摘要
石黑一雄和村上春树均将二战历史作为文学创作的重要主题背景,分别在《浮世画家》和《刺杀骑士团长》中塑造了艺术创作风格因二战经历而转向的老年画家形象,但两位画家的转向目标和战争记忆储存载体截然不同。这种不同不仅反映出两位画家对待战争尤其是战争责任的不同态度,也折射出小说创作者历史认知视角的差异。石黑试图借鉴二战历史呈现普通人经历重大历史变革后的生存境遇,村上则致力于通过批判逃避战争责任的集体无意识直面日本社会的现实问题。值得注意的是,石黑将主人公的错误归结为“缺乏洞察力”的看法淡化了作品的历史批判色彩,而村上笔下做出不同选择的画家形象则包含着温和的提醒。
Both Kazuo Ishiguro and Haruki Murakami took the history of World War Ⅱ as an important theme in their literary creations,and in An Artist of the Floating World and Killing Commendatore respectively,they created the image of an older painter whose artistic style was turned by the experience of World War Ⅱ.The painter's turning target is very different from the storage medium of war memory.This difference not only reflects the different attitudes of the two painters towards war,especially war responsibility,but also reflects the difference in the creators'historical cognition perspective.Ishiguro tries to use the history of World War Ⅱ to present the psychological trauma of ordinary people after experiencing historical changes,while Murakami is committed to facing the real problems of Japanese society by criticizing the collective unconscious that evades responsibility for war.The protagonist's mistakes in Ishiguro's view are attributed to a"lack of insight",which weakens the historical critique.On the other hand,the painter's image depicted by Murakami's writing makes different choices and contains a gentle reminder.
作者
贾庆超
王奕红
Jia Qingchao;Wang Yihong(Nanjing University,China)
出处
《日语学习与研究》
CSSCI
2024年第4期96-104,共9页
Journal of Japanese Language Study and Research
关键词
浮世画家
刺杀骑士团长
艺术转向
战争记忆
历史认知视角
An Artist of the Floating World
Killing Commendatore
artistic turning
war memory
view of historical awareness
