从《伊豆的舞女》看川端康成作品的写

『伊豆の踊り子』から見る川端康成の作品の創作特点

2011年5月提出

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目 次

摘要································································································································ I 要旨······························································································································· II はじめに························································································································ 1 1. 先行研究················································································································· 1 1.1 先行研究の内容··································································································· 1 1.2 先行研究の結果··································································································· 2 1.3 問題提出··············································································································· 2 2. 川端康成の『伊豆の踊子』及び表現主義··························································· 2 2.1 『伊豆の踊子』の粗筋······················································································· 2 2.2 川端康成の表現主義··························································································· 3 2.2.1 「表現主義」の定義·························································································· 3 2.2.2 表現主義についての分析················································································ 3 2.3 まとめ··················································································································· 4 3. 意識の流れ············································································································· 4 3.1 意識の流れの定義······························································································· 4 3.2 作品中の意識の流れ··························································································· 5 3.2.1 内的独白············································································································ 5 3.2.2 心理描写············································································································ 5 3.2.3 象徴手法············································································································ 7 3.3 まとめ··················································································································· 9 おわりに························································································································ 9 参考文献······················································································································ 10 謝辞······························································································································ 12

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摘 要

《伊豆的舞女》是川端康成的处女作。这部作品是在中西文学的交流与比较中产生的。川端的这部作品从日本典型的传统文学《源氏物語》中吸取营养、并且融入了西方小说的写法“意识流”方法。原本东西方的文学是作为比较対立出现的，然而在川端的作品中却得到了很好的融合。

本论文将要分为两部分展开讨论。首先作为新感觉派的代表人物，他的作品中含有一些表现主义的成分，主要是指否定客观描写，强调主观描写，也就是说反映纯客观的个人感受是川端康成的表现主义的表现手法。接着是“意识流”写作手法在本论文的运用分析，川端康成的“意识流”手法主要由内的独白、心理描写、象征手法构成。正是由于具备以上的两个特质才形成了川端的创作特色。

关键词：川端康成；意识流；表现主义

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要 旨

『伊豆の踊子』は川端康成の出世作である。それは東西文学の比較と交流の中で生まれたものである。川端はこの作品に、『源氏物語』を典型とする日本伝統文学から栄養を汲み取り、さらに西洋文学の小説技法、「意識の流れ」を取り入れた。伝統の東洋と現代の西洋はもともと対照的なものであるが、川端はその両者を巧みに調和させたのである。

本論文は二つの部分に研究を始めようとする。先ずは、新感覚派の旗手としての表現主義についての分析である、主に客観描写を否定し、「主観」を強調し、純主観の個人感受を反映することは川端康成の表現主義表現手法である。次に、「意識の流れ」が本著作の運用分析である、川端の「意識の流れ」が主に内的独白、心理描写、象徴手法である。以上の二つ特質を備えていることが川端康成の創作特色であると思う。

キーワード：川端康成；意識の流れ；表現主義

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