| Summary: | 《古都》是台湾女作家朱天心的经典代表作之一。她采用后现代叙事法，集合、拼接各种纷繁、喧嚣的元素，并在复杂的空间、时间中进行堆叠、转换，为读者呈现出身居台北的中年知性女性“你”纷杂而凌乱的回忆篇章。无独有偶，日本著名作家川端康成也曾写作一本名为《古都》的小说，讲述一对孪生姐妹悲欢离合的故事，其格调哀婉，清丽，曾获得“诺贝尔”文学奖的殊荣。应该说，这两部小说在故事情节、创作手法等方面有着诸多迥异之处，但由于名称和某些内容的重叠以及审美气韵的相似而被赋予了某种联系。据此，本文选择了从美学这一目前较少全面研究的角度对朱天心和川端康成《古都》的进行比较和分析。可以说，两部《古都》的美学意蕴极为接近，都具有着西方“唯美主义”的颓废情结以及日本传统美学“物哀”感伤气质。然而，二者的审美归趋却又大相径庭，川端康成将“唯美”之颓废感交融进日本传统美学“物哀”，为自己《古都》的“知物哀”找到了“无常观”这一归宿；而朱天心则一直背负着“颓废 ”的审美意趣游荡于似是而非的“物哀”和后现代主义的纷繁之中，她依然在找寻她的审美宿命。“The Ancient Capital” is one of the classic masterpieces of Taiwan writer Zhu Tianxin. She used postmodernism narrative technique, present a story of a middle-age woman living in Taipei. Coincidentally, Japanese famous writer Kawazu Yasunari has wrote a novel named exactly “The Ancient Capital” before and earned the Nobel Prize for Literature. Although there are many differences between these two novels, there is still certain correlation between them. Therefore, this paper chooses an aesthetic point of view to have a comparative study and analysis of these two “The Ancient Capital” novels, use the Japanese aesthetic theory “mono-no-aware” and western “Aestheticism” to see their similarity and differences.
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