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1.
大众文学是20世纪日本文坛独具特色的一种文学形态,因此日本学界对其理论研究可谓是汗牛充栋,论争不断。本文从其中的一个问题即产生的源流出发,在梳理日本大众文学源流研究的基础上,进一步剖析大众文学与日本的“近代”、“文学”等概念确立的内在关联。日本近代社会促成了大众文学的发生,而大众文学也起到了塑造日本国民精神与素质的重要作用;日本文学的近代性孕育于大众文学,而大众文学也承载了日本近代文学独特的生命力。至少在源流上,在日本是不存在大众文学与纯文学的界限之分的,二者的对峙图式只是其发生的一种建构而已。  相似文献   

2.
本文对日本大众文学从以下三方面作了阐述:1.源于民间文学和说唱艺术的日本大众文学随着出版业的迅速发展而兴起,在吸收外来文化的基础上,结合日本民众的审美情趣,逐步成为内容丰富、形式多样、深受民众欢迎的艺术形式;2.日本大众文学取材于现实生活,反映民众心态,表现时代风貌,针砭时弊、批判丑恶,逐步扩大了在民众中的影响。可以说是作家与民众共同创造并发展了日本大众文学;3.日本大众文学因扎根于民众这一丰饶的土壤之中而拥有无限的生命力。  相似文献   

3.
作为明治后期社会文化人的代表,陆羯南提出的关于日本国民铸造的一系列构想,对近代日本国家转型产生了较大影响。其思想主要内容是:实现国民政治,即以“国民的独立”为前提的“国民的统一”;建立国家政体,即君民和合的民族共同体;国家出路在于以天皇制弘扬“国民精神”。其思想的最大特点在于其极强的阶级调和性,他理论上塑造的“国民”,是一个包容国内各个对立阶级、各种互为对立政治主张的混沌漠然的国民形象。  相似文献   

4.
张淼 《东北亚论坛》2005,14(6):69-72
刑法是国家之中的重要法律部门。日本自明治维新以来发生了深刻的变化,日本的刑法为了适应社会的发展而不断发生变化。到二次世界大战结束之前,发生了数次变革,这种变化发生的历程深刻体现着日本社会发展和法制发展进程中的被动性,而这种被动性中又有着很强的独立性。  相似文献   

5.
日本对东蒙地区的侵略活动开始于日俄战争前后;1907~1909年的新法铁路、锦瑷铁路问题进一步刺激并暴露了日本侵略东蒙地区的野心;后经过一段时间的政策酝酿、准备,辛亥革命期间,随着日本侵略东蒙地区活动高潮的到来,以确保侵占"南满"、同时侵略东蒙为特征的日本对"蒙"侵略政策形成。  相似文献   

6.
日本的明治维新运动,开辟了一个明治时代(1868—1911年),促成了日本近代报刊的诞生、发展,乃至进入"报纸复兴时代"。中日两国具有地理上的接近性,近代报纸的发展进程大致相近,中日两国文化交融成为近代报刊转型之基础,日本报刊对中国戊戌变法期间新闻业具有启发作用,对辛亥革命时期办报思想的促进作用。  相似文献   

7.
世界近代华侨教育起源于日本,这与当时中国国内外的形势,日本华侨社会状况紧密相关。本文探讨了19世纪初20世纪末日本近代华侨教育的历史起源,分析了该时期日本近代华侨教育形成的历史背景,并阐述了该时期日本近代华侨教育形成的历史特点。  相似文献   

8.
明治维新以后,日本的女子医学教育正式起步。随着义务教育制度的普及,越来越多的女性接受医学教育进入医护行业,成为女医生、助产士和护士。女子医护人员的诞生和成长在近代医事制度的发展、卫生知识的普及和推广中具有举足轻重的作用,更拓宽了女性的职业领域,使女性获得了更广泛的活动空间及更充分的行动自由,促进了近代女性意识的觉醒。  相似文献   

9.
明治初期,维新政府中枢就已深刻地了解到日本所置身的国际社会和国际形势,确立起包括对自己和世界进行重新定位以及日本未来发展方向在内的国际秩序观。近代日本国际秩序思想中的上下秩序认识与欧洲近代国际秩序思想的二重原理体系如出一辙,并在明治维新后迅速与国家政权结合起来,最终确立起对欧美屈从,对东亚邻国强硬的双重外交路线。  相似文献   

10.
王旭  徐永智 《现代国际关系》2024,(2):100-120+140
日本“印太战略”由时任首相安倍晋三提出,经现任首相岸田文雄继承和发展,已经逐步确立。当下日本“印太战略”理念宽泛,议题和伙伴广泛,泛安全化色彩浓重,是兼具结盟性、遏华性、安全性和全球性的综合国际战略。日本强化“印太战略”受维系经济强国地位、“政治大国”夙愿以及遏制中国等考虑的驱动,将影响全球发展、损害区域海洋安全、干扰中国统一进程。同时,日本强化“印太战略”也面临着战略透支、经济基础不稳和外部支持不牢三重制约,这些制约因素虽难以在短期内扭转日本强化“印太战略”的方向,但将限制其成效。  相似文献   

11.
日本文学是内含多元性的文学,这可以从日本文化中的南北结构、自古以来所形成的椭圆文化圈、单一性复合文化等特征中得到体现;日本人在文学中所寄托的生命意识具有宇宙论性质;日本文学的主体是以共生思想为基础的日本自我。  相似文献   

12.
    
《Japan Forum》2012,24(2):207-229
Are women seemingly absent from detective fiction in interwar Japan because it is a ‘male’ genre, or because male writers as gatekeepers of the genre conspired to exclude them? The absence of women from the genre is conspicuous given the significant presence of female readers. A close examination of the leading detective fiction magazines from the era reveals that male editors were spurred to seek out female authorship, and there indeed were some female detective writers who made the transition from consumer to producer. In light of such active recruitment by male colleagues, the relative inactivity of female writers after their arrival to the literary scene is even more mysterious. Some clues to this second mystery can be found in a larger investigation of the social and economic issues involved in the writing profession itself. This attempt to recover the lost female voice in detective fiction foregrounds the roles of consumer and producer in the publishing industry and elucidates the intertwined nature of gender, money, and the practice of writing.  相似文献   

13.
英国近代文学发轫于文艺复兴。除乔叟、莎士比亚、琼生等的人文主义的社会主题创作外,自然主义的创作也随着时代的变革而兴起。这一新潮流虽不直接参与社会政治冲突,却从更深层面触及到世界观的转变,开辟了有别于中世纪以及上古时代的崭新的自然观,并从根本上奠定了近代英国人社会变革活动的精神基础。随着资本主义体系的确立和壮大,英国自然主义文学传统的影响也不断深化和扩展,对后世的自然史、博物志、自然科学乃至自然哲学的发展都起到了巨大的推进作用。  相似文献   

14.
Abstract: Kawabata Yasunari is Japan's first Nobel Prize recipient for literature and thus an emblem of the modern Japanese writer, but as this essay demonstrates, this writer's career, like that of so many throughout Japan's premodern and modern history, is spanned by the curious practice of ghostwriting. Taking up the specific case of Kawabata, the article exposes a wider conflict between the modern West's notion of the original artist, underwritten by its idea of individualized creativity, and modern Japan's persistent adherence to ghostwriting's more collaborative premodern concept of creativity. Subjecting fine-grained literary historical analysis to its far-reaching theoretical consequences for the modernness of modern literature, Japanese and otherwise, this essay shows how the spectre of Kawabata's ghostwriting haunts our contemporary, and therefore possibly anachronistic, understanding of ‘modern’ literary practice.  相似文献   

15.
本文对江户时代日本史学著作的文本进行解读,分析存在于日本史学中的早期民族主义,将其归为华夷观变化滋生民族主体意识、神国思想、尊皇意识三种形态,力图证明日本的早期民族主义源自其思想内部,而非外来殖民危机。  相似文献   

16.
This article introduces an approach to IR that uses popular films to teach students how to critically analyze IR theory. By pairing IR traditions (like Realism) and the slogans that go with them (like "international anarchy is the permissive cause of war") with popular films (like Lord of the Flies ), this approach poses questions not about the truth or falsity of IR theories but about how IR theories appear to be true. This technique works because it draws upon visual analytical skills that students already possess and transfers them to analyses of IR theory and international politics. Overall, it challenges the positioning of IR theory as beyond culture and politics rather than as part and parcel of it, transforms what we think of as doing critical IR theory, and repositions students from passive recipients of IR truths into critically active and engaged analysts of IR theory's commonsense views of the world.  相似文献   

17.
    
《Japan Forum》2012,24(3):407-429
Abstract

Miura Ayako (1922–99) rose from obscurity to literary stardom on the basis of her first novel, Hyōten, published serially in 1964–5, and became in the process not only one of Japan's best-selling novelists but also one of its leading Christian voices. Hyōten (Freezing point), one of the best-known and most widely read novels of the past few decades, follows the travails of one family in Hokkaido as they struggle with marital infidelity, death, deception and betrayal, and was written to illustrate the Christian notion of original sin. It fails fully to address this notion, however, with the intended religious theme muted in favor of achieving success as a serialized novel. The novel thus raises interesting questions regarding the nature of so-called ‘evangelistic literature’ and the continuing debate in Japan over the relationship between ‘pure’ and ‘popular’ literature. This article argues that it is only in the sequel to Hyōten, Zoku Hyōten (serialized from 1970 to 1971), that Miura, now firmly established as a Christian novelist, returned to the characters and situations in her first novel and adequately depicted the religious themes of sin and forgiveness.  相似文献   

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