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Goethe-Reception in postwar Japan

歌德——战后日本的接待

基本信息

批准号：
13610623
负责人：
TAKAHASHI Yoshito
金额：
$ 0.7万
依托单位：
KYOTO UNIVERSITY
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2001
资助国家：
日本
起止时间：
2001 至 2002
项目状态：
已结题

项目摘要

The most important work in the Goethe-Reception in postwar-Japan is apparently "Faust"The contract with the devil is at the core of "Faust''. Therefore the Japanese Authors, who want to write their own "Faust", must put this theme in the spiritual circumstances of Japan. But it is not easy because the most Japanese believe neither the contract with the devil nor his existenceShuSaku ENDO tried to reveal this problem of devil in his novel "Devil in Broad Dayligh" (1980), but in vainOn the other hand Yukio MISHIMA considered not the devil, but the phantom like a phantom killer and inquired into the Japanese reality He combined this consideration with Goethe's "Faust''. "forbidden Colors" (1951〜53) and "Sotoba Komachi" (1952) are his "Mon Faust". The antagonism between beauty and ugliness is essential in these works, and Mephistopheles plays the role of the uglinessIn the novel "The Resistance of the Forty-eight" Tatsuzo ISHIKAwA tried to reveal the miserable lives of the salaried workers as a kind of parody. The hero of this navel bo undo his life like Faust But his wish can not become true. ISHIKAWA showed us, that it is impossible to live heroic like Faustin the modern JapanOsamu TEZUKA turned Goethe's "Faust" into a cartoon three timers. The essential theme of his whole works is the environmental pollution because of the scientific technohogy. This theme appears in his posthumous work "Neo-Faust" (1988) quite may. TEZUKA substituted Clone-person for Homtmculus in Goethe's "Faust". By producing the mass of Clone-persons Faust formed the strong armed forces which wed the whole earth finally Through his "Neo-Faust" TEZUKA showed us, how strong the cartoon can criticixe our time

歌德在战后日本接受中最重要的作品显然是《浮士德》，与魔鬼的契约是《浮士德》的核心。因此，日本作家要写出自己的《浮士德》，就必须将这一主题置于日本的精神环境中。远藤秀作在1980年的小说《大白天的魔鬼》中试图揭示这个魔鬼问题，但没有成功。另一方面，三岛由纪夫认为不是魔鬼，而是幽灵，就像幽灵杀手一样，他把这种思考与歌德的《浮士德》结合起来，探讨了日本的现实。《禁色》（1951年至1953年）和《索托巴小町》（1952年）是他的《我的浮士德》。在《四十八人的反抗》中，石川达三试图通过戏仿的方式来揭示工薪阶层的悲惨生活。这个肚脐眼的主人公像浮士德一样结束了自己的生命，但他的愿望无法实现。石川告诉我们，这是不可能的生活像浮士德的英雄现代日本手冢治虫把歌德的“浮士德”变成卡通三倍。科学技术对环境的污染是他整部作品的主题。这个主题出现在他的遗作“新浮士德”（1988年）相当可能。在歌德的《浮士德》中，TEZUKA用克隆人代替了Homtmculus。浮士德通过制造大量的克隆人，最终组建了团结整个地球的强大武装力量。手冢通过他的“新浮士德”向我们展示了漫画对我们这个时代的批判有多么强烈