가해의 역사를 계승한 ‘산증인’으로서 자기고백을 통한 일본 역사수정주의 비판 – 무라카미 하루키의 초기 단편 「중국행 슬로․보트」와 자전적 에세이 『고양이를 버리다』에 나타난 과거사에 대한 책임의식 고찰 –
Criticism of Japanese Historical Revisionism through Self-confession of ‘living witnesses’ Who Inherited the History of Perpetration - A Study of Haruki Murakami’s Sense of Responsibility for the Past in His Early Short Story <A Slow Boat to China> and Autobiographical Essay <Abandoning a Cat> -
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韓日両国の過去の歴史問題が解決されない中、日本国内で自らの信念を表明する代表的な人物として、現代作家である村上春樹がいる。村上春樹はこれまで、日本は被害国に対して謝罪すべきだという立場を明らかにしており、右翼勢力の反発にもかかわらず、さまざまな作品において過去の日本軍による蛮行を描いてきた。しかし、村上春樹がこのような批判的な意見を表明した背景には、加害国の一員、すなわち一般的な意味での「一人の日本人」としての謝罪意識ではなく、むしろ個人的な次元に由来するものであることに注目する必要がある。特に、2019年に発表した自伝的エッセイを通じて、作家が主張してきた謝罪意識の根源が個人的な経験に基づいていることが推測できる。 本研究は、村上春樹の父親の過去を検証する自伝的エッセイ『猫を棄てる』と、戦争および父親について言及したインタビューを中心に、作家の謝罪意識の根底が家族史に由来する罪悪感から生じたものであることを明らかにした。また、過去の歴史に関心を持ちながらも、自分の父親の行動を誇りに思えなかった作家の心理的葛藤がうかがえる初の短編「中国行きのスロウ・ボート」についても考察した。こうした村上春樹の自己告白は、前世代が犯した残虐な歴史を記憶する戦後世代が、真実を無視し沈黙することによって歪められた歴史修正主義が蔓延する現在の日本社会を生み出し、その危険性を作家自身が感じ取ったからである。 本研究は、村上春樹の作品が過去を歪曲する勢力に対抗し、過去の過ちを受け継いだ一人の証人として、正しい歴史を次の世代に伝える義務を示していることを究明した点において意義があると言える。
Abstract
As the historical issues between South Korea and Japan remain unresolved, Haruki Murakami stands out as a prominent figure in Japan who openly expresses his beliefs. Murakami has consistently maintained that Japan should apologize to the victimized countries, and despite opposition from right-wing forces, he has depicted the atrocities committed by the Japanese military in various works. However, it is important to note that Murakami’s expression of such critical views does not stem from a sense of guilt as a member of the perpetrator nation—meaning as “one Japanese individual” in a general sense—but rather from a deeply personal dimension. In particular, through his autobiographical essay published in 2019, it can be inferred that the roots of his apology consciousness are based on personal experiences. This study examines Murakami Haruki’s autobiographical essay Abandoning a Cat, which investigates his father’s past, as well as interviews in which he discusses war and his father. It reveals that the foundation of Murakami’s sense of apology originates from guilt rooted in his family history. Furthermore, it explores his first short story, A Slow Boat to China, which reflects the psychological conflict of a writer who was interested in history yet could not take pride in his father’s actions. Murakami’s self-confession suggests that post-war generations, who remember the brutal history committed by previous generations, have given rise to today’s Japan, where distorted historical revisionism prevails, by ignoring the truth and remaining silent—something the author himself has recognized as a serious danger. This study is significant in that it reveals how Haruki Murakami’s works resist forces that seek to distort history and how he, as a witness to inherited past wrongdoings, conveys the duty of passing on the correct historical narrative to future generations.