摘要
1941年4月,为出席在日本召开的东亚文化协议会,以周作人为核心的北京的东亚文化协议会成员展开了为期两周的日本之旅。在日本军部和媒体的权力之眼的监视下,周作人经过谨慎的政治计算,在公开场合展开了极富多义性的表演。在日本作家举办的雅集活动中,无论是现场的气氛还是留下的手稿,都彰显了中华传统文化影响下的中日文人共有的情趣。但就文学交流的意义而言,相比较1934年周作人的日本之旅,此次中日文人的交欢则呈现出文学(交流)史意义的倒退。1941年的日本之旅集中揭示了初登权力巅峰的“文人督办”周作人在复杂境遇中的复杂心态。
In April 1941,to attend the conference of the East Asian Cultural Council in Japan,the Beijing members with ZhouZuoren at the core embarked on a two-week journey.Under the surveillance of the power eye of the Japanese military and media,Zhou Zuoren conducted a highly ambiguous performance in public through careful political calculations.At the gatherings hosted by Japanese writers,both the atmosphere of the scene and the manuscripts left behind,highlighted the shared interests of Chinese and Japanese literati under the influence of traditional Chinese culture.However,in terms of the significance of literary exchange,compared to Zhou Zuoren's journey to Japan in 1934,this interaction between Chinese and Japanese literati presented a regression in the historical significance of literature exchange.The 1941 journey to Japan focused on revealing the complex mentality of Zhou Zuoren,the“literati supervisor”who had just reached the pinnacle of power,in a complex situation.
作者
陈言
Chen Yan(College of Foreign Languages,Capital Normal University,Beijing 100089,China)
出处
《文化软实力研究》
2024年第5期35-47,共13页
Studies on Cultural Soft Power
基金
北京市社科基金重点项目“近代日本的文化殖民对北京的影响”(20WXA002)的阶段性成果。
关键词
东亚文化协议会
日本
周作人
雅集
The East Asian Cultural Council
Japan
Zhou Zuoren
Gathering
