A Study Of Jiangnan Images In Tanizaki Junichiro’s Works

Tanizaki Junichiro is one of the representative writers of Japanese aestheticism.His literary creation is closely related to China.The pursuit of "Chinese taste" runs through Tanizaki’s whole life.Tanizaki Runichiro has only two overseas travel experiences in his life,and the destination of these two trips is China.The prosperity and poverty coexist,the beauty and darkness interweave,and the integration of Chinese and Western cultures in the south of the Yangtze River has left a deep impression on Tanizaki Runichiro.He has created many works related to the south of the Yangtze River with his writing and ink.By analyzing the "image of Jiangnan" presented in Tanizaki’s works,this paper further reveals the writer’s complex emotions and aesthetic pursuit implied by the unique "image of Jiangnan".This paper is divided into three parts: introduction,text and conclusion.The introduction summarizes the life and creation of Junichiro Tanizaki,summarizes the domestic and foreign research status of Junichiro Tanizaki and his works,and expounds the basis of the topic selection and research ideas of this paper.The text discusses the evolution of "image south of the Yangtze River",the unique Angle of view of "image south of the Yangtze River" and the aesthetic pursuit implied in "image south of the Yangtze River".The first chapter takes the three periods before,after and after his first visit to China as the dividing line to discuss the specific performance of the "image of Jiangnan" in Tanizaki’s works in different stages and reveal the deep reasons for the transformation of the "image of Jiangnan".The second chapter focuses on Gu Qi in depicting the image of "jiangnan" when held by "orientalism" perspective,Gu Qi prominence to "jiangnan" beautification,with his dragon interface,the comparison of the image of "jiangnan" Gu Qi embellish ichiro observation and shaping the image of "jiangnan" unique visual Angle,and analyses the reason of Gu Qi adopts the perspective of the jiangnan and intention.The third chapter,through the way of reading the text closely,reveals Tanizaki’s pursuit of the beauty of shadow and the beauty of sorroand further explores the important role played by the Jiangnan in Tanizaki’s return to the classical road.The conclusion part mainly summarizes the discussion of this paper.Tanizaki’s life was closely connected with China.Although in the later period of his writing,his "Chinese taste" weakened and he turned to the classical beauty of the Japanese tradition,China still left an indelible mark on his literary career.As a poetic symbol of Chinese culture,Jiangnan culture has exerted a certain influence on Tanizaki’s literary creation.Tanizaki’s two visits to China both focus on the south of the Yangtze River,which is not an accidental phenomenon but a comprehensive result of many factors.Tanizaki’s unique "image of the south of the Yangtze River" in his works incorporates his own complex emotions and unique aesthetic pursuit,from which we can see the transformation process of the spiritual world of a generation of literary masters.