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自日俄战争之后,越来越多的作家、画家、记者等文化人来到中国,在日本国内掀起了一股中国旅行热潮,而这些文化人回国之后写的中国游记,也让今天的我们得以看到二十世纪三十年代这些日本文化人眼中的中国,以及作为集加害者与被害者于一身的日本文化人身处日本发动侵略战争时期的错综复杂的心态轨迹。本文以岛木健作的《满洲纪行》为中心,探索与“满洲”有关的岛木,以及他眼中的“满洲”。以此来揭示所谓“大东亚共荣”“王道乐土”“五族协和”的伪满洲国的实质,以及作家错综复杂的心态轨迹。
Since the Russo-Japanese War, more and more writers, painters, reporters and other cultural workers came to China, setting off an upsurge of Chinese travel in Japan, and these Chinese writers who returned after their return to China also made us today Can see China in the eyes of these Japanese cultural people in the 1930s as well as the intricacies of the mentality of Japan as a perpetrator and victim of the Japanese cultural revolution during Japan’s aggressive war. This article focuses on the “Island Manchu”, which is mainly used for exploring the island of Manchuria, and his “Manchurian” in his eyes. In order to reveal the essence of the puppet Manchuria state of the so-called “Great East Asia Common Prosperity”, “Wang Da Le Tu” and “Wuzu Association”, as well as the intricate mental state of writers.