本文選題：村上春樹 + 《地下》��； 參考：《北京外國語大學(xué)》2017年碩士論文

【摘要】：1997年3月20日,講談社出版了村上春樹的《地下》。這是一部以"東京地下鐵沙林事件"中的遇害者為采訪對象,將采訪內(nèi)容整理為文字的作品。出版后不久,《地下》被新聞媒體以"村上春樹首部非虛構(gòu)作品"為題進行宣傳,在評論界和學(xué)界引起很大的反響�？疾煊嘘P(guān)《地下》的研究可以發(fā)現(xiàn),人們或關(guān)注于所謂"村上春樹首部非虛構(gòu)作品"這一點,或?qū)⒛抗饩劢乖?村上春樹介入社會"這一問題上。然而耐人尋味的是,村上春樹卻將"非虛構(gòu)"作品《地下》稱為"新故事",并在作品的最后大談關(guān)于"故事"的問題。盡管"故事"亦可作為某種敘述形式的統(tǒng)稱,但村上春樹為何將"非虛構(gòu)"作品《地下》稱為"新故事"?又為何在作品的最后大談"故事"以及"故事的力量"呢?為解決以上問題,本文將《地下》作為研究對象,采用文本分析的方法,對《地下》和"故事"的關(guān)系、村上春樹在作品中所主張的"新故事"的內(nèi)涵、以及通過這樣一種"新故事"想要向讀者傳達(dá)出的訊息等進行探討。本文由序論、本論、結(jié)論三部分構(gòu)成,其中本論部分分為三章來論述。第一章主要集中于《地下》的證言部分,通過文本分析,從《地下》的創(chuàng)作動機、語言特征、排列方式、特殊證言這四個方面來分析出被作者稱為"新故事"的《地下》作為"故事"所具有的特征。第二章中則從《地下》的取材方法、取材內(nèi)容、作品構(gòu)造這三個方面來論述《地下》與村上春樹以往的故事的不同,即《地下》是用"非虛構(gòu)"這樣一種"新的講故事的方式"創(chuàng)造出的"新故事"。在以上兩章的基礎(chǔ)上,第三章首先對村上春樹所謂的"新故事"的本質(zhì)內(nèi)涵進行分析,之后則再回到本文最初的問題意識上,探究村上春樹通過此種創(chuàng)作方法向讀者傳達(dá)出的訊息。本文認(rèn)為,盡管《地下》被視為"村上春樹首部非虛構(gòu)性作品",但就其本質(zhì)來講,《地下》是一部富含"故事"特征的作品。通過客觀取材所得的證言經(jīng)過作者和證言者的修改潤色后,《地下》已經(jīng)被深深地打上了加工過的烙印。可以說《地下》已不再是純粹的"非虛構(gòu)性"作品,而是一個由作者編織出來的"故事"。但這個"故事"又與村上春樹以往作品中的故事有所區(qū)別,即《地下》是用"非虛構(gòu)"這樣一種"新的講故事的方式"對"東京地下鐵沙林事件"進行講述的。在這個意義上,"非虛構(gòu)"成為村上春樹創(chuàng)作的一個手段,而《地下》也便成為一個籍由"非虛構(gòu)"而創(chuàng)作出的"新故事"。在這樣一種用"新的講故事的方式"來講述"新故事"的過程中,從每個人講述的"故事"里產(chǎn)生了一種"故事的力量"。作為小說家的村上春樹正是巧妙的利用了這種"物語的力量"來揭示了存在于日本社會體制內(nèi)的種種矛盾和弱點,并借助此種"故事的力量"發(fā)現(xiàn)了導(dǎo)致奧姆真理教徒犯下滔天罪行的真正原因。從"故事"的角度解讀被人們普遍視為"非虛構(gòu)"作品的《地下》是本文的創(chuàng)新之處。而基于此種解讀發(fā)現(xiàn)出的存在于《地下》中的"故事的力量"則揭示了村上春樹的創(chuàng)作意圖�？梢哉f這為今后進一步研究村上春樹的其他作品、以及評價其"介入社會"的問題提供了良好的基礎(chǔ)。
[Abstract]:In March 20, 1997, the talk agency published Haruki Murakami 's "underground". This was an interview with the victims of the "Tokyo underground iron sand forest event". After publication, "underground >" was propagandize by the news media on the theme of "Haruki Murakami's first non virtual work", which was caused by the critics and the academic circles. A great repercussion. The study of "underground" can be found that people or focus on the so-called "Haruki Murakami's first nonfiction" or focusing on the issue of "Haruki Murakami's intervention in society". But it is intriguing that Haruki Murakami called the "non fiction" work "the new story", and at the end of the work. Although the "story" can also be used as a general description of some kind of narrative form, why does Haruki Murakami call the "non fictitious" works "the new story"? And why in the end of the work the "story" and "the power of the story"? To solve the above questions, this article takes the "underground >" as the research object and uses text analysis. Method, the relationship between "underground" and "story", the connotation of "new story" advocated by Haruki Murakami in his works, and the information that the "new story" wants to convey to the readers. This article is composed of three parts: the preface, this theory and the conclusion. The part of this theory is divided into three chapters. The first chapter is mainly concentrated in the underground. The testimony part, through the text analysis, from the "underground >" creative motivation, language characteristics, arrangement, special testimony of the four aspects of the "story" called "new stories" as the "story" of the characteristics. The second chapter from the "underground >" material method, material content, works structure of the three aspects to discuss the "underground >" and " The difference between Haruki Murakami's past stories is that "underground >" is a "new story" created by "new story telling". On the basis of the above two chapters, the third chapter first analyzes the essence of Haruki Murakami's so-called "new story", and then returns to the original question consciousness to explore Murakami Haru. The tree conveys to the reader through this method of creation. This article holds that although < underground > is regarded as "the first nonfiction of Haruki Murakami", in its essence, "underground >" is a novel rich in "story". It can be said that < underground > is no longer a pure "non fiction" work, but a "story" woven by the author. But this "story" is different from the story of Haruki Murakami's previous works, that is, "underground > is a" new way of telling stories "with" non fiction "to" Tokyo underground iron sand forest. " In this sense, "non fiction" has become a means of Haruki Murakami's creation, and < underground > is a "new story" created by a "non fiction". In the process of telling a new story in a "new story telling way", a "story" is produced in the story of each person. "Power", as Haruki Murakami, a novelist, is ingeniously using this "power of language" to reveal the contradictions and weaknesses that exist in the Japanese social system, and by the power of this "story" discovered the true cause of the heinous crimes committed by the Heim truths. The "underground" for "non fiction" is the innovation of this article, and the "power of the story" found in "underground" based on this interpretation reveals Haruki Murakami's creative intention. It can be said that this provides a good basis for further study of Haruki Murakami's other works and the evaluation of the "intervening society".

【學(xué)位授予單位】：北京外國語大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：I313.06

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 王志松;;村上春樹“故事”的臨界點——論《地下》和《在約定的場所:地下2》[J];東北亞外語研究;2014年04期

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