川上弘美《神灵2011》论—后福岛时代的文学研究

发布时间：2018-08-25 20:27

【摘要】：发生于2011年3月11日的东日本大地震,给日本社会带来了极大的冲击。除人类历史有记录以来的最大地震、及由其引发的海啸外,福岛第一核电站的爆发,也是将“3·11,,载入史册的重要事件。震后,与“3·11”整体相比,日本国内的评论家更多地将目光投向了福岛核电站事故。或许,与其说当今日本正在迎来“灾后”时代,不如说它正在步入“后福岛时代”。对这样的社会背景,文学界也有所回应。作家们对于这次事件持有各种不同态度、显现出不同的姿态,文学作品也接连问世。其中,川上弘美所著的《神灵2011》,是灾后最早发表的,反映福岛核事故的短篇小说。《神灵2011》,是对作家的旧作——《神灵》的改写。作家通过将“核电站事故后”这一新的时代背景导入《神灵》,并据此进行添写、删节等,完成了《神灵2011》的书写。有趣的是,无论是其首次发表在杂志《群像》的2011年6月号上时,还是作为单行本出版时(讲谈社2011年9月出版),抑或是被收录进文学选集《即便如此,3月仍会再来》时,《神灵2011》都与旧作《神灵》同时被收录问世。同时收录的还有作家就《神灵2011》而写的《后记》。这样的一种作品形式,提醒我们若希望解读《神灵2011》,或许需要将之与旧作《神灵》进行比较阅读。本篇论文在第一章中首先对旧作《神灵》进行了解读。于此基础上,在第二章、第三章中,讨论《神灵2011》的创作。主要是分析《神灵2011》中,出场人物所被赋予的新的含义、并探究这些改写中包含的、作者的认识层面的变化。最后,在终章中,总结前三章,并讨论在“后福岛时代”中,《神灵2011》这一小说具有怎么样的意义、应如何加以解读阐述。总的来说,旧作《神灵》,主要是描绘了对传统的人际交往、交流沟通方式示以排斥的现代人。与此相对,《神灵2011》,则是描绘了在福岛核电站事故后,选择继续生活在高放射线地区的人们的想法及其生活方式。作品中,对于“在‘后福岛时代’,应当如何生存”这一问题,也有所提示。这部小说,作为“后福岛时代”的文学作品,极具实验性,同时向灾后日本文坛传达出了文学语言的力量。
[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.
【学位授予单位】：北京外国语大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：I313.074

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