楊逵與日本近代文學－以大杉榮「民眾藝術論」為中心－

Abstract

楊逵在日本普羅文學活動達到高峰的時代前往日本留學，他與普羅文學作家們的交流也極深，他的創作亦受日本眾多作家影響。然而，在他受到近代日本文學的影響之中，具體研究各個作家對他影響的內容卻寥寥無幾。 從楊逵的回憶中得知，在他前往日本之前，已經讀過讀一、兩本大杉榮的著作，在關東大震災的混亂之中，大杉慘遭虐殺，為此他大受衝擊，並啟蒙了他的思想。楊逵在前往東京留學之後，最先閱讀的便是大杉榮的作品。 大杉榮提出所謂的“民眾藝術”，乃是從羅曼•羅蘭的“民眾藝術論”的翻譯得到啟發並以此作為基礎。因此它擁有強大的力量，使得戲劇不致陷於悲觀主義與感傷主義。並主張這是來自於人群，同時也是為了人群的藝術。 這些元素亦適用於楊逵的作品。此外，楊逵留下的許多評論與大杉榮所提倡的「民眾藝術」有許多不謀而合之處，雖然沒有明確文字紀錄留存，但可推知楊逵自身也想要呈現出「民眾藝術論」。 本論文首先在先行研究中整理楊逵與山川主義、福本主義。之後，再考察他受到大杉榮的「民眾藝術論」之影響。接著，嘗試將我認為日本普羅文學中與楊逵有關連性的葉山嘉樹、小林多喜二、中野重治等人的作品，與楊逵的作品作一比較。 透過這些比較，逐一辨明日本普羅文學失去的，在大杉榮的民眾藝術中所能看到充滿希望與光明的特質，以及殖民地視點，這個日本作家無意識中忽略的盲點等問題。

Yang Kui went to study in Japan when the Japanese proletarian literary activity rises, he also interacted with proletarian literature writers, and his works were also influenced by many Japanese writers. However, under the influence of modern Japanese literature, researches about how he was influenced by another writers were few. Before Yang Kui went to Japan, he had read the two book of Osugi Sakae according to his interview. Osugi was killed by the military in the Kanto earthquake. and Yang Kui was shocked by this.This became the trigger of his thinking. The book which Yang Kui read first after he went to Tokyo was Osugi's book. Osugi Sakae proposed 'The Peoploe's Theatre', which is triggered by the translation of Romain Rolland's 'The People's Theatre' and based on it. Thus, 'The People's Theatre' has a strong power which made the drama not to fall into the Pessimism and Sentimentalism. Osugi claimed that it is the art which comes from people and also be made for people. These elements were also applied to Yang Kui's work. In addition, many comments of Yang Kui and Osugi Sakae's 'The People's Theatre' have the same opinions. Although, there is no records to show , but we can infer that Yang Kui also intended to show 'The People's Theatre'. The thesis collects Yang Kui and Yamakawaism and Fukumotoism as prior research, and will consider how he was influenced by 'The People's Theatre'. Secondly, comparing Yang Kui's works with Hayama Yoshiki , Kobayashi Takiji, Nakano Shigeharu, whom I think have the relevance with Yang Kui in the Japanese proletarian literary. By these comparison, the characters filled with hope and lightness, which Japanese proletarian literature has lost and seen in the Osugi Sakae's 'The People's Theatre', and the viewpoint of colony , which the Japanese writer ignored will be clarified.