大江健三郎《水死》的戏剧叙事与伦理指向  

Dramatic narrative and ethical perspectiveness in Oe Kenzaburo's Death by Water

作　　者：兰立亮[1] LAN Liliang(College of Foreign Languages,Henan University,Kaifeng 475001,China)

机构地区：[1]河南大学外语学院,河南省开封市475001

出　　处：《外文研究》2020年第4期54-61,105,共9页Foreign Studies

基　　金：国家社会科学基金项目“日本现代小说个体叙事与伦理建构研究”(18BWW031);河南省教育厅人文社会科学研究指导性计划项目(非资助课题)“日本现代小说叙事伦理研究”(2019⁃ZDJH⁃463);河南省社会科学界联合会调研课题(非资助课题)“日本现代小说家庭叙事研究”(SKL⁃2020⁃1411)。

摘　　要：大江健三郎的《水死》讲述了陷于老年创作瓶颈的作家古义人所经历的现代个体反思战前时代精神、反抗国家暴力的故事。《水死》打破了小说和戏剧的叙事边界,借演员演绎角色和灵媒为附体幽灵发声的相似性来刻画小说人物,借戏剧悬念、冲突和突转等戏剧性手法推动小说情节发展,呈现出一种戏剧叙事特有的展演性,暴露了国家主义这一政治话语对现代个体精神的异化和戕害。在此意义上,《水死》戏剧叙事很好地体现了大江对晚期创作风格的不懈追求和对民主主义精神理念的执着坚守。Oe Kenzaburo’s Death by Water tells a story of the modern individuals reflecting on the spirit of the pre-war era and fighting against national violence by Nagae Kogito,a writer who is trapped in the bottleneck of creation in his late work. This fiction breaks the narrative boundary between the novel and the drama. It depicts the characters of the novel by the similarity between actors’ roles and psychic agents’ voices,and promotes the development of the novel’s plot by dramatic techniques such as suspense, conflict and abrupt turn. It presents a unique performative of dramatic narration and exposes the alienation and damage of nationalism to the spirit of modern individuals. In this sense,the narrative of Death by Water well reflects Oe’s unremitting pursuit of the late style and his persistent adherence to the democratic thought.

关 键 词：大江健三郎 水死 戏剧叙事 晚期风格 

分 类 号：I313[文学—其他各国文学]