《水死》中的神话原型与文化隐喻再探

发布时间：2017-12-31 14:36

本文关键词：《水死》中的神话原型与文化隐喻再探　出处：《中国比较文学》2017年02期 　论文类型：期刊论文

【摘要】：大江健三郎的《水死》以追溯父亲"水死"之谜为主线,讲述了三代人寻找和重建记忆与身份的故事。其核心意象"水死"既是对日本民俗传统的继承,同时具有现实指向,借助《金枝》中揭示的神话原型才能理解其核心内涵。仪式性的"水死"指向回归母体和新生,而非为天皇殉死。大江健三郎借用了神话的框架,将个体经验重新熔铸,创造出一系列具有代表性的隐喻体系,如"村庄—国家—宇宙"的同构关系,森林—女性作为生命源头象征,以红皮箱—空信封暗示记忆的开放性,在层层套嵌的叙事结构中,作者、主人公和民族共同体的命运融为一体,记忆和历史的权威性被重新拷问。"水死"作为一种跨文化神话原型在大江的笔下成了一个支点,不仅撬动了近代日本历史的军国主义外壳,更成为重建民族集体记忆的基点,凸显出神话仪式对于文化共同体的价值。
[Abstract]:"Water death" by Kenshiro Oe takes the riddle of his father's "water death" as the main line, and tells the story of three generations of people seeking and rebuilding their memory and identity. The core image of "water death" is not only the inheritance of Japanese folklore tradition. At the same time, with the help of the mythological archetypes revealed in Jinzhi, we can understand its core connotation. The ritual "water death" points to the return of the mother body and the new life. Instead of dying for the emperor, Kenshiro Oe borrows the framework of mythology, reinvents individual experience and creates a series of representative metaphorical systems, such as the isomorphism of "village-state-universe". As the symbol of the source of life, the forest-female, with a red suitcase and an empty envelope, implies the openness of memory, and in the narrative structure, the author, the protagonist and the fate of the national community merge into one. The authoritativeness of memory and history was reexamined. As a prototype of cross-cultural mythology, "Water death" became a fulcrum in the works of Dajiang, which not only crowed the shell of militarism in modern Japanese history. It also became the basic point of rebuilding national collective memory and highlighted the value of mythological rituals to the cultural community.
【作者单位】：北京语言大学人文社科学部;
【基金】：北京语言大学校级项目资助(中央高校基本科研业务费专项资金,项目批准号16YBG15)
【分类号】：I207.412
【正文快照】： 日本作家大江健三郎2009年12月出版的长篇小说《水死》引发中日评论界的一致关注,2016年人围布克奖(The Man Booker Prize)更带来了世界性的影响。?作为作家本人所称的“最后一部作品”,这部小说不仅在大江的作品体系中举足轻重,也与世界文学范围内的诸多经典作家作品形成交

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