摘要
德语犹太作家卡夫卡1916年于书信中写道“我是一个中国人”,这句话仅仅成为其与中国文化紧密相连的论据,它背后的内涵却长期遭到忽视。本文结合1900年前后德奥有关乌托邦中国的集体想象与卡夫卡言说的具体语境,认为这一言语并非异国情调的肤浅兴趣,也脱离了清代诗人袁枚《寒夜》中“婚姻与写作”的关系隐喻,而是在道家思想与“身体文化”、布伯哲学“统一性”相勾连的语境下形成的一种“乌托邦”叙述。这种乌托邦叙述在1917—1920年的冥想沉思中再次沿用,但内涵已经变成道教“无为”与政治乌托邦、弥赛亚“隐匿”的关联性。所以,“中国人”不仅成为卡夫卡暂时的理想存在,更是其在不同阶段思考不同问题的载体。
In a letter from 1916,the German-Jewish writer Franz Kafka wrote,"I am a Chinese,"a statement that has been considered evidence of his close connection to Chinese culture.However,the deeper significance behind these words has long been overlooked.This article,by combining the collective imagination of a utopian China in German-Austrian thought around 1900 with the specific context in which Kafka spoke,argues that this statement was not merely an expression of exotic fascination,nor was it related to the metaphor of"marriage and writing"in the Qing dynasty poet Yuan Mei's""Cold Night".Instead,it was formed within the context linked to Daoist thought and"body culture",and Buber's philosophy of"unity".This utopian narrative was revisited during Kafka's meditative reflections between 1917 and 1920,but its content evolved into associations between Daoist"inaction"and political utopia,the Messianic concept of"concealment".Therefore,"the Chinese"becomes not only Kafka's temporary ideal existence but also a tool for thinking through different issues at various stages.
出处
《外国语文》
北大核心
2024年第5期85-96,共12页
Foreign Languages and Literature
基金
河北省教育厅社会科学青年基金项目“卡夫卡作品中的中国形象研究”(SQ2024161)的阶段性成果。
