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村上春树在日本乃至世界文坛上都占有重要的地位。他进入日本文坛是在20世纪70年代,在随后的十几年间,他的作品在日本大受欢迎,并行销世界。他绝大部分作品都备受人们的喜爱,单篇作品发行量达到几十万、上百万,这在纯文学不景气的当今时代创造了文学奇迹。在90年代后期,村上春树的作品被大量翻译成中文,在中国受到极大的欢迎,至今依然很受欢迎。就他的中篇小说《且听风吟》而言,这部小说获得了1979年度的群像新人奖。在这部作品里,村上春树对自己的文学创作理念进行了阐述,让这部作品看起来像一篇文学宣言。本文将从作者的创作动机、语言的创新艺术、心灵的叩问三个方面对村上春树的文学观进行考察,希望能够帮助人们更好地理解他的为人和作品。
Haruki Murakami in Japan and the world literary arena occupy an important position. He entered the Japanese literary arena in the 1970s, and in the following ten years, his works were very popular in Japan and marketed the world. Most of his works are much loved by the public. The circulation of individual works reaches hundreds of thousands and millions, creating a literary miracle in today’s era of slump in pure literature. In the late 1990s, Haruki Murakami’s works were largely translated into Chinese and greatly welcomed in China, which is still popular today. For his novella “and listen to Yin”, this novel won the 1979 group portrait award. In this work, Haruki Murakami elaborated on his idea of literary creation, making the work look like a literary declaration. This article will examine Haruki Murakami’s literary concept from three aspects: the motivation of the author’s creation, the art of language innovation, and the spiritual inquiry, hoping to help people to better understand his works and his works.