【摘要】 横田文子的小说《白日书》曾入闱1936年上半年度第三届芥川文学奖,1938年又被伪满时期极具影响力的日语文艺杂志《满洲浪曼》创刊号所刊载。但以笔者管窥之见,迄今尚未发现我国学术界对此有相关研究。本文围绕《白日书》和《满洲浪曼》的关系,通过具体的文本分析和对同时代言说的考察,解析了横田文子作品的"浪漫"本质和作家横田文子在"满洲"时期的文学创作立场。结论是,尽管横田文子难免在时代的洪流中沉浮,但《白日书》中所体现的"浪漫"却与《满洲浪曼》主编北村谦次郎所倡导的"大浪漫"之间存在明显的分歧,它通过一个女同性恋故事的书写,象征性地表达了日本上个世纪三十年代的不安和焦躁,并一定程度上显示出作者对时代和体制隐晦的反抗。更多还原

【Abstract】 Yokota Fumiko’s novel Hakujitu No Sho was shortlisted for the 3rd Akutagawa Prize in the first half of 1936. Two years later in 1938, it was published in the opening issue of a Japanese literary and art magazine Mannshuu Roumann which was influential during the Manchukuo period. But in my humble opinion, this novel hasn’t been probed into by the academia in China. Centered on the relationship between Hakujitu No Sho and Mannshuu Roumann, this paper explains the essence of the "romance" in Yokota Fumiko’s work and her literary position during the Manchukuo period by analyzing the text and other contemporary statements. The conclusion is that although the writer was unable to avoid following the trend, there is a clear difference between the "romance" in Hakujitu No Sho and the "grand romance" advocated by Kitamura Kennjirou, the chief editor of Mannshuu Roumann. The lesbian story symbolically represents the social anxiety of the 1930s in Japan, and shows the writer’s veiled rebellion against the time and society.更多还原