物哀與玉碎：《鬼滅之刃》背後承繼的民族性與時代精神

獨霸漫畫銷量排行榜、上映73天後成為日本影史票房榜第1名的爆紅作品―《鬼滅之刃》，儘管故事本身簡單，但細思其爆紅原因，似乎不僅是市場的推波助瀾，也提供了一條認識日本民族性、美學觀念與文化研究的進路。本文將扮演拋磚引玉的角色，探討「物哀」與「玉碎」這兩個概念如何成為《鬼滅之刃》故事的基底，以及《鬼滅之刃》爆紅的背後，其意象與對白如何與日本人特有的精神性與美學觀點互相輝映？什麼價值被凸顯了？我將延伸詮釋的進路至日本文化中對於義理、恩情乃至民族性的呈現。試圖從中理出一條《鬼滅之刃》爆紅背後可能代表（或承繼）的時代精神。

關鍵字

民族性；玉碎；物哀；時代精神；鬼滅之刃

並列摘要

As the blockbuster which monopolized the comic selling ranking, Koyoharu Gotoge's Demon Slayer became the most popular manga, animation and movie in 2020. The story itself seemed simple, however, if one asked the reason why Demon Slayer became viral, it may not be as simple as it seemed. This article argues that the huge success of Demon Slayer could not simply be due to the marketing strategy, but instead, it provides an approach to the culture studies in the national character of the Japanese from their innermost aesthetic view. By discussing two concepts ＂Mono no aware (物哀)＂ and ＂Gyokusai (玉碎),＂ this article aims to explore how these two concepts became the infrastructure of Demon Slayer. How do the conversations and images in Demon Slayer echo with Japanese's specific national character and aesthetic values of the Japanese? What values were revealed and prevailed others? The author extends the analysis towards the studies of Japanese culture, trying to explore a plausible approach toward to the success of Demon Slayer and the Zeitgeist it portrayed or coincided.