《窗灯》中的“偷窥”与视觉表征  

Peeping and Visual Representation in Window Light

作　　者：杨嘉翼 孔月[1] YANG Jiayi;KONG Yue(Dalian University of Technology,Dalian Liaoning,116081,China)

机构地区：[1]大连理工大学,辽宁大连116081

出　　处：《文化创新比较研究》2024年第32期7-12,共6页Comparative Study of Cultural Innovation

摘　　要：青山七惠的作品《窗灯》中的主人公绿藻从寄住到咖啡店打工起,就开始了“偷窥”行为。全文的主线就是绿藻不断加剧的“偷窥”行为。该研究从视觉表征的角度切入,着重分析不断重复的“偷窥”中隐藏的内部逻辑、绿藻的偷窥对象的表征意义,从而使文本分析脱离“自我成长故事”的陈旧解读框架。该研究在文本分析中引入“梦女子”这一新兴概念,对绿藻的“偷窥”行为进行后现代解读,分析“看与被看”中的权力关系演变。直到文本结尾,人们才看到了主人公走出黑暗的匿名空间,合理对待内部世界和外部世界,脱离“关系性前的关系”的可能性。In Nanae Aoyama's Window Light,the protagonist Midori begins her peeping behavior after starting her part-time job at a café.The narrative revolves around the increasing intensity of Midori's voyeurism.This study focuses on the internal narrative logic hidden within her repetitive peeping from the perspective of visual representation,analyzing the symbolic significance of her peeping targets.By doing so,this paper breaks away from the conventional interpretation framework of"coming-of-age stories".Introducing the emerging concept of"Yumejoshi"into the textual analysis,this research offers a postmodern interpretation of Midori's voyeurism and explores the evolving power dynamics in the act of"seeing and being seen".It is only at the end of the narrative that we witness the protagonist emerging from the darkness of an anonymous space,learning to navigate both her internal and external worlds,and finding the possibility of escaping the"pre-relational relationship".

关 键 词：青山七惠 《窗灯》 梦女子 偷窥 视觉表征 后现代主义 

分 类 号：H36[语言文字—日语]