@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002713,
 author = {顧, 偉良 and GU, Weiliang},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {29},
 month = {Mar},
 note = {pdf, This presentation will look at “Why Zhou Zuoren”. In China, no other either past or present has shown such an individualistic understanding and deep knowledge of Japanese culture as Zhou Zuoren. Zhou Zuoren’s reception of Japanese literature began with the new literature of the Meiji era, that is creative imitation of Western literature, and proceeded on a round-about path towards discovering the creativity in Japanese literature. Early on, Zhou Zuoren was influenced by humanism, sympathizing with the "New Village" movement of the Shirakaba group, and paid a great deal of attention to the direction the new literature was taking. Later, during the New Poetry Movement in China in the early 1920s, Zhou Zuoren focused on Japanese Haiku and Tanka while exploring short form poetry, becoming the first to introduce Japanese short form poetry to China. Following this, Zhou Zuoren spent great effort to introduce and translate Japanese literature in his many reviews. When looking at Japanese culture, he did not view it as something foreign, nor as something Asian. What he did was attempt to discover the creativity in Japanese literature from a cultural perspective. What Zhou Zuoren was in search of seems to have been a state of mind that was either not to be found or had disappeared from Chinese literature. Haikai (humor) and kokkei (farce) were seen as being unique to Japanese literature. Zhou Zuoren praised Issa’s and Tokawa Shukotsu’s works as pinnacles of prose. This is in keeping with his philosophy of prose. This presentation will examine the imprint left by his reception of Japanese literature through his numerous essays. Through Zhou Zuoren, clues to and wisdom surrounding the discovery of Japanese literature from the early 20th century are shown, but when considering the reception of Japanese literature in China today, it is impossible to remove his influence. Future research will no doubt focus increasingly on Zhou Zuoren’s presence.},
 pages = {47--63},
 publisher = {国文学研究資料館},
 title = {研究発表　日本文学の発見 : 俳諧と滑稽の境地　―周作人の場合―},
 year = {2006},
 yomi = {コ, イリョウ}
}