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昭和初期,随着中日对立、对抗的日益加剧及至日本对华全面侵略战争的爆发,作为域外题材资源的“北京”也在日本文化人笔下经历着由“抗日之都”、“和平之都”到“兴亚首都”、“大东亚建设基地”的形象转变。日本文化人以北京为舞台的活动,以北京为题材/背景的言论与文学创作,推动了军国主义政权与大众民族主义之间的恶性互动。同时应该认识到,尽管这一时期国家意识形态在很大程度上规定了日本文化人的中国观、战争观的阴晴冷暖,但以北京为外来思想资源的日本文学、思想表达并未完全被政治史、战争史切割。一方面,以横光利一为代表的一派所继承的福泽谕吉以降的“文化蔑华”思维并未因政治领域“大东亚话语”的提出而消失,且至今依然是日本对华认识的主流;另一方面,在战争炮火中,以仓石武四郎、松本龟次郎为代表的一派所继承的鹤见祐辅等前辈们理性、友善而富于良知的中国认识,尽管势力弱小却作为一条潜流绵延至今,成为中日关系“绝望中之希望”。
During the early period of Showa, with the rise of confrontation and confrontation between Japan and Japan and the outbreak of Japan’s comprehensive aggressive war with China, “Beijing”, as an extraterritorial theme resource, also experienced “Japanese capital” “Capital of peace ” to “Xingya capital ”, “Greater East Asia building base ” image change. Japanese cultural people took Beijing as a stage activity, and Beijing’s theme / background remarks and literary creation promoted the vicious interaction between the militaristic regime and popular nationalism. At the same time, it should be realized that although the ideology of our country largely regulated the ups and downs of the Japanese cultural viewpoints on China and the war, the ideological expression of Beijing as an external source of thought was not completely Political history, history of war cutting. On the one hand, the thinking of “cultural contempt” inherited by Fukuzawa Yukichi, a group represented by YUGIYAMA Yokohama, has not disappeared by the proposal of the political area “Great East Asian Language,” and so far it is still Japan On the other hand, in the artillery of war, the understanding of rational, friendly and conscientious Chinese people inherited by one of the groups represented by Kuraki Kusaburo and Toto Matsumoto, despite the forces Weak as an undercurrent so far, as the Sino-Japanese relations “hope” in despair.