洛特里哥:“弃教”的约伯——论《沉默》中的互文性叙事  

Rodrigo: The “Abandoned” Job—On Intertextual Narrative in Silence

作　　者：张碧璇 

机构地区：[1]四川大学外国语学院,四川 成都

出　　处：《现代语言学》2024年第6期164-168,共5页Modern Linguistics

摘　　要：《沉默》是20世纪日本天主教文学家远藤周作的代表性作品,展现出了典型的互文性特征,即宗教历史与现实交互的叙事手法。远藤周作将主人公洛特里哥的信仰变化作为小说主轴,串联起上帝、殉教者、弃教者、异教徒的四种人物形象。他大量引用、仿作或隐喻经典文本、历史文本来构建风格独特的崭新的17世纪长崎文本,并将小说文本与宗教、历史构建成多元的互文本和互文化空间。洛特里哥与长崎教堂圣像石板上的脚印、历史上的西西里亚传教士凯拉、《圣经》中质疑上帝“沉默”的约伯、代表弱者的弃教徒吉次郎、日本文化中独有的母性的上帝之间形成了超越文本的互文性。这种叙事策略给作品带来了形式上的游戏快感和情感上的延迟满足。Silence, a representative work of the 20th century Japanese Catholic literary figure, Endō Shūsakudisplays a typical intertextual characterization, a narrative technique in which religious history and reality interact. Endō Shūsaku takes the protagonist Rodrigo’s change of faith as the main axis of the novel, linking up four types of characters: God, martyr, apostate, and pagan. He quotes, imitates, and metaphorically interprets classical and historical texts to create a new and unique seventeenth-century Nagasaki text, and builds a multifaceted intertextual and intercultural space between the novel’s text, religion, and history. An intertextuality that transcends the text is created between Rodrigo and the footprints on the iconostasis of the Nagasaki church, the historical Sicilian missionary Kayla, the Biblical Job who questions God’s “silence,” the outcast Kichijiro who represents the weak, and the motherly God that is unique to Japanese culture. This narrative strategy brings formal playfulness and emotional delayed gratification to the work.

关 键 词：《沉默》 互文性 远藤周作 文本间性 

分 类 号：G63[文化科学—教育学]