJA752011）

摘　　要：日本作家吉田满从1946年创作“初出文稿”至1974年出版最后定本近三十年间数次修改的《大和战舰的末日》,将“军事报告书”式的文语体与浪漫戏剧化讲述融为一体,使之成为日本战后战争文学的典型叙述模式之一,即以日本“内侧”的自我为出发点揭示战争残酷无情的同时表现了浓重的“受害者意识”,并通过书写个人记忆达成了为战死者“镇魂”以及修正历史的目的。在作家与读者、评论者的积极参与下,“大和战舰”物语不断被再生产和转化,被赋予“神风大和”“昭和时代的平家物语”“技术大和”“战后败北的文学”“具有世界普遍性价值观的大和”等多元意义属性,进而成为日本民族文化记忆的一部分,为民众“自然”接受。然而潜伏于其中的帝国民族主义的无意识能量无疑是巨大和恐怖的,时常为扭曲的战争观念与错误的历史认知推波助澜。After the completion of the original manuscript of Senkan Yamato-no Saigo,The Last Days of Battleship Yamato)in 1946,Japanese author Yoshida Mitsuru revised the draft many times until he issued the definitive edition in 1974.The book's combination of bungotai,a classical Japanese literary style used for military reports,and romantic and dramatic account becomes one of the typical narrative patterns of postwar war literature in Japan.The book consisted of personal memories functions as the requiem for souls of people and helps revise the history.Thanks to the active participation of authors, readers and reviewers,stories of the battleship Yamato are constantly reproduced and transformed. Accordingly,the battleship Yamato is endowed with honors like Kamikaze Yamato and Technological Yamato and believed to bear universal values of the world.Works on the battleship Yamato are called Heike Monogatari in the Showa Era or Postwar Literature of Defeat.They gradually become a part of the cultural memory of Japan and are“naturally”accepted by common Japanese.However,the unconscious power of imperialist nationalism hidden in such works is undoubtedly tremendous and dreadful.

关 键 词：吉田满 《大和战舰的末日》 民族文化记忆 帝国民族主义 

分 类 号：I313.06[文学—其他各国文学]