摘要
《且听风吟》作为村上的处女作预告了日后创作的倾向,其间鲜明的互文性叙事策略亦是如此。作者通过小说文本与历史史实的互文,小说文本与音乐以及广播、电影等媒介的互文,以及文本与经典文学作品、文本内部的自我指涉间的互文,在诸多文本的ON与OFF之间使这部作品不再仅仅是夏日十九日间的青春感伤物语,而是蕴含了村上十余年后所追求的"综合小说"的指向。
Hearing the Wind Sing,as Haruki Murakami＇s maiden work,predicts all the directions of his later works,including the impressive intertexuality.Through rewriting the novel text and the facts of history,adding to other media such as radio,film and music and recombining classic literary works with the story,Murakami builds up a set of intertexuality in these texts of＂ON＂ and＂OFF＂,thereby not only to create a sentimental story during 19 days in the summer but also to imply＂comprehensive fiction＂which he has pursued for over ten years.
出处
《外国问题研究》
2010年第2期14-19,共6页
FOREIGN HISTORY STUDIES
基金
国家社会科学基金项目"日本‘后战后’时期的精神史寓言:村上春树论"(09BWW005)的阶段性成果
关键词
村上春树
《且听风吟》
互文性
Haruki Murakami
Hearing the Wind Sing
intertexuality
