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战后,一批女性作家开始登上日本文坛,打破了男性作家霸据文坛的局面,其中柳美里创作的长篇小说《家庭电影》荣获第116届芥川文学奖,引起了日本文坛对她的极大关注。柳美里之所以能引起日本文坛对她的关注,除了与其丰硕的写作成果有关,更值得注意的是她的创作身份。她是一名在日韩国人,虽然她在日本出生长大,但她却流着韩国人的血。历史赋予这一身份不可抹灭的印迹,而这一印迹势必会潜移默化地体现在其文学创作中。虽然柳美里的文学创作很少直接触及政治或社会问题,但如果我们有意识地以在日朝鲜人的身份视角去透视其文学作品,就不难发现其中蕴含着的身份书写,尤其是殖民意识的体现。
After the war, a group of female writers began to board the Japanese literary world, breaking the male writer dominated the literary world. The novel “Home movie” by Liu Meili won the 116th Uchikawa Literary Prize, which aroused Japanese polemic to her pole Big concern. The reason why Liu Meiri can arouse the attention of Japanese literary circles is not only related to her fruitful writing but also her creative identity. She is a native of Japan and South Korea. Although she was born and raised in Japan, she was bleeding Korean blood. History gives this indelible mark of identity, and this imprint is bound to be subtly reflected in its literary creation. Although Li Meili’s literary creation seldom directly touches on political or social issues, if we conscientiously look through the literary works in the perspective of the identity of Japanese and Korean people, we can easily find the identity writing, especially the colonial ideology reflect.