川端康成作品中的镜像与审美  

Mirror Image and Aesthetics in the Works of Yasunari Kawabata

作　　者：黄建香[1] Huang Jianxiang(the School of Foreign Languages,Shanghai Jiao Tong University)

机构地区：[1]上海交通大学外国语学院

出　　处：《外国文学研究》2022年第4期138-148,共11页Foreign Literature Studies

摘　　要：镜像描写是川端康成作品中的常用手法,镜像主体大多是美丽纯真却命运多舛的女子,虚幻的镜像象征了她们的徒劳与不幸。川端往往塑造互为镜像的人物,在主体建构过程中彼此受到对方的影响和关涉。镜像总是伴随着凝视,川端文学中普遍存在男性对女性的凝视现象,女性在男性的注视下存在,没有自我意识,而在经历了自我凝视之后女性获得了自我认识和成长。川端笔下的镜像具有美与哀、虚与明、凝视与被凝视等高度统一的关系,并具有独特的审美功能和凝视功能。正是通过虚无悲哀的女性镜像描写,川端的哀伤美理念得以具象化。The description of mirror image is a usual technique in the works of Kawabata Yasunari.By and large,the subjects of mirror images are women,who are beautiful,pure,humble or ill fated.The illusory mirror image symbolizes the futility and misfortune in their life.Kawabata often portrays characters who are not only mirror images of each other,but also conditioned by their reciprocal influence and involvement in the process of subject construction.Mirror image is always paired with gaze.In Kawabata’s literary writings,there is a ubiquitous scene of male gazing at women.Women exist under the gaze of men without any self-consciousness.After experiencing mirror gazing,however,women gain self-awareness and growth.The mirror images in Kawabata’s works reveal the highly unified relations,such as beauty and sorrow,emptiness and brightness,staring and being stared,through their unique aesthetic and staring functions.It is through the description of the female images of nihility and sadness that Kawabata’s concept of sorrowful beauty is defined specifically.

关 键 词：川端康成 女性形象 镜像 凝视 审美 

分 类 号：I313.074[文学—其他各国文学]