永井荷风后期文学中的“江户情趣”与反讽叙事  

Ironic Narratives and “Edo Sentiment” in the Late Literature of Nagai Kafu

作　　者：刘金海 

机构地区：[1]四川大学外国语学院,四川 成都

出　　处：《世界文学研究》2024年第3期209-216,共8页World Literature Studies

摘　　要：永井荷风是日本近代文学耽美主义代表作家之一,其创作生涯分为早、中、后三个时期,早期作品回避直接批判而多采用隐喻和反讽的创作手法。因对社会现实感到失望,永井荷风晚年转向江户艺术,后期创作的作品中也体现了荷风文学的“江户情趣”。此外,永井荷风对社会现实的批判也由早期尖锐、犀利的直接批判转向中后期的隐晦批评,可以说荷风的现实批判精神是贯穿其整个创作生涯的线索。文章拟从荷风后期文学代表作《隅田川》《濹东绮谭》《梅雨时节》中的“江户情趣”入手,挖掘荷风后期文学以及江户情趣中所蕴含的反讽叙事结构,并通过分析作品中的反讽以期重新解读荷风的现实批判精神。Nagai Kafu is one of the representative writers of modern Japanese literature, whose creative career is divided into three periods: early, middle, and late. His early works avoided direct criticism and adopted the creative techniques of metaphor and irony. Disappointed with the reality, Kafu turned to Edo art in his later years, and his novels in the later period also reflect his “Edosentiment”. In addition, Kafu’s criticism of social reality shifted from sharp and direct criticism in the early period to subtle criticism in the middle and late periods. It can be inferred that his criticism of reality was the thread running through the whole life of his career. This article intends to start with the “Edo sentiment” in Sumidagawa, Bokuto kidan and Tsuyu no Atosaki, which are representative works of the late period of Kafu’s literary career, to explore the narrative structure of irony in the late period of Kafu’s literary career as well as in the “Edo sentiment”. Besides, by analyzing the irony in the works, we hope that Kafu’s realistic critical spirit could be reinterpreted.

关 键 词：永井荷风 江户情趣 反讽叙事 现实批判 

分 类 号：I20[文学—中国文学]