Goethe-Reception in postwar Japan

战后日本歌德招待会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，日本作家要创作自己的《浮士德》，就必须把这一主题置于日本的精神环境中。但这并不容易，因为大多数日本人既不相信与魔鬼的契约，也不相信魔鬼的存在。远藤修作在他的小说《大白天的魔鬼》（1980）中试图揭示魔鬼的这个问题，但没有成功。而三岛由纪夫考虑的不是魔鬼，而是像幽灵杀手一样的幽灵，他把这种考虑与歌德的《浮士德》结合起来，对日本现实进行了探究。《禁色》（1951 ~ 1953）和《小町梭羽》（1952）是他的《浮士德》。在这些作品中，美与丑的对立是必不可少的，而美与丑的角色则由梅菲斯托菲尔斯来扮演。在小说《四十八人的抵抗》中，石川达三试图以一种戏仿的方式来揭示受薪工人的悲惨生活。主人公像浮士德一样解除了自己的生命，但他的愿望无法实现。石川向我们展示了，不可能活得像浮士德那样英雄。现代日本手冢修三次将歌德的《浮士德》改编成漫画。他的全部作品的本质主题是科学技术对环境的污染。这一主题在他的遗作《新浮士德》（1988）中多次出现。手冢在歌德的《浮士德》中用Clone-person代替Homtmculus。通过生产大量的克隆人，浮士德形成了强大的武装力量，最终结合了整个地球。通过他的“新浮士德”，手冢向我们展示了漫画对我们这个时代的批判是多么的强大

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