從「異國情調」到「文人意識」──佐藤春夫之「支那趣味」研究

From 「Exotic」 to 「Literati consciousness」 - The Study of Sato Haruo's 「Sino-Hobby」

日本大正時代的代表作家佐藤春夫，是以耽美作品風格，以及〈女誡扇綺譚〉等象徵日本帝國與殖民地關係的作品聞名。然而佐藤春夫還有為數眾多的作品，都洋溢著濃厚的中華文化氣息，這些作品是大正文學「支那趣味」的一環，但其手法與內容更呈現佐藤春夫的個人特色，具備探究日本近代文學與中國的關係，更可以說明文學創作者的個人意識與自我定位。本論文以佐藤春夫的「支那趣味」作品為研究對象，透過與永井荷風、谷崎潤一郎等耽美派作家的對比，以及參照當代關於漢字文化的研究成果，本文發現佐藤春夫的漢唐詩翻譯行為，養成其獨自的創作風格，而他所執著的某些意象及手法，都意在打造成人的童話世界，以超越日常現實的羈絆。本論文認為，「支那趣味」的風行，顯示日本近代文學中「漢字」的視覺符號化傾向，以及去道德教訓的漢籍經典閱讀模式。這樣的觀點不僅適用於日本現當代文學研究，更可以做為描寫台灣經驗的日本文學作品之研究取徑，以進行關於漢文漢字文化圈範圍內文本的深度討論。

Japanese Taisho period's representative author, Sato Haruo, is famous for his aesthetici style, as well as has traveled to Taiwan and left the work named ＂A Romance Tale of Jokai-Fan＂ etc. However, there are a large number of works by Sato Haruo which are full of Chinese culture, these works are a link of Taisho Literature's 「Sino-Hobby」. This article takes Sato Haruo's 「Sino-Hobby」 as study object, through comparisons with the Aesthetic School such as Nagai Kafu and Tanizaki Junichiro, as well as refers to contemporary research result of Japanese-Sinology, to find that Sato Haruo's translation of Chinese poetry has developed his own creative style, and some of his persistent images and techniques are all related to his intention to create an adult fairy tale world.