一场美国摄影展对川端康成女性题材叙事的影响  

The Influence of An American Photography Exhibition on Yasunari Kawabata’s Women-centered Narrative

作　　者：柯英 Ke Ying(Suzhou University of Science and Technology)

机构地区：[1]苏州科技大学外国语学院

出　　处：《日语学习与研究》2021年第2期102-110,共9页Journal of Japanese Language Study and Research

基　　金：2020年度教育部人文社会科学研究规划基金项目“苏珊·桑塔格小说中的坎普美学研究”(项目批号:20YJA752006)的阶段研究成果。项目主持人:柯英。

摘　　要：美国的《人类一家》摄影展在日本展出时,美日策展双方在原子弹爆炸照片上的分歧体现了日本战败后美日之间的权力关系。这次影展风波发生时,川端康成正在创作"中间小说"《生为女人》,并在以知识分子为主要读者群的《朝日新闻》上连载。他结合时事,利用作品发表媒体,改变写作计划,以写实的手法把这场摄影展写进了小说,在女性主义主题的表层之下,形成一股叙事暗流,不仅影射了美日关系、日本国民心态,而且也含蓄地书写了对中国的态度。《生为女人》创作过程中的微妙变化既反映了川端并非如他自己宣称的那样写作没有受到战争的影响,又体现了他对现实的深切关注。When the American photography exhibition"The Family of Man"was held in Japan,the disagreement over Abomb pictures between American and Japanese organizers mirrored the power relationship between the two nations after Japan’s surrender in World War Two.As the exhibition incident took place,Yasunari Kawabata was writing his"intermediate novel"Onna de aru koto planned to be published chapter by chapter in Asahi shimbun,an intelligentsia-focused newspaper.Inspired by the incident,he availed himself of the medium where his novel would appear and changed his plan,writing about the exhibition in a realistic way.Beneath the surface of the feminist theme runs a hidden narrative which not only insinuates Japan-U.S.relations and the national mentality of Japan,but also implicitly reveals the novelist’s attitude towards China.The subtle changes that happened in the process of his writing Onna de aru koto disprove Kawabata’s claim that his works were not influenced by the war,and show his deep concern for reality as well.

关 键 词：人类一家 生为女人 原子弹爆炸照片 叙事暗流 

分 类 号：I313.074[文学—其他各国文学]