日本《望乡》与改革开放初期的中国观众及中国文学  

Japan’s Sadakan No.8,Chinese Audience and Chinese Literature in the Early Reform and Opening-up

作　　者：王瑞方 WANG Ruifang(不详)

机构地区：[1]广东海洋大学寸金学院外国语学院

出　　处：《广东外语外贸大学学报》2021年第1期148-156,160,共10页Journal of Guangdong University of Foreign Studies

摘　　要：在日本战后的反战题材或战争反省的文学创作中,山崎朋子的《望乡》及"南洋姐叙事"具有特殊的价值与作用。1972年中日邦交正常化不久,根据小说改编的电影《望乡》在中国各地上映,引起了极大的轰动。《望乡》既让中国观众看到了日本军国主义之丑恶,也看到了有良知的日本人对战争的反省以及被损害被侮辱的"南洋姐"的人性人情之美。在改革开放初期,《望乡》对中国人日本观的演变、对读者文学趣味的转变、对此后中国文学创作由社会政治主题到人性表现主题一定程度的转换都起到了巨大的推动作用。Yamazaki Tomoko’s Sadakan No.8 and the narratives of Karayuki-san are of great significance in Japanese anti-war or war reflection literature after World War II.Shortly after the normalization of diplomatic relations between China and Japan in 1972,Sadakan No.8,adapted from the novel,was released in various parts of China,which caused a great sensation.It not only made Chinese audiences understand the ugliness of Japanese militarism,but also the introspection of Japanese people with conscience to the war,and the beauty of human nature and human feelings of Karayuki-san who was damaged and insulted.In the early reform and opening-up,Sadakan No.8 played a great role in promoting the evolution of the Japanese view of the Chinese people and the transformation of the literary interest of the readers,as well as the transformation of the Chinese literature from the social political theme to that of human nature,to some extent.

关 键 词：中日文学关系 山崎朋子 《望乡》 

分 类 号：I206[文学—中国文学]