国家、媒体及女性作家间的多层“战争”——以吉屋信子和林芙美子为中心  

The Multi-layered“War”among the State,Media and Female Writers-Centering on Yoshiya Nobuko and Fumiko Hayashi

作　　者：李炜[1] Li Wei

机构地区：[1]中央财经大学外国语学院

出　　处：《日本侵华南京大屠杀研究》2021年第1期94-104,M0005,共12页Journal of Japanese Invasion of China and Nanjing Massacre

基　　金：教育部人文社会科学研究规划基金项目“战时日本女性作家的中国叙事与战争思想研究”(19YJA752012)的阶段性成果。

摘　　要：吉屋信子和林芙美子是侵华战争时期日本表现最为活跃的两位女性作家,其曾于1938年作为“笔部队”成员来华,之后分别创作了《波涛》《女人的教室》等作品。通过探究此类作品得以问世的来龙去脉可以发现,日本女性作家的“性别”既是日本军部及媒体有意利用的“标签”,亦是作家本人着意凸显的个体特征。若在此基础上具体分析作品中所建构的“铳后女性”形象,可以透视日本女性作家如何诱导广大日本女性积极协助侵略战争的内在机制,进而追究其应当承担的战争责任。Yoshiya Nobukoa and Fumiko Hayashi were two most active female writers in Japan during the Japanese war of aggression against China.They came to China as members of the“Pen Troops”in 1938,and then respectively created works such as Swirling Currents.By exploring the ins and outs of such works,it can be found that the“gender”of Japanese female writers is not only a“label”deliberately used by the Japanese military and the media,but also an individual characteristic that the writer themselves highlights on purpose.On this basis,a concrete analysis on the image of“women at home”constructed in these works could reveal the internal mechanism of how Japanese female writers induced the Japanese women in general to actively supported the war,and then further investigate the war responsibility that they should bear.

关 键 词：吉屋信子 林芙美子 日本侵华战争 “铳后女性” 

分 类 号：I313.074[文学—其他各国文学]