本论文以铃木三重吉文学与《赤鸟》杂志为主要研究对象，采用文化研究与文本分析相结合的方法，考察三重吉的“写生”理念与文学教育的实践。在此基础上，以三重吉文学为主线探讨了日本近代文学中“写生”理念的发展与流变，进一步挖掘出“写生”背后丰富的文学表现形式与思想。 本论文通过考察日本文学史中的“写生”论述，重新审视三重吉的文学历程。弄清了三重吉在创作初期就参与了写生文运动，其文学风格受到《杜鹃》杂志与夏目漱石的影响。三重吉的小说，尝试用“写生”方法，从内容和形式探讨写生文与现实、虚构的关系，成为写生文经典作品。三重吉创办的《赤鸟》杂志延续了写生文的影响力，使“写生”成为《赤鸟》理论探索的重要课题。本论文通过对《赤鸟》的分析，发现《赤鸟》所做的探索，不仅是办好杂志的问题，也是写好文章的问题，甚至是文学教育问题。“写生”理念指导下的童话、诗歌、自由画创作都注重作品的真实感，形成了《赤鸟》独特的文艺空间。另一方面，本论文把儿童作文纳入文学研究的框架，研究发现作为写生文运动延长线的《赤鸟》作文贯彻了“写生”理念，使其成为方法论意义上具有普遍性的文艺表现方式，实现了“写什么”与“怎么写”的内容与方法的统一。以“原原本本”为关键词的作文观源于写生文，是三重吉“写生”理念的下位概念，而“有阴影的叙写”是“写生”的独特体现，亦是对“原原本本”的超越。《赤鸟》的作文指导是一种生活指导。通过塑造生活，写生作文实现了“写生”理念到实践的跨越。三重吉倡导作文中使用方言，看似与近代标准语教育呈现对抗，实际是以儿童为中心，将写作的自由还给儿童的“写生”理念。本论文提出写生文与写生作文作为一种新的“文”类，与言文一致形成互动关系，实现了“言”与“文”的有机统一。 “写生”既是文艺问题、文学问题，又是教育问题。而目前的三重吉文学研究多关注其儿童文学层面。本论文通过探讨三重吉文学与“写生”的关联 ，从语言、教育、文艺的维度，跨学科综合考察了三重吉的“写生”理念。本论文重新审视三重吉文学在日本文学史上的评价，突破 “写生”研究在文学领域与教育领域的界限，重新定义日本近代写生文的内涵与外延，为全面理解“写生”理念提供了学术依据。此外，本论文依据“文”的观念，将“写生”放在东亚文化圈内展开讨论，为探讨中国现代文学提供了新视角。

Taking Suzuki Miekichi’s literature production and the magazine Akaitori as the main objects of study, this paper examines Miekichi’s interpretation of concept of “shasei” and discusses the application of such concept in the practice of literary education by combining cultural research and textual analysis. Based on Miekichi’s literature production, this paper explores the development and change of the concept of “shasei” in modern Japanese literature, as well as the rich literary expressions and thoughts that underlie it. This paper revisits Miekichi’s literary journey by examining the discussion of “shasei” in Japanese literary history. It clarifies that Miekichi was involved in the Shaseibun movement at the beginning of his writing career and that Natsume Soseki and the magazine Hototogisu had an impact on his writing style. His novels are considered classic works of shaseibun because Miekichi experimented with the “shasei” approach and examined the relationship between shaseibun and reality and also between shaseibun and fiction in terms of both form and content. Shaseibun’s influence was maintained by Miekichi’s establishment of the magazine Akaitori, which elevated “shasei” to a significant theoretical subject for the magazine. Through analyzing the magazine, the study finds that the Akatori’ s exploration in literature is not only a matter of how to run a good magazine, but also a matter of how to write good essays, and even a matter of literary education. Also, in the magazine, the creation of children’ s stories, poems, and freehand drawings guided by the concept of “shasei” is found to emphasize the realism of the works, forming the unique literary space of Akaitori. In addition, this study brings children’s compositions into the literary research, and finds that children’ compositions in Akaitori, which are the extension of the Shaseibun movement, implement the concept of “shasei”. The compositions make the concept a universal mode of literary expression in the sense of methodology and realize the unity of content and method between “what to write” and “how to write”. Furthermore, the study argues that the concept of writing with the keyword “arinomama” originates from shaseibun since it is a subordinate concept of Miekichi’s idea of “shasei”, and “narrative writing with shadows”, on the other hand, is not only a unique expression of “shasei” but also a transcendence of “arinomama”. Another argument of the study is that Children’ compositions in Akaitori serve life guidance to children. By describing life, shaseibun realizes the leap from the idea of “shasei” to the practice of “shasei”. Miekichi’s advocacy of the use of dialect in children’s compositions may seem to be a confrontation with modern standard language education, but it is actually a child-centered concept of “shasei” that advocates returning the freedom of writing to the child. Last but not least, this paper proposes a new genre of “Letters”, which interacts with the movement of Genbun Itchi and realizes the organic unity of “speech” and “writing”. “Shasei” is both an art and literary and an educational issue. However, the current research on Miekichi’s literature focuses mostly on its children's literature aspect. This paper examines Miekichi’s concept of “shasei” in an interdisciplinary and comprehensive manner from the dimensions of language, education, and art by exploring the connection between Miekichi’s literature production and “shasei”. In a nutshell, this paper re-examines the evaluation of Miekichi’s literature in the history of Japanese literature, breaks through the boundaries of the study of “shasei” in the field of literature and the field of education, and redefines the connotation and extension of modern Japanese shaseibun, which provides a scholarly basis for a comprehensive understanding of the concept of “shasei”. In addition, based on the concept of “Letters”, this paper puts “shasei” into the East Asian cultural circle for discussion and provides a new perspective for the discussion of modern Chinese literature.