作为“新故事”的《地下》

发布时间：2018-04-21 06:26

本文选题：村上春树 + 《地下》　；参考：《北京外国语大学》2017年硕士论文

【摘要】：1997年3月20日,讲谈社出版了村上春树的《地下》。这是一部以"东京地下铁沙林事件"中的遇害者为采访对象,将采访内容整理为文字的作品。出版后不久,《地下》被新闻媒体以"村上春树首部非虚构作品"为题进行宣传,在评论界和学界引起很大的反响。考察有关《地下》的研究可以发现,人们或关注于所谓"村上春树首部非虚构作品"这一点,或将目光聚焦在"村上春树介入社会"这一问题上。然而耐人寻味的是,村上春树却将"非虚构"作品《地下》称为"新故事",并在作品的最后大谈关于"故事"的问题。尽管"故事"亦可作为某种叙述形式的统称,但村上春树为何将"非虚构"作品《地下》称为"新故事"?又为何在作品的最后大谈"故事"以及"故事的力量"呢?为解决以上问题,本文将《地下》作为研究对象,采用文本分析的方法,对《地下》和"故事"的关系、村上春树在作品中所主张的"新故事"的内涵、以及通过这样一种"新故事"想要向读者传达出的讯息等进行探讨。本文由序论、本论、结论三部分构成,其中本论部分分为三章来论述。第一章主要集中于《地下》的证言部分,通过文本分析,从《地下》的创作动机、语言特征、排列方式、特殊证言这四个方面来分析出被作者称为"新故事"的《地下》作为"故事"所具有的特征。第二章中则从《地下》的取材方法、取材内容、作品构造这三个方面来论述《地下》与村上春树以往的故事的不同,即《地下》是用"非虚构"这样一种"新的讲故事的方式"创造出的"新故事"。在以上两章的基础上,第三章首先对村上春树所谓的"新故事"的本质内涵进行分析,之后则再回到本文最初的问题意识上,探究村上春树通过此种创作方法向读者传达出的讯息。本文认为,尽管《地下》被视为"村上春树首部非虚构性作品",但就其本质来讲,《地下》是一部富含"故事"特征的作品。通过客观取材所得的证言经过作者和证言者的修改润色后,《地下》已经被深深地打上了加工过的烙印。可以说《地下》已不再是纯粹的"非虚构性"作品,而是一个由作者编织出来的"故事"。但这个"故事"又与村上春树以往作品中的故事有所区别,即《地下》是用"非虚构"这样一种"新的讲故事的方式"对"东京地下铁沙林事件"进行讲述的。在这个意义上,"非虚构"成为村上春树创作的一个手段,而《地下》也便成为一个籍由"非虚构"而创作出的"新故事"。在这样一种用"新的讲故事的方式"来讲述"新故事"的过程中,从每个人讲述的"故事"里产生了一种"故事的力量"。作为小说家的村上春树正是巧妙的利用了这种"物语的力量"来揭示了存在于日本社会体制内的种种矛盾和弱点,并借助此种"故事的力量"发现了导致奥姆真理教徒犯下滔天罪行的真正原因。从"故事"的角度解读被人们普遍视为"非虚构"作品的《地下》是本文的创新之处。而基于此种解读发现出的存在于《地下》中的"故事的力量"则揭示了村上春树的创作意图。可以说这为今后进一步研究村上春树的其他作品、以及评价其"介入社会"的问题提供了良好的基础。
[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".

【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】：2017
【分类号】：I313.06

【参考文献】