“小说”与“游记”的越境变奏——媒体介入与芥川龙之介的长江叙事  

The Transformation of"Novels"and"Travel Notes":Media Intervention and Akutagawa Ryunosuke’s Journey to the Changjiang River

作　　者：宋武全 Song Wuquan(Fudan University;Huzhou University)

机构地区：[1]复旦大学外文学院

出　　处：《日语学习与研究》2022年第5期86-95,共10页Journal of Japanese Language Study and Research

基　　金：2020年度教育部人文社会科学研究一般项目“近代日媒涉华战略与日本特派员作家的中国叙事研究”(项目批准号:20YJC752013)的阶段研究成果。项目主持人:宋武全;第65批中国博士后科学基金资助(编号:2019M651396)。项目主持人:宋武全。

摘　　要：将芥川龙之介的长江书写视作“游记”,在此基础上探讨其长江之行是目前普遍的研究范式。然而通过考察发现,芥川的长江书写经历了从“游记”到“小说”再到“游记”的越境变奏。这一发现为芥川的中国之行研究提供了新的文体视角。将该文本还原到各载刊媒体的历史语境下,媒体强势地位对文学的冲击顿时呈现,芥川不得不做出让步的一面亦得以刻画。但芥川没有妥协,在媒体介入的罅隙间流露出真切的“杂音”,宣示了“艺术至上”的文艺理念,抒发了对中国的善意与深深的眷恋。Regarding Akutagawa Ryunosuke’s writing on the Changjiang River as"travel notes",on this basis,it is a common research paradigm to explore his trip to the Changjiang River.However,through investigation,it is found that Akutagawa’s Changjiang River writing has experienced a cross-border variation from"travel notes"to"novels"and then to"travel notes".This discovery provides a new stylistic perspective for the study of Akutagawa’s trip to China.By restoring the text to the historical context of the media,the impact of the strong position of the media on literature suddenly appears,and we see the extent to which Akutagawa had to make concessions to portray his ideas.However,Akutagawa did not compromise,revealing a real"noise"between the gaps of media intervention,declaring the literary and artistic concept of"arts for art’s sake",and expressing his goodwill and deep attachment to China.

关 键 词：芥川龙之介 长江 媒体 越境 

分 类 号：I313.06[文学—其他各国文学]