【摘要】：發(fā)生于2011年3月11日的東日本大地震,給日本社會(huì)帶來了極大的沖擊。除人類歷史有記錄以來的最大地震、及由其引發(fā)的海嘯外,福島第一核電站的爆發(fā),也是將“3·11,,載入史冊(cè)的重要事件。震后,與“3·11”整體相比,日本國(guó)內(nèi)的評(píng)論家更多地將目光投向了福島核電站事故�；蛟S,與其說當(dāng)今日本正在迎來“災(zāi)后”時(shí)代,不如說它正在步入“后福島時(shí)代”。 對(duì)這樣的社會(huì)背景,文學(xué)界也有所回應(yīng)。作家們對(duì)于這次事件持有各種不同態(tài)度、顯現(xiàn)出不同的姿態(tài),文學(xué)作品也接連問世。其中,川上弘美所著的《神靈2011》,是災(zāi)后最早發(fā)表的,反映福島核事故的短篇小說。 《神靈2011》,是對(duì)作家的舊作——《神靈》的改寫。作家通過將“核電站事故后”這一新的時(shí)代背景導(dǎo)入《神靈》,并據(jù)此進(jìn)行添寫、刪節(jié)等,完成了《神靈2011》的書寫。有趣的是,無論是其首次發(fā)表在雜志《群像》的2011年6月號(hào)上時(shí),還是作為單行本出版時(shí)(講談社2011年9月出版),抑或是被收錄進(jìn)文學(xué)選集《即便如此,3月仍會(huì)再來》時(shí),《神靈2011》都與舊作《神靈》同時(shí)被收錄問世。同時(shí)收錄的還有作家就《神靈2011》而寫的《后記》。這樣的一種作品形式,提醒我們?nèi)粝Ｍ庾x《神靈2011》,或許需要將之與舊作《神靈》進(jìn)行比較閱讀。 本篇論文在第一章中首先對(duì)舊作《神靈》進(jìn)行了解讀。于此基礎(chǔ)上,在第二章、第三章中,討論《神靈2011》的創(chuàng)作。主要是分析《神靈2011》中,出場(chǎng)人物所被賦予的新的含義、并探究這些改寫中包含的、作者的認(rèn)識(shí)層面的變化。最后,在終章中,總結(jié)前三章,并討論在“后福島時(shí)代”中,《神靈2011》這一小說具有怎么樣的意義、應(yīng)如何加以解讀闡述。 總的來說,舊作《神靈》,主要是描繪了對(duì)傳統(tǒng)的人際交往、交流溝通方式示以排斥的現(xiàn)代人。與此相對(duì),《神靈2011》,則是描繪了在福島核電站事故后,選擇繼續(xù)生活在高放射線地區(qū)的人們的想法及其生活方式。作品中,對(duì)于“在‘后福島時(shí)代’,應(yīng)當(dāng)如何生存”這一問題,也有所提示。這部小說,作為“后福島時(shí)代”的文學(xué)作品,極具實(shí)驗(yàn)性,同時(shí)向?yàn)?zāi)后日本文壇傳達(dá)出了文學(xué)語言的力量。
[Abstract]:The East Japan earthquake on March 11, 2011 brought great impact to Japanese society. In addition to the largest earthquake ever recorded in human history and the tsunami triggered by it, the outbreak of the Fukushima Daiichi nuclear power plant is also an important event in the annals of history. After the quake, critics in Japan focused more on the Fukushima accident than on 11 March. Perhaps Japan is entering a post-Fukushima era rather than a post-disaster era. To this kind of social background, the literary circle also has the response. Writers have different attitudes and different postures about the incident, and literary works have been published one after another. Among them, Kawasaki's "Spirit 2011", first published after the disaster, is a short story about the Fukushima nuclear accident. < God 2011 > is a rewriting of the writer's old work, "the Spirit of God." By introducing the new background of "after the nuclear power plant accident" into "Spirit of God", and adding and abridging it, the writer completed the writing of "Spirit 2011". Interestingly, whether it was first published in the June 2011 issue of the magazine Group Images, When it was published as a monograph or was included in an anthology of literature < even so, March will come again], "Spirit 2011" was included in both the old book "the Spirit" and the old one. There is also a collection of writers on the "Spirit 2011" and the "Postscript". Such a form of work reminds us that if we want to interpret the Spirit 2011, we may need to compare it with the old one. In the first chapter, the author interprets the old work, Spirit. On this basis, in the second chapter, the third chapter, discusses the creation of the Spirit 2011. It is mainly to analyze the new meaning given to the appearance characters in Spirit 2011, and to explore the changes of the author's cognition level contained in these rewritten works. Finally, in the final chapter, the author summarizes the first three chapters and discusses the significance of the novel "Spirit 2011" and how to interpret it. In general, the old work, the Spirit, mainly depicts the modern people who reject the traditional interpersonal communication and communication methods. By contrast, "Spirit 2011" depicts the thinking and lifestyle of people who chose to continue living in high-radiation areas after the Fukushima nuclear power plant accident. In the works, the question of how to survive in the post-Fukushima era is also pointed out. This novel, as a literary work of the post-Fukushima era, is extremely experimental and conveys the power of literary language to the Japanese literary world after the disaster.
【學(xué)位授予單位】：北京外國(guó)語大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：I313.074

【參考文獻(xiàn)】

相關(guān)期刊論文 前9條

1 王佳音;;清新、自然之美——以《老師的提包》為例試談川上弘美文學(xué)的魅力[J];黑龍江教育學(xué)院學(xué)報(bào);2008年07期

2 劉研;;川上弘美《踩蛇》:神話敘事與女性意識(shí)的曲折言說[J];漢語言文學(xué)研究;2011年04期

3 戴玉金;;走進(jìn)川上弘美的幻想世界——以作品《踏蛇》、《老師的提包》為例[J];嘉應(yīng)學(xué)院學(xué)報(bào);2010年10期

4 王佳音;;川上弘美文學(xué)中的“異種生物”分析[J];時(shí)代文學(xué)(上半月);2011年08期

5 王佳音;;恬靜而幽深的幻想世界——以《踏蛇》、《消失》為例試述川上弘美文學(xué)之魅力[J];時(shí)代文學(xué)(下半月);2011年07期

6 蔡春華;川上弘美的《踏蛇》:一則多義的現(xiàn)代寓言[J];國(guó)外文學(xué);2003年03期

7 宋立坤;;東方卡夫卡——川上弘美早期作品“異化”形象淺析[J];文教資料;2011年15期

8 王佳音;;川上弘美之文學(xué)魅力[J];學(xué)術(shù)交流;2013年06期

9 張曉霞;;探尋失落的精神家園:川上弘美小說《踩蛇》解讀[J];譯林(學(xué)術(shù)版);2012年06期

，

本文編號(hào)：2204009