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作 者:刘青梅 LIU Qing-mei
机构地区:[1]国防科技大学外国语学院,江苏南京210039
出 处:《外语导刊》2025年第1期27-34,157,158,共10页Foreign Languages Bimonthly
基 金:国家社会科学基金重大项目“世界战争文学史研究”(22&ZD290)。
摘 要:目前国内外评论泉镜花甲午中日战争五部曲时存在两种倾向:一是认为其战争观中存在矛盾构造;二是认为其是战争“绝缘体”,反战思维较为明显。但值得注意的是,厌恶战争并不是泉镜花甲午中日战争文学的显著标签。五部曲的开篇《预备兵》和《海战余波》是与明治时期国家进程同频的战争小说,但作品将显露出明治国家侵略意识的国家主义内嵌于人物形象和故事情节,使泉镜花在起步阶段便背离了战争文学创作的历史使命。《海城发电》和《琵琶传》在五部曲中起到了承前启后的作用,前者延续了《预备兵》中的生硬手法,后者则开始出现厌战主题。这种矛盾现象的产生,与“观念小说”的文体出现了转变和身处时代洪流作家的思想转化有关。收关之作《凯旋祭》虽然在五部曲中被称为厌战色彩最明显的作品,但泉镜花关注到的仅仅是甲午中日战争带给日本民众的影响,并未关心日本发动的帝国主义侵略性质的甲午中日战争带给中国的伤害。At present,there are two tendencies in the domestic and foreign comments on Izumi Kyoka's five parts of the Sino-Japanese War.One is that there are contradictory structures in his war view,the other is that he is an“insulator”of war,and his anti-war thinking is obvious.But it is worth noting that aversion to war is not a prominent label in Izumi's Sino-Japanese war literature.The first books of the five-part series,The Reservist and The Aftermath of the Sea Battle are war novels that coincide with the national process in the Meiji period.The works embedded the nationalism that revealed the Meiji nation's sense of aggression into the characters and plots,making Izumi Kyoka deviate from the historical mission of war literature creation at the initial stage.Sending a Telegram from Haicheng and A Biography of Pipa play a role in connecting the past and the future in the five pieces in that the former continues the distortion of the Reserve Soldiers and the latter begins to show the theme of war-weariness.This contradictory phenomenon is related to the transformation of the style of“conceptual novel”and the transformation of the thoughts of writers living in the tide of the times.Although the final work Celebrating the Triumph is known as the most war-weary work among the five pieces,Izumi's focus is only on the impact that the Sino-Japanese War brought to the Japanese people,and he does not care about the harm of the imperialist Sino-Japanese War launched by Japan on China.
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