论文部分内容阅读
芥川龙之介和金东仁几乎出生于同一时期,分别作为日本大正文学和20世纪20年代韩国近代文学的象征性人物而存在,并且在文艺思潮上都以独特的创作方法展开了各自的创作领域。金东仁以到日本留学为契机开始走上了文学的道路,并通过日本接收到了西方的文艺思潮。尤其是在艺术至上主义的文学观方面,芥川对于艺术的崇高追求以及他生来忧郁敏感的气质,使得具有多愁善感气质的东仁在对艺术至上主义的追求上与芥川产生了强烈的共鸣。然而,二人的身世命运及人生经历的不同,又使得他们在追求艺术至上主义的方面存在一定的差异性。因此,本稿在分析他们接触到西方唯美主义文艺思潮的基础上,通过两位作家艺术至上主义的代表作《地狱变》和《狂画师》,具体分析在艺术至上主义方面二者的类似点和相异点。
Akutagawa Ryunosuke and Kim Dong-jen were born almost at the same time as the symbolic figures of Japanese Taisho literature and modern Korean literature of the 1920s, respectively, and they all started their own creative fields with unique creative methods . Kim Dong-jen to Japan to study as an opportunity to embark on the path of literature, and received through Japan’s western literature and art trend. Especially in the view of the art of supremacist literature, Akutagawa’s lofty pursuit of art and the temperament of his melancholy sensitivity make Toku, a sentimental temperament, strongly resonate with Akutagawa in the pursuit of artistic supremacism. However, the difference between the fate of the two people in life and the experience of life also make them have some differences in the pursuit of artistic supremacism. Therefore, based on the analysis of their exposure to Western aesthetics, the present manuscript analyzes the similarities and differences between the two in terms of artistic supremacist through the representative writings of hegemony and madness of two writers’ Different point.