幸田露伴《风流佛》中的超近代性  

The Modernness of Transcendence in Koda Rohan’s FUURYUUBUTU

作　　者：王梦溪 WANG Meng-xi(School of Foreign Languages,Renmin University of China,Beijing 100089,China)

机构地区：[1]中国人民大学外国语学院,北京100089

出　　处：《湖北第二师范学院学报》2023年第5期5-10,共6页Journal of Hubei University of Education

基　　金：2022年度中国人民大学科学研究基金项目“幸田露伴与近代日本身份构建”(22XNH167)。

摘　　要：幸田露伴是一位横跨明治、大正、昭和三个时期,极富创造力的作家。追溯露伴发表于明治二十二(1889)年的《风流佛》,乍看之下是一部反对日本明治社会西化、修辞技巧极具凝练的作品。从彼时至今,众多研究者将《风流佛》这部小说归类为国粹主义的作品之一。概观中日《风流佛》的研究史,对于主人公珠运和阿辰的情感研究多是从艺术至上理念出发,从而解读最后风流佛来迎的内容。笔者针对这一情节,试图以东洋西洋的制度差异为出发点,结合露伴所接受的佛教知识,从《法华经》的意识形态角度重新解读这一作品。Koda Rohan is a creative writer who spans the Meiji,Taisho and Showa periods in Japan.Tracing back to Rohan’s FUURYUUBUTU published in the 22th year of Meiji,it is a work opposing the Westernization of Japanese Meiji society with very concise rhetorical skills at first glance.Since ancient times,many researchers classify the novel as one of the works of nationalism.An overview of the research history of FUURYUUBUTU in China and Japan shows that most of the emotional studies on the protagonists Zhu Yun and A Chen are based on the concept of art first,so as to interpret the content of the final romantic Buddha.In view of this plot,the author tries to reinterpret the work from the ideological angle of The Wonderful Dharma Lotus Flower Sutra,based on the institutional differences between the East and the West and the Buddhist knowledge received by Rohan.

关 键 词：幸田露伴 《风流佛》 近代性 佛教思想 

分 类 号：I313.074[文学—其他各国文学]