Reception and creativity-The case of Stendhal in Ooka Shohei's works-

我们已经证明，大冈昭平阅读司汤达的丰硕成果，以及他对其作品的翻译和批判性评价，是伦理和美学启示的起点，决定了他个人创作的个人方向。今天，大冈昭平的工作远未得到足够的重视，关于他的工作的一些方面仍然默默无闻。但我们已经证明，这位作家带领日本文学到达了古代世界的最后成就点，到达了日本和西方现代文明的交汇点，到达了人类可以建设的新世界的门槛：一个人人共享、人人有责的世界。要创作出世界文学中如此杰出的作品，他显然需要非凡的力量和清醒的头脑。他通过沉浸在前人的作品中获得了作为一名作家充分发展所需的过剩意识，从而承认自己是司汤达的继承人。从某种意义上说，他的作品是两个社会观察家、两个热衷于文学的知识分子和两个同样热爱文学的作家联合在一起的结果。

We have demonstrated that the fruitfulness of Ooka Shohei's reading of Stendhal together with his translation and critical assessment of his work have been the starting point of an ethical and aesthetic revelation which decided on the personal orientation of his own personal creative work. Today, Ooka Shohei's work is far from being sufficiently recognized, and some aspects as regard his work are still obscure. But we have proved that this writer has led Japanese literature to the final point of achievement of the ancient world, to the meeting point of Japanese and Western modern civilizations and to the threshold of a new world that mankind could build : a world shared by everyone and under the responsibility of everyone. To produce such an outstanding work in world literature, he obviously needed an extraordinary strength and lucidity. He acquired the surplus of awareness he needed to fully develop as a writer by immersing himself in his predecessor's work, thus acknowledging himself as an heir to Stendhal. In a sense, his work is the result of an association of two society observers, two engaged intellectuals and two writers with the same love for literature.