论樋口一叶小说的卷首插图与文中插图——从插图与作者一叶的关系说起  

Research on Frontispieces and Illustrations in Higuchi Ichiyō’s Fictions——On the Relations between Higuchi Ichiyōand the Illustrations

作　　者：出口智之 李杰玲 Deguchi Tomoyuki(The University of Tokyo)

机构地区：[1]东京大学 [2]海南师范大学 [3]国际日本文化研究中心

出　　处：《国际比较文学（中英文）》2024年第3期70-84,共15页International Comparative Literature

基　　金：日本科学研究费资助金(基础研究C,课题编号:16K02420)。

摘　　要：樋口一叶是近代文学第二代的代表作家。樋口一叶发表的连载小说有许多有卷首插图和文中插图,她常常为小说插图而给插画家一些指示和构思。通过相关资料的分析可知,作家在执笔过程中,作品会与原来的构思产生不同,而产生不同之前的构思则会保留在插图中。有时,一叶早在小说写好之前就已经通过草图对插画家提出自己的构思和要求,但在写作过程中却把原来构思的场景删除了。有时,插图和连载的小说并不完全相符,这种情况出现的原因是,小说和插图同时被读者接受,插图画上小说中没有写出的内容,可以引起读者的阅读兴趣和猜想,如此就可以起到双重的审美效果,在小说中省略而在插图中做出暗示这一方法在江户时代时不时被用到。在当时的文学界,作家在创作时不能仅仅考虑遣词造句,还需要考虑具有画面感的故事情节,如果不把插图和小说文字结合起来看的话,就无法正确把握作家创作的全貌。Higuchi Ichiyōis one of the foremost representatives of the second generation writers in modern Japanese literature.Various frontispieces and in-text illustrations were attached to her serial novels,and almost all of them were created according to her instructions.In these illustrations,we can sometimes find scenes that differ from the fictional narrative.One may surmise that the author gave instructions as early as before the beginning of the writing,and thus the original train of thought shifted during the writing process.This also means these illustrations preserve the original conceptualization of the work.On another front,some images in discord with the story were intentionally designed by Ichiyōherself to help readers understand the complexity of the story or the characters.Through these illustrations,they were allowed to capture the underlying motifs and prior events in the story without being informed by conspicuous statements in the text.This double aesthetic effect was a heritage of the Edo Period,a time during which writers were intimately involved in writing with illustrations.If one focuses on the texts alone,it would be impossible to understand the works accurately and comprehensively.

关 键 词：樋口一叶 小说 插图 卷首插图 明治文学 

分 类 号：I313.074[文学—其他各国文学]