村上春樹《海邊的卡夫卡》中暴力與性關係的魔幻寫實論述

Abstract

本文旨在探討村上春樹（Haruki Mukarami）如何運用魔幻寫實（magical realism）論述模糊小說《海邊的卡夫卡》（Kafka on the Shore, 海辺のカフカ, 2002）中的虛實界線，以及透過該手法呈現小說中暴力與性關係兩大議題。這種手法不僅帶來閱讀樂趣與諸多闡釋的可能性，令該作品更具挑戰性，同時亦可引發讀者對此兩大議題的反思。 本論文第一章將介紹魔幻寫實主義的歷史背景與特色，以及村上春樹特有的魔幻寫實寫作風格與技巧。作者的魔幻寫實論述不僅模糊小說中虛實的界線、製造虛實交錯的現象，也隱含諸多諷喻。同時，村上透過魔幻寫實的手法點出兩大議題：暴力與性關係。而這些魔幻的元素亦可能超越一般的解釋與評論。 第二章針對小說中暴力的議題進行文本分析與可能的寓意式閱讀 （allegorical reading）。村上春樹在小說中描寫許多關於日本的二戰經驗，同時，角色的暴力行為也暗指相關倫理問題。這些描寫暗示了在和平主義（pacifism）與受害者（victimhood）論述的背後，戰後的道德責任與戰時日本作為侵略者的角色一直都存在。對日本人來說，如何面對二戰歷史、受害者╱加害者（victimization）的論述與相關的道德責任仍是一大挑戰。 第三章則分析《海邊的卡夫卡》中主角田村卡夫卡與櫻花的姐弟之情、與佐伯小姐的忘年戀╱亂倫以及卡夫卡父親的「伊底帕斯的詛咒」（the “Oedipal malediction”）。村上春樹在小說中顛覆了伊底帕斯情結（the Oedipus complex），並運用魔幻寫實的手法使「詛咒」成真。但事實上，角色的關係有著象徵性的意義，並隱含關於慾望（desire）流動投注的問題。小說中父親的死並非真正的死亡，反而暗示父權（paternity）一直存在。卡夫卡與櫻花的關係也絕非一般的姐弟之情，而包含著性幻想與慾望的壓抑。卡夫卡與佐伯小姐的曖昧關係，涉及複雜曖昧的慾望投注。

This thesis discusses Haruki Murakami’s magical realist treatments of violence and sexual relations in Kafka on the Shore (海辺のカフカ, 2002). His narrative not only blurs the boundary between the real and fantastic but also brings a special kind of reading pleasure, and defies any simple interpretations of the text. Through this means, the author deals with traumatic history obliquely, inviting readers to reflect on such important issues as violence and sex. Chapter One briefly introduces the history and characteristics of magical realism and explores Murakami’s particular kind of magical realist style. In Kafka on the Shore, Murakami confuses the real with the magical, creating ironic effects. I explain how Murakami complicates and problematizes violence and sexual relations. Chapter Two explores violence and ethical questions concerned in the novel. Murakami’s recurring depictions of the Japanese experiences of World War II and other violent historical events suggest that militarism, victimhood, and related ethical problems remain what the Japanese have to face. Chapter Three focuses on the protagonist Kafka Tamura’s unconventional relationships with Sakura and Miss Saeki, and the “Oedipal malediction” from Kafka’s father. On the one hand, the author has significantly transformed the features of the Oedipus complex with his magical realist writing. On the other, Kafka’s curious relationships with Sakura and Miss Saeki involve strange “sisterly” love and “motherly” love respectively, both are worthy of deeper enquiries.