有關終戰前後的上海形象的探討─以前田泰淳的作品為中心─

在上海形象研究方面，特別是以芥川龍之介、橫光利一為首的20年代、30年代的上海物最受到囑目，而以日本戰敗前後的作品為探討對象者，則要明顯少了許多，站在補充資料的立場，本研究因此選取了武田泰淳的上海作品來進行探討。武田的作品雖然多為小品，但是數量眾多，因此探討武田的上海物，對於理解終戰前後的上海形象及武田的中心思維，應有所助益。武田在終戰前後的1944年至4 8年之間，一共完成了10餘篇的有關上海的作品，甚至更於20年後的1976年完成中篇作品「上海の螢」。換言之，終戰前後的兩年之間的上海體驗，豐富了武田戰後三十餘年的作家生涯。這些隨筆、自傳、小說性質的作品包含了上海的物質生活、與當地居民的交流情形、文化體驗、終戰後的上海的日本人‧外國人的遭遇、以及與日本親近的中國人的遭遇等內容。本研究擬透過「上海形象」與「武田上海作品中的『生命狀態』兩個部份的分析來掌握武田上海物的整體形象。武田的上海作品的主要特徵為，雖然遺留有戰爭期間的殖民地都市色彩，但是甚少出現灰暗的場景。另外，與明治時期以來的小說家透過短期旅行而建立的東方主義式的觀點，或昭和時期被稱為「上海流浪者」的人物造型有極大的不同，武田筆下的主人翁無論居於何種狀態中，都奮力地選擇融入於當地生活的模式，並且帶著餘裕來觀看整體的上海文化。

關鍵字

武田泰淳；上海形象；終戰前後；芥川龍之介；橫光利一

並列摘要

In terms of the study of the image of Shanghai, the works during the 20s and 30s, especially those written by major authors like Akutagawa Ryunosuke and Yokomitsu Riichi are most recognized. The works written during the era around postwar Japan, however, were much less emphasized. To compensate for the deficiency of the study of this period, this paper chooses to focus on the image of Shanghai in the works of Takeda Taijun. Most of Takada Taijun's works are small but numerous, therefore, the study of Takeda Taijun will be helpful for us to get a close look at the image of Shanghai and Takeda's central concepts during the postwar era. Takeda Taijun finished more than 10 works during 1944 to 1948. He even wrote his medium-length The Dragonfly of Shanghai in 1976, which is 20 years later. Hence, this author's living experiences in Shanghai leaves a great impact on and amplifies his writings over 30 years. These essays, biography, novels comprehend the descriptions of the material life in Shanghai, the getting-along with the local residents, his postwar Shanghai culture experiences and encounters as a Japanese, the experiences of other foreigners and the living state of the Chinese people who were close to Japanese. This study aims to put an emphasis on two parts: the shanghai image and Takeda's state of living to analyze his Shanghai image as a whole. The feature of Takeda's works regarding to Shanghai relies on the colonial urban atmosphere left from the War, but even so, there is hardly any dark scenario. Moreover, although the Orientalist point of view existed in the Meiji period novelists' works is so different from the so-called 'Shanghai Tramp' characters in Shouwa period, Takeda's protagonists all endeavor to immerse themselves in the local life and look at Shanghai as a whole with leisure easiness.