| 在日常与非日常之间转换——1980年代前期村上春树的“寓言性文体”实验及其影响 |
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| 引用本文： | 卞梦薇.在日常与非日常之间转换——1980年代前期村上春树的“寓言性文体”实验及其影响[J].临沂师范学院学报,2014,36(5):66-69. |
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| 作者姓名： | 卞梦薇 |
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| 作者单位： | 北京师范大学文学院,北京,100875 |
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| 摘 要： | 《跳舞的小人》作为村上春树寓言性文体形成前期的作品,具备了村上春树日后创作中的诸多重要元素,可以被看做从《世界尽头与冷酷仙境》到《1Q84》一系列作品的雏形。从村上春树对日常与非日常关系的思考和创作实践入手,并重新检视《跳舞的小人》及其前后发表的作品在村上春树创作生涯中的意义,是对村上春树的"寓言性文体"进行探讨的必经之路。
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| 关 键 词： | 村上春树 日常与非日常 寓言性 双重世界 |
Transfer in Daily and Non-daily: An Experiment of Haruki Murakami about "Fable features Fiction" in the Early 1980s |
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| BIAN Meng-wei.Transfer in Daily and Non-daily: An Experiment of Haruki Murakami about "Fable features Fiction" in the Early 1980s[J].Journal of Linyi Teachers' College,2014,36(5):66-69. |
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| Authors: | BIAN Meng-wei |
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| Institution: | BIAN Meng-wei (School of Chinese Language and Literature, Beijing Normal University, Beijing 100875, China) |
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| Abstract: | Dancing Little Boy, as an early work before the formation of his fable style, has many vital elements in his later works, and can also be regarded as a prototype from his The End of the World and Cruel Fairland to 1Q84. The best way to analyze his fable features fiction is to explore the thinking and writing practice to daily and non-daily relations, and rechecking Dancing Little Boy and his other works around this one. |
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| Keywords: | Haruki Murakami daily and non-daily fable double world |
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