人的“拟动物化”与身体“伤痕”--以大江健三郎《饲育》反战书写为例  

The"animalization"of humans and"scars"of the human body-- On the anti-war writing of Kenzaburo Oe's The Catch

作　　者：郑媛 霍士富[1] Zheng Yuan;Huo Shifu

机构地区：[1]西安交通大学外国语学院 [2]榆林学院外国语学院

出　　处：《外语教学》2023年第6期108-112,共5页Foreign Language Education

基　　金：榆林市科技计划项目“外语教育教学改革研究--榆林市高中日语教师专业发展研究”(项目编号:CXY-2022-114)的阶段性研究成果。

摘　　要：大江健三郎的代表作《饲育》通过独特的叙事方法和锐敏的时代意识,旗帜鲜明地将战争的政治责任直指“天皇制”,喊出了战后文学整体追究“天皇”承担战争责任的第一声。本文从人的“拟动物化”与身体“伤痕”之视点切入,运用库切提出的“动物”与“人”之间具有生命共感的理论,探析大江健三郎的反战书写。经分析表明:叙事者通过作品内少年“我”和作品外作者的双重视角,批判了日本“天皇制”下推行的侵略战争,奠定了其一以贯之的反战主题,开辟了日本战后文学的先锋,具有划时代意义。Through a unique narrative method and a keen awareness of times,Kenzaburo Oe's masterpiece The Catch clearly points out the political responsibility of the war to the Mikado System,calling out the first voice of the postwar lit-erature to hold the Tenno(the emperor of Japan)responsible for the war.From the perspective of"animalization"of hu-mans and"scars"of the human body,applying Coetzee's theory of Life Empathy between"animal"and"human",Kenzaburo Oe's anti-war writing is probed.It shows that the narrator,through the dual perspectives of the young man"I"within the narrative and the author outside the narrative,criticizes the war of aggression carried out under the Mikado System of Japan.The Catch establishes Oe's consistent anti-war theme and opens up the vanguard of Japanese postwar literature,which has an epoch-making significance.

关 键 词：大江健三郎 《饲育》 拟动物化 身体“伤痕” 反战文学 

分 类 号：I313.074[文学—其他各国文学]