The Image of the Homeland in the Lyrics of the Poet of Northeastern China Mu Mutian (Based on the Poems from the Collection Drifting Heart)

O. E. Tsmykal, Feng Yishan
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Abstract

The relevance of the study is determined by the interest of modern humanities in the processes of the formation of ethnic and national consciousness in China in the first half of the 20th century, which determine the images of perception of a foreign culture and self-perception. The novelty lies in the appeal to the half-forgotten work by Mu Mutian, practically unknown to the Russian-speaking reader. The problem lies in the definition of the connotative meanings of the image of the homeland in the works by Mu Mutian, reflecting the fusion of archetypal ethnic ideas and new attitudes of national consciousness. Research methodology is based on the lexical and semantic analysis of the poet’s literary texts, which represent different connotations of the image of the homeland. The research methods we applied involved biographical, cultural-historical and structural-semantic ones. The authors also turned to the comparative analysis of the translation and the original of the poems studied. The authors came to the conclusion that the image of the homeland in the poems included in the collection Drifting Heart by Mu Mutian is often manifested allegorically. The name Drifting Heart fully reflects not only the emotional state of the emigre poet during the period of writing poems but also the processes of the formation of the basic frames of the national consciousness of the Chinese after the Xinhai Revolution during the civil war. Despite the fact that Mu Mutian’s artistic perception of the world during the period of exile is closely connected with the Japanese aesthetic principle of mononoaware, aestheticizing sadness, and is also inseparable from the symbolist craving for “decline”, the poet fuses the “Chinese” vision of these principles and projects them onto ideas about his native places, the homeland of his ancestors under the rule of Japan, declares faith in the revival of China as a single state.
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东北诗人穆慕田抒情诗中的家园意象(以《漂泊的心》诗集为例)
现代人文学科对20世纪上半叶中国民族意识和民族意识形成过程的兴趣决定了本研究的相关性,这种兴趣决定了对外来文化的感知和对自我的感知。它的新奇之处在于对穆木田那部几乎被遗忘的作品的吸引力,而讲俄语的读者几乎不知道穆木田的作品。问题在于对穆慕田作品中故土形象内涵意义的界定,体现了原型民族观念与民族意识新态度的融合。研究方法基于对诗人文学文本的词汇和语义分析,这些文本代表了不同的祖国形象内涵。我们采用的研究方法包括传记法、文化历史法和结构语义法。作者还对所研究诗歌的译文和原文进行了比较分析。作者认为,穆慕田《漂泊的心》诗集中的故土意象往往具有讽喻性。《漂泊的心》这个名字不仅充分反映了流亡诗人在诗歌创作时期的情感状态,也反映了辛亥革命后中国民族意识基本框架的形成过程。尽管木牧田在流亡期间的艺术世界观与日本的单一主义、悲情审美化的审美原则密切相关,也与象征主义对“衰落”的渴望密不可分,但他将这些原则的“中国”视野融合在他的故土、他的祖先在日本统治下的故土上,宣示了中国作为单一国家复兴的信念。
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发文量
54
审稿时长
8 weeks
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