“越境”的人生与“越境”的文学--长谷川濬的长春体验与文学创作论  

Cross-Border Life and Cross-Border Literature--Hasegawa Sarau’s Changchun Experience and Literary Creation Theory

作　　者：柴红梅[1,2,3] 田伟琦 Chai Hongmei;Tian Weiqi(Dalian University of Foreign Languages,Dalian,116044)

机构地区：[1]大连外国语大学日本语学院,大连116044 [2]大连外国语大学比较文化研究基地,大连116044 [3]大连外国语大学东北亚研究中心,大连116044

出　　处：《东疆学刊》2020年第3期46-51,127,共7页Dongjiang Journal

基　　金：国家社会科学基金项目《中国东北都市空间与日本作家殖民体验的文学书写》,项目编号:13BWW020;辽宁省特聘教授项目《东北亚区域文学与中国文化的多维跨学科研究》;辽宁省社会经济项目《辽宁题材的日本近现代文学研究》,项目编号:2020lslktyb-026。

摘　　要：长谷川濬是"伪满洲国"时期活跃在长春文坛的日本作家。他凭借着新奇的"越境"体验创作了众多以中国东北和中俄边境为题材的有着"越境"特色的日本文学。长谷川濬试图以身体力行的"越境"体验,创作出多民族"和谐共生"的"新文学",但是,作为殖民与侵略的文化产物,这些"越境"的"新文学"存在着诸多的矛盾与对立,显现了文学的脆弱性,是开放在异域的虚妄的"文化之花"。Hasegawa Sarau was an active Japanese writer in Changchun’s literary circle during the period of Manchukuo. With the new cross-border experience, he created many Japanese literary works with cross-border features in the theme of Northeast China and the Sino-Russian border. Hasegawa tried to create a new literature basing on his concept of multi-ethnic harmonious coexistence with his own cross-border experience. However, as a cultural product of colonization and invasion, this cross-border literature contains many contradictions, such condition shows the fragility of literature. Thus, his new literature is only an illusory cultural flower opens in the foreign land.

关 键 词：长谷川濬 越境 长春 日本文学 

分 类 号：I313.06[文学—其他各国文学]