CAJ | 학술논문

川端康成《雪国》表层故事的禅佛意识和虚无主义情调具有明显的消极颓废色彩,只有当表层故事之后潜故事投射到表层,大大改变了表层故事的形态,所谓虚无和死亡之美的审美形态才臻于完整。在驹子潜在视角与形式叙述者、岛村的视角对抗中,潜故事逐渐浮现;此时由于驹子潜在视角是价值独立的,故《雪国》叙事结构又有复调的特征。
천단강성《설국》표층고사적선불의식화허무주의정조구유명현적소겁퇴폐색채,지유당표층고사지후잠고사투사도표층,대대개변료표층고사적형태,소위허무화사망지미적심미형태재진우완정。재구자잠재시각여형식서술자、도촌적시각대항중,잠고사축점부현;차시유우구자잠재시각시개치독립적,고《설국》서사결구우유복조적특정。
The Zen Buddhism and the nihilistic sense in the surface story of Kawabata’s Snowy Country are full of low spiritis. Only when the potential story after the surface story projected onto the surface, dramatically changed the configuration of the surface story. The aesthetic form of so-called beauty of nothingness and death becomes well-organized. In the confrontation between Komako’s potential perspective and the narrator’s or Shimamura’s perspectives, the potential story gradually shows in Snowy Country.Because of the value of Komako’s independent potential perspective, the narrative structure of Snowy Country has a feature of polyphony.