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村上春樹『ダンス・ダンス・ダンス』論 - イメージの世界を生きる「僕」-

Haruki Marakami’s Dance Dance Dance: ‘Boku’ living in the world of image

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The scene where Boku, the main character in Murakami’s novel Dance Dance Dance, meets sheep man and talks about his problems (‘about the situation I am in’) is important because Boku’s problem awareness and the theme of the novel are implied. The main purpose of this paper is to clarify the substance of Boku’s problem concretely through the analysis of Boku’s daily life. My current job (producing PR magazines and corporate brochures, interviewing teen idols for women’s magazines, and writing gourmet articles) is to spread the image of distorting the truth of reality to the world, and I am acutely aware of it. Both the striking simplification of stories in films (compared with novels) and the star system in commercial cinema, bring a sense of déjà vu about the plot and development of movie story. In an environment where video images are flooding, Boku’s thoughts and imaginations are developed in video images as a basic unit. This makes human thinking more passive than active. The strengthening of these tendencies has led to a decomposition in Boku’s sense of reality (mixing of video images and reality), and is at the heart of Boku’s awareness of problems with reality.

Abstract

The scene where Boku, the main character in Murakami’s novel Dance Dance Dance, meets sheep man and talks about his problems (‘about the situation I am in’) is important because Boku’s problem awareness and the theme of the novel are implied. The main purpose of this paper is to clarify the substance of Boku’s problem concretely through the analysis of Boku’s daily life. My current job (producing PR magazines and corporate brochures, interviewing teen idols for women’s magazines, and writing gourmet articles) is to spread the image of distorting the truth of reality to the world, and I am acutely aware of it. Both the striking simplification of stories in films (compared with novels) and the star system in commercial cinema, bring a sense of déjà vu about the plot and development of movie story. In an environment where video images are flooding, Boku’s thoughts and imaginations are developed in video images as a basic unit. This makes human thinking more passive than active. The strengthening of these tendencies has led to a decomposition in Boku’s sense of reality (mixing of video images and reality), and is at the heart of Boku’s awareness of problems with reality.

참고문헌 (9)

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  5. 友里征耶, "グルメの嘘", pp.31~ (2009), 新潮社
  6. ブーアスティン(ダニエル・J.), "幻影の時代―マスコミが製造する事実", pp.19~ (1964), 東京創元社
  7. ボードリヤール(ジャン), "シミュラークルとシミュレーション" (1984), 法政大学出版局
  8. 村上春樹, "村上春樹全作品1979~1989第7巻", pp.ⅳ~ⅴ (1991), 講談社
  9. 村上春樹, "ダンス・ダンス・ダンス 上巻, 下巻", pp.31~ (2004), 講談社

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