본문 바로가기
KERD
논문KCI 등재

무라카미 하루키(村上春樹)의 「거울(鏡)」론 - 소리의 양상과 역할을 중심으로 -

Haruki Murakami’s Theory of “Mirror” - Focusing on the aspect and role of sound –

0

조회

0

다운로드

2

인용

0

참고문헌

키워드

주제분류기타인문학

초록

This paper reflects on the aspect and role of sound in Haruki Murakami’s short story called “Mirror.” After upon reflection, it could be concluded that the sound maximizes the fearful atmosphere which underlies in the story, and effectively forms three-dimensional shape in the short story. Also, the sound changes accordingly to the flow of time and the sound occurring from the external environment penetrates deeply into the mind of humans that it represents complicated state of mind symbolically. In addition, the ‘I’, main character, gain a possibility to overcome persistent unresolved trauma by telling others about scary experience which was never mentioned until now. Especially, there are ‘I’ who talk from beginning to end and an audience who listens to the main character’s story. Such structure connects the writer and readers, and the readers who are listening to the writer’s story can find the possibility of recovery by telling others about painful experience from the past which dominates one’s current present. This is “the power of story” that the writer wants to tell through this short story.

Abstract

This paper reflects on the aspect and role of sound in Haruki Murakami’s short story called “Mirror.” After upon reflection, it could be concluded that the sound maximizes the fearful atmosphere which underlies in the story, and effectively forms three-dimensional shape in the short story. Also, the sound changes accordingly to the flow of time and the sound occurring from the external environment penetrates deeply into the mind of humans that it represents complicated state of mind symbolically. In addition, the ‘I’, main character, gain a possibility to overcome persistent unresolved trauma by telling others about scary experience which was never mentioned until now. Especially, there are ‘I’ who talk from beginning to end and an audience who listens to the main character’s story. Such structure connects the writer and readers, and the readers who are listening to the writer’s story can find the possibility of recovery by telling others about painful experience from the past which dominates one’s current present. This is “the power of story” that the writer wants to tell through this short story.

참고문헌 (13)

  1. 윤혜영, "『그 후(それから)』에 있어서의 소리의 역할", 일본문화연구, (24), pp.369~384 (2007), 동아시아일본학회
  2. 浅利文子, "村上春樹 物語の力" (2013), 翰林書房
  3. 跡上史郎, "村上春樹「鏡」のあちら側とこちら側: 一九八〇年代から『1Q84』まで (特集 文学の一九八〇年代)", 昭和文学研究, 68, pp.28~40 (2014)
  4. 加藤義信, "村上春樹の小説にみる鏡像体験の諸相", あいち国文, 1, pp.37~49 (2007)
  5. 河合隼雄·村上春樹, "村上春樹、河合隼雄に会いにいく" (1997), 岩波書店
  6. 北村隆志, "話題作を読む 村上春樹『女のいない男たち』と夏目漱石", 民主文学, 589, pp.122~125 (2014)
  7. 鈴木宏明, "「語り」の中に現れる「聞き手」-國語敎科書の村上春樹作品-", pp.18~22 (2011), 早稲田大学大学院教育研究科紀要
  8. 西田谷洋, "「僕」の亡霊たち -村上春樹「鏡」論", 金沢大学語学・文学研究, pp.30~39 (2008)
  9. 中村三春, "出来事を核に複数の物語を構造化する語り口. 村上春樹がわかる" (2001), 朝日新聞社
  10. 福沢健, "村上春樹「鏡」を読む -僕が大人になれない物語", 流通科学研究, 8(1), pp.91~100 (2008)
  11. 森正人, "鏡にうつる他者としての自己: 夏目漱石・芥川龍之介・遠藤周作・村上春樹", 国語国文学硏究, 46, pp.46~57 (2011)
  12. 洋泉社編集部, "村上春樹全小説ガイドブック" (2013), 洋泉社
  13. 洋泉社編集部, "村上春樹全作品 1979-1989 短篇集Ⅱ, 5" (2013), 講談社

관련 논문AI추천

이 간행물의 다른 논문 (17건)