村上春树与余华、王小波作品反暴力意识比较研究
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摘要
虽然和平与发展为当今时代的主题,但人们不得不承认,暴力现象、暴力行为仍然经常出现在我们的生活之中。在人类社会如此期待和呼吁和平的年代,暴力依然无法从生活中消失,这说明暴力行为产生的原因是深刻的、复杂的,而暴力本身所具有的历史、文化意义也同样是值得人们探讨和思考。无论是暴力现象的表面还是深层的东西,都代表着一定的时代背景和文化所特有的内容。在文学作品中,从古至今,暴力都是其内容的一个组成元素。对于暴力的解读有很多角度,以文学文化为着眼点就其中的一个。无论人们如何看待、评价暴力描写,其都是文学作品中反映生活的部分之一。与此同时,暴力描写往往还具有推动作品故事情节、增强作品感情和烘托氛围的作用。因此,文学中的暴力往往有许多值得人们去思考的内容。
本文以村上春树和余华、王小波为例,对他们文学作品中的暴力描写进行了比较,同时还进一步地谈及这些内容反映出的思想意识。更重要的是,通过这些文字表面的暴力描写,更深入地、间接地感受他们的反暴力意识。通过对反暴力意识的比较,得出村上春树与余华、王小波反暴力意识的异同。这些异同不仅仅是文字能力和作品内容的考虑,更重要的是从作家本身出发,并结合作品内容得出结论和判断。而通过对文学作品的分析,又可以反过来理解村上春树和余华、王小波本身的反暴力思想的形成原因。
在对村上春树和余华、王小波的反暴力意识进行比较时,主要是从三个方面出发:一、关于暴力的历史反思;二、反暴力意识的平民关怀;三、文学中的软暴力现象。从作品出发,暴力描写主要是面对历史事件、现代生活。此外,从创新的角度出发,文学中的软暴力现象也需要进行归纳和总结。而且随着时代的发展变化,暴力也有了新的形式和内容,软暴力现象逐渐走进人们的日常生活之中。因此,在进行反暴力意识比较时,软暴力同样也是一个方面。
对于村上春树与余华、王小波反暴力意识异同形成的原因,主要是通过对历史、现代生活中各种文化元素进行考虑。以一、成长经历;二、价值观;三、文化。三个角度为出发点,从社会和个人两个方面为基础全面地分析。反暴力意识异同形成的原因往往比较复杂,按照前文异同比较的内容,相对应地得出结论。无论是村上春树还是余华、王小波,反暴力意识的形成和发展都是一个长期的过程。在这个过程中,意识来源于作者对生活的理解和认识,因此作品又回到了生活本身。
所以,村上春树与余华、王小波的反暴力意识在文学中的价值就在于:一、以文字的形式表达民众对于非正义暴力的反对之情;二、慰藉了人们精神意识层面的无助和创痛;三、引发了人们对于文学中、生活中软暴力现象的思考。
作家受大众的支持,自然符合主流的价值标准。文学源于生活,也将作用于生活本身。
Even though peace and development is the theme in our time, we have to say violence and force still exit nowadays. In the peaceful society, violence never dispear in our daily life, which shows the root of that behavior is deep and complex. Besides, its history and culture is also worth for us to argue and contemplate. Whatever the appearance and its root of violence, they all represent the background and the culture in that time. Furthermore, in literature, violence is indeed an important element in all ages.However, violence itself has different meanings, for instance, literature and culture.No matter how people deal with and evaluate violence depiction, it is a kind of reflection for life. In the meanwhile. violence depiction plays an effective role to develop the polt, emphasize the emotion, and make up the atmosphere.
This passage deplores three authors--Haruki murakami, Hua Yu and Xiaobo Wang as example,and compare the difference among them in violence literature depiction. Moreover, it also studies its ideology.What is more vital is we can deeply and indirectly feel their wnon-violence idea. In the comparision, we can clearly come to a conclusion about the different ideas of these writers. The differences are not only the reflection of words itself and the content of works, but also combine the substance of wors to judge and make a decision according to writers themselves. In addition, we can understand three authors' wnon-violence's development reason by the analysis of works.
When I compare the nonviolence ideology of these writers, I study it from three aspects. First, it is regrading the history of wnon-violence. Second, it is common people's feelings. Third, it is the nonviolence in literature. In works, violence depiction is mainly including history event and modern life. Additionally, from creative aspect, nonviolence condition in literature also need to conclude. Nevertheless, with the development of society, violence has the new form and content and nonviolence phenomenon starts to be discovered in people's daily life. Thus, while comparing the difference of wnon-violence, we need to think about nonviolence.
The reason of violence ideology of three writers depends on history, modern life and various culture elements, such as experience of growth, sense of worth and culture. It also depends on society and individuals. Besides, the cause of wnon-violence ideology is complex, which is accroding to the front of works and comes to the conclusion comparativly. The form of wnon-violence ideology is a long history, no matter Haruki murakami, Hua Yu and Xiaobo Wang. In the process, idea originates from writers' understanding of life. So, works comes from life itself.
In the conclusion,three authors--Haruki murakami, Hua Yu and Xiaobo Wang's wnon-violence's worth of culure is based on three aspects. First and foremost,they use words to express their idea of nonviolence. Then, it is a kind of way to comfort public's pain and helplessness. In the end, it leads people to deliberate nonviolence in literature and real life.
Authors' ideology is supported by the public and naturally reflect main worth of people. Literature comes from life and plays a role in life too.
本文以村上春树和余华、王小波为例,对他们文学作品中的暴力描写进行了比较,同时还进一步地谈及这些内容反映出的思想意识。更重要的是,通过这些文字表面的暴力描写,更深入地、间接地感受他们的反暴力意识。通过对反暴力意识的比较,得出村上春树与余华、王小波反暴力意识的异同。这些异同不仅仅是文字能力和作品内容的考虑,更重要的是从作家本身出发,并结合作品内容得出结论和判断。而通过对文学作品的分析,又可以反过来理解村上春树和余华、王小波本身的反暴力思想的形成原因。
在对村上春树和余华、王小波的反暴力意识进行比较时,主要是从三个方面出发:一、关于暴力的历史反思;二、反暴力意识的平民关怀;三、文学中的软暴力现象。从作品出发,暴力描写主要是面对历史事件、现代生活。此外,从创新的角度出发,文学中的软暴力现象也需要进行归纳和总结。而且随着时代的发展变化,暴力也有了新的形式和内容,软暴力现象逐渐走进人们的日常生活之中。因此,在进行反暴力意识比较时,软暴力同样也是一个方面。
对于村上春树与余华、王小波反暴力意识异同形成的原因,主要是通过对历史、现代生活中各种文化元素进行考虑。以一、成长经历;二、价值观;三、文化。三个角度为出发点,从社会和个人两个方面为基础全面地分析。反暴力意识异同形成的原因往往比较复杂,按照前文异同比较的内容,相对应地得出结论。无论是村上春树还是余华、王小波,反暴力意识的形成和发展都是一个长期的过程。在这个过程中,意识来源于作者对生活的理解和认识,因此作品又回到了生活本身。
所以,村上春树与余华、王小波的反暴力意识在文学中的价值就在于:一、以文字的形式表达民众对于非正义暴力的反对之情;二、慰藉了人们精神意识层面的无助和创痛;三、引发了人们对于文学中、生活中软暴力现象的思考。
作家受大众的支持,自然符合主流的价值标准。文学源于生活,也将作用于生活本身。
Even though peace and development is the theme in our time, we have to say violence and force still exit nowadays. In the peaceful society, violence never dispear in our daily life, which shows the root of that behavior is deep and complex. Besides, its history and culture is also worth for us to argue and contemplate. Whatever the appearance and its root of violence, they all represent the background and the culture in that time. Furthermore, in literature, violence is indeed an important element in all ages.However, violence itself has different meanings, for instance, literature and culture.No matter how people deal with and evaluate violence depiction, it is a kind of reflection for life. In the meanwhile. violence depiction plays an effective role to develop the polt, emphasize the emotion, and make up the atmosphere.
This passage deplores three authors--Haruki murakami, Hua Yu and Xiaobo Wang as example,and compare the difference among them in violence literature depiction. Moreover, it also studies its ideology.What is more vital is we can deeply and indirectly feel their wnon-violence idea. In the comparision, we can clearly come to a conclusion about the different ideas of these writers. The differences are not only the reflection of words itself and the content of works, but also combine the substance of wors to judge and make a decision according to writers themselves. In addition, we can understand three authors' wnon-violence's development reason by the analysis of works.
When I compare the nonviolence ideology of these writers, I study it from three aspects. First, it is regrading the history of wnon-violence. Second, it is common people's feelings. Third, it is the nonviolence in literature. In works, violence depiction is mainly including history event and modern life. Additionally, from creative aspect, nonviolence condition in literature also need to conclude. Nevertheless, with the development of society, violence has the new form and content and nonviolence phenomenon starts to be discovered in people's daily life. Thus, while comparing the difference of wnon-violence, we need to think about nonviolence.
The reason of violence ideology of three writers depends on history, modern life and various culture elements, such as experience of growth, sense of worth and culture. It also depends on society and individuals. Besides, the cause of wnon-violence ideology is complex, which is accroding to the front of works and comes to the conclusion comparativly. The form of wnon-violence ideology is a long history, no matter Haruki murakami, Hua Yu and Xiaobo Wang. In the process, idea originates from writers' understanding of life. So, works comes from life itself.
In the conclusion,three authors--Haruki murakami, Hua Yu and Xiaobo Wang's wnon-violence's worth of culure is based on three aspects. First and foremost,they use words to express their idea of nonviolence. Then, it is a kind of way to comfort public's pain and helplessness. In the end, it leads people to deliberate nonviolence in literature and real life.
Authors' ideology is supported by the public and naturally reflect main worth of people. Literature comes from life and plays a role in life too.
引文
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[27]岑朗天.村上春树与后虚无年代[M].北京:新星出版社,2006
[28]陈丹青.退步集[M].桂林:广西师范大学出版社,2005
[29]顾准.顾准文集[M].北京:中国市场出版社,2006
[30]梁文道.我读[M].上海:上海三联书店,2010
[31]林少华.村上春树和他的作品[M].银川:宁夏人民出版社,2005
[32]林少华.为了灵魂的自由[M].北京:中国友谊出版公司,2010
[33]刘立善.广岛星霜[M].沈阳:沈阳出版社,2000
[34]刘立善.没有经卷的宗教:日本神道[M].银川:宁夏人民出版社,2004
[35]刘立善.日本近现代文学流派史[M].沈阳:辽宁大学出版社,2007
[36]刘立善.日本文学的伦理意识[M].沈阳:春风文艺出版社,2002
[37]刘铁.静观世界——社会·人生的泛文学思考[M].香港:中国文化艺术出版社,2005
[38]刘小枫.这一代人的怕和爱[M],北京:华夏出版社,2007
[39]卢军.救赎与超越——中国现当代作家直面苦难精神解读[M].济南:齐鲁书社,2007
[40]钱理群.拒绝遗忘:钱理群文选[M].北京:中国大百科全书出版社,2009
[41]王世诚.向死而生:余华[M].上海:上海人民出版社,2005
[42]王小波.白银时代[M].广州:花城出版社,1997
[43]王小波.沉默的大多数[M].上海:上海三联书店,2008
[44]王小波.黄金时代[M].广州:花城出版社,1997
[45]王小波.青铜时代[M].广州:花城出版社,1997
[46]新华词典编纂组[M].新华词典,北京:商务印书馆,1989
[47]杨炳菁.后现代语境中的村上春树[M].北京:中央编译出版社,2009
[48]余华.黄昏里的男孩[M].北京:新世界出版社,1999
[49]余华.活着[M].海口:南海出版公司,1998
[50]余华.世事如烟[M].北京:新世界出版社,1999
[51]余华.我胆小如鼠[M].北京:新世界出版社,1999
[52]余华.鲜血梅花[M].北京:新世界出版社,1999
[53]余华.现实一种[M].北京:新世界出版社,1999
[54]余华.兄弟[M].北京:作家出版社,2007
[55]余华.许三观卖血记[M].北京:作家出版社,2008
[56]余华.在细雨中呼喊[M].北京:作家出版社,2008
[57]余华.战栗[M].北京:新世界出版社,1999
[58]余秋雨.文化苦旅[M].上海:东方出版中心,2003
[59]赵子祥王铁军编著.文化差异与冲突:中日文化精神与国民性的社会学比较[C].沈阳:辽宁人民出版社,2009
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[1]李莹.村上春树的鸡蛋与墙——对话村上春树译者林少华[J].南风窗,2009(20):89
[2]林少华.作为斗士的村上春树——村上文学中被东亚忽视的东亚视角[J].外国文学评论,2009(1):110
[3]余华.一个记忆回来了[J].文艺争鸣,2010(1):63
①林少华.现实与非现实之间[M]. [日]村上春树.萤[M].林少华译,上海:上海译文出版社,2009:2
②[美]杰·鲁宾.倾听村上春树:村上春树的艺术世界[M].冯涛译,上海:上海译文出版社,2006:158
①李莹.村上春树的鸡蛋与墙——对话村上春树译者林少华[J].南风窗,2009(20):89
②林少华.作为斗士的村上春树——村上文学中被东亚忽视的东亚视角[J].外国文学评论,2009(1):110
①王世诚.向死而生:余华[M].上海:上海人民出版社,2005:206—207
①[印]阿马蒂亚·森.身份与暴力——命运的幻象[M].李风华,陈昌升和袁德良译.北京:中国人民大学出版社,2009:152
①林少华.关于村上的变化[N].中华图书商报,2003年9月.林少华.村上春树和他的作品[M].银川:宁夏人民出版社,2005:159
①[美]杰·鲁宾.倾听村上春树:村上春树的艺术世界[M].冯涛译,上海:上海译文出版社,2006:100
②林少华.为了灵魂的自由[M].北京:中国友谊出版公司,2010:24
①余华.许三观卖血记[M].北京:作家出版社,2008:162
②[美]杰·鲁宾.倾听村上春树:村上春树的艺术世界[M].冯涛译,上海:上海译文出版社,2006:222
①林少华.作为斗士的村上春树——村上文学中被东亚忽视的东亚视角[J].外国文学评论,2009(1):110
②[美]杰·鲁宾.倾听村上春树:村上春树的艺术世界[M].冯涛译,上海:上海译文出版社,2006:223—224
①[印]阿马蒂亚·森.身份与暴力——命运的幻象[M].李风华陈昌升袁德良译,北京:中国人民大学出版社,2009:3
②卢军.救赎与超越——中国现当代作家直面苦难精神解读[M].济南:齐鲁书社,2007:173
①[日]村上春树.天黑以后[M].林少华译,上海:上海译文出版社,2007:133
②1995年3月20日,东京遭受了日本有史以来最严重的恐怖袭击。在早上的交通高峰时段,奥姆真理教恐怖组织成员在地铁网络中释放沙林毒气,将5,000人笼罩在致命气体的包围中。(引自百度百科[EB/OL]http://baike.baidu.com/view/145188.htm)
③[日]黒古一夫.村上春树:转换中的迷失[M].秦刚,王海蓝译,北京:中国广播电视出版社,2008:155
①[美]杰·鲁宾.倾听村上春树:村上春树的艺术世界[M].冯涛译,上海:上海译文出版社,2006:298
②余华.许三观卖血记[M].北京:作家出版社,2008:2
①王小波.知识分子的不幸[M].引自王小波.沉默的大多数[M].上海:上海三联书店,2008:27
②刘立善.日本文学的伦理意识[M].沈阳:春风文艺出版社,2003:295
③[日]村上春树.海边的卡夫卡[M].林少华译,上海:上海译文出版社,2003:216
①王小波.黄金时代[M].广州:花城出版社,1997:354
②王小波.黄金时代[M].广州:花城出版社,1997:354
①余华.在细雨中呼喊[M].北京:作家出版社,2008:233—234
①[美]杰·鲁宾.倾听村上春树:村上春树的艺术世界[M].冯涛译,上海:上海译文出版社,2006:23—24
①林少华.为了灵魂的自由[M].北京:中国友谊出版公司,2010:121
②[美]杰·鲁宾.倾听村上春树:村上春树的艺术世界[M].冯涛译,上海:上海译文出版社,2006:27
③[美]杰·鲁宾.倾听村上春树:村上春树的艺术世界[M].冯涛译,上海:上海译文出版社,2006:27—28
①梁文道.我读[M].上海:上海三联书店,2010:81
②余华.一个记忆回来了[J].文艺争鸣,2010(1):63
③王小波.生活和小说[M].引自王小波.沉默的大多数[M].上海:上海三联书店,2008:227
①余华.一个记忆回来了[J].文艺争鸣,2010(1):63
①林少华.村上春树和他的作品[M].宁夏人民出版社,2005:2
②[日]村上春树.舞!舞!舞![M].林少华译,上海:上海译文出版社,2007:227
③林少华.为了灵魂的自由[M].北京:中国友谊出版公司,2010:109
①[日]村上春树.舞!舞!舞![M].林少华译,上海:上海译文出版社,2007:99
①[美]杰·鲁宾.倾听村上春树:村上春树的艺术世界[M].冯涛译,上海:上海译文出版社,2006:90
①[日]村上春树.当我谈跑步时,我谈些什么[M].施小炜译,海口:南海出版社,2009:86
②[美]露丝·本尼狄克特.菊与刀[M].北塔译,上海:上海三联书店,2007:139
③[英]亨利·斯各特·斯托克斯.美与暴烈:三岛由纪夫的生与死,[M].上海:上海书店出版社,2007:43
④[美]露丝·本尼狄克特.菊与刀[M].北塔译,上海:上海三联书店,2007:138
⑤[美]露丝·本尼狄克特.菊与刀[M].北塔译,上海:上海三联书店,2007:138
①刘小枫.当代中国文学的景观转换[M].引自刘小枫.这一代人的怕和爱[M].北京:华夏出版社,2007:251
②赵子祥王铁军编著.文化差异与冲突:中日文化精神与国民性的社会学比较[C].沈阳:辽宁人民出版社,2009:138—139
[1] [奥]茨威格.人类的群星闪耀时[M].舒昌善译,桂林:广西师范大学出版社,2004
[2] [美]杰·鲁宾.倾听村上春树:村上春树的艺术世界[M].冯涛译,上海:上海译文出版社,2006
[3] [美]露丝·本尼狄克特.菊与刀[M].北塔译,上海:上海三联书店,2007
[4] [日]村上春树.1973年的弹子球[M].林少华译,上海:上海译文出版社,2008
[5] [日]村上春树.村上朝日堂的卷土重来[M].林少华译,上海:上海译文出版社,2004
[6] [日]村上春树.当我谈跑步时,我谈些什么[M].施小炜译,海口:南海出版社,2009
[7] [日]村上春树.东京奇谭集[M].林少华译,上海:上海译文出版社,2006
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[10] [日]村上春树.挪威的森林[M].林少华译,上海:上海译文出版社,2007
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[14] [日]村上春树.天黑以后[M].林少华译,上海:上海译文出版社,2007
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[16] [日]村上春树.旋转木马鏖战记[M].林少华译,上海:上海译文出版社,2009
[17] [日]村上春树.寻羊冒险记[M].林少华译,上海:上海译文出版社,2007
[18] [日]村上春树.萤[M].林少华译,上海:上海译文出版社,2009
[19] [日]村上春树.遇到百分之百的女孩[M].林少华译,上海:上海译文出版社,2008
[20] [日]村上春树.再袭面包店[M].林少华译,上海:上海译文出版社,2008
[21] [日]黒古一夫.村上春树:转换中的迷失[M].秦刚,王海蓝译,北京:中国广播电视出版社,2008
[22] [日]芥川龙之介.罗生门[M].林少华译,上海:上海译文出版社,2008
[23] [日]内田树.当心村上春树[M].杨伟,蒋葳译,重庆:重庆出版社,2009
[24] [日]夏目漱石.心[M].林少华译,青岛:青岛出版社,2005
[25] [印]阿马蒂亚·森.身份与暴力——命运的幻象[M].李风华陈昌升袁德良译,北京:中国人民大学出版社,2009
[26] [英]亨利·斯各特·斯托克斯.美与暴烈:三岛由纪夫的生与死,[M].上海:上海书店出版社,2007
[27]岑朗天.村上春树与后虚无年代[M].北京:新星出版社,2006
[28]陈丹青.退步集[M].桂林:广西师范大学出版社,2005
[29]顾准.顾准文集[M].北京:中国市场出版社,2006
[30]梁文道.我读[M].上海:上海三联书店,2010
[31]林少华.村上春树和他的作品[M].银川:宁夏人民出版社,2005
[32]林少华.为了灵魂的自由[M].北京:中国友谊出版公司,2010
[33]刘立善.广岛星霜[M].沈阳:沈阳出版社,2000
[34]刘立善.没有经卷的宗教:日本神道[M].银川:宁夏人民出版社,2004
[35]刘立善.日本近现代文学流派史[M].沈阳:辽宁大学出版社,2007
[36]刘立善.日本文学的伦理意识[M].沈阳:春风文艺出版社,2002
[37]刘铁.静观世界——社会·人生的泛文学思考[M].香港:中国文化艺术出版社,2005
[38]刘小枫.这一代人的怕和爱[M],北京:华夏出版社,2007
[39]卢军.救赎与超越——中国现当代作家直面苦难精神解读[M].济南:齐鲁书社,2007
[40]钱理群.拒绝遗忘:钱理群文选[M].北京:中国大百科全书出版社,2009
[41]王世诚.向死而生:余华[M].上海:上海人民出版社,2005
[42]王小波.白银时代[M].广州:花城出版社,1997
[43]王小波.沉默的大多数[M].上海:上海三联书店,2008
[44]王小波.黄金时代[M].广州:花城出版社,1997
[45]王小波.青铜时代[M].广州:花城出版社,1997
[46]新华词典编纂组[M].新华词典,北京:商务印书馆,1989
[47]杨炳菁.后现代语境中的村上春树[M].北京:中央编译出版社,2009
[48]余华.黄昏里的男孩[M].北京:新世界出版社,1999
[49]余华.活着[M].海口:南海出版公司,1998
[50]余华.世事如烟[M].北京:新世界出版社,1999
[51]余华.我胆小如鼠[M].北京:新世界出版社,1999
[52]余华.鲜血梅花[M].北京:新世界出版社,1999
[53]余华.现实一种[M].北京:新世界出版社,1999
[54]余华.兄弟[M].北京:作家出版社,2007
[55]余华.许三观卖血记[M].北京:作家出版社,2008
[56]余华.在细雨中呼喊[M].北京:作家出版社,2008
[57]余华.战栗[M].北京:新世界出版社,1999
[58]余秋雨.文化苦旅[M].上海:东方出版中心,2003
[59]赵子祥王铁军编著.文化差异与冲突:中日文化精神与国民性的社会学比较[C].沈阳:辽宁人民出版社,2009
[60]朱学勤.书斋里的革命[M].昆明:云南人民出版社,2006
[1]李莹.村上春树的鸡蛋与墙——对话村上春树译者林少华[J].南风窗,2009(20):89
[2]林少华.作为斗士的村上春树——村上文学中被东亚忽视的东亚视角[J].外国文学评论,2009(1):110
[3]余华.一个记忆回来了[J].文艺争鸣,2010(1):63