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Rice, Martha Emma. "Murakami Haruki: the problem of genre." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1346257976.
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楊詠賢 and Wing-yin Virginia Yeung. "Time in the novels of Murakami Haruki." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45697218.
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Salagnon, Benjamin. "L'intertextualité dans l'oeuvre romanesque de Murakami Haruki." Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30034.
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Murakami Haruki est probablement l'auteur le plus célèbre et le plus largement traduit de sa génération. Ce succès mondial, que la critique a parfois pu expliquer par l'occidentalisation de l'auteur, nous semble plutôt reposer sur une utilisation habile de l'intertextualité. Notre étude, après une présentation générale de la notion d'intertextualité, s'attache à déterminer les divers mouvements intertextuels chez l'auteur ; d'abord, en s'intéressant à l'intertextualité externe, qu'elle intervienne au plan microstructural, avec la référence et la citation, ou macrostructural, avec le pastiche et la parodie. Ensuite, en revenant sur l'intertextualité interne, également appelée intratextualité, si prégnante chez Murakami et qui structure son œuvre en réseau d'univers labiles. Nous verrons enfin que cette intertextualité massive pose question tant du point de vue critique, avec la problématique de la postmodernité, que du point de vue du lecteur, avec celle de la réception<br>Murakami Haruki is often said to be one of the most famous and most widely translated Japanese authors of his generation. This worldwide success, which have sometimes been explained by critics regarding the author's occidentalization, is, for us, rather based on a clever use of intertextuality. Our study, after a general presentation of the notion of intertextuality, sets out to determine the various intertextual movements in the author's works. First, by analyzing external intertextuality, whether it occurs on a microstructural (with references and quotations) or macrostructural plan (with the use of pastiche and parody). Then, by analyzing internal intertextuality (also called intratextuality), which structures his works in a labile worlds' network. We will finally see that this massive intertextuality is an important issue both for critical (with the question of postmodernity) and reader's (with the question of reception of the works) points of view
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Kakoi, Naoko. "Representation of war and history in Murakami Haruki's The wind-up bird chronicle." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38682783.
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Paulsrud, Ludvig. "Watashi wo aishite – älska mig : En lacaninspirerad läsning av Haruki Murakamis Sputnik Sweetheart." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-181175.
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Dil, Jonathan. "Murakami Haruki and the search for self-therapy." Thesis, University of Canterbury. Languages and Cultures, 2008. http://hdl.handle.net/10092/1004.
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This thesis offers a reading of the first eleven novels of popular Japanese novelist Murakami Haruki, as well as a selected number of his short-stories and non-fictional works, as an evolving therapeutic discourse. In short, it is a response to Murakami's own claim to have started writing fiction as a means of self-therapy. Murakami, I will argue, is primarily responding to existential anxieties that have been magnified by conditions of cultural decline in late-capitalist Japan. His resulting therapeutic discourse shares interesting parallels with certain psychoanalytic theories of the twentieth century. Previous psychoanalytic readings of Murakami's work have tended to take either the writings of Carl Jung or Jacques Lacan as their starting point. This thesis will argue, however, that both theoretical frameworks are needed if one is to truly understand where Murakami is coming from. This kind of therapeutic reading might seem to justify those critics who see only the escapist elements in Murakami's fiction and who fault him for failing to engage fully with the important political and social issues of his day. In fact, a therapeutic reading, I will argue, is the best way to see how closely related Murakami's search for self-therapy and his growing search for commitment really are.
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Chan, Kam-fai, and 陳錦輝. "Disappearing in Japan: a study of Murakami Haruki." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29792988.
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Ward, Peter Joseph. "Animals in the Fiction of John Irving and Haruki Murakami." Thesis, University of Canterbury. Humanities, 2012. http://hdl.handle.net/10092/7544.
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This thesis examines animals in the fiction of John Irving and Haruki Murakami, two authors who have much in common, contemporaries whose work is both commercially successful and regarded as literary. Different in that Irving works within a traditional realist framework while Murakami delves into the magical, each includes animals in his fiction. They employ anthropomorphism and zoomorphism in a variety of ways and demonstrate how animals, as Claude Levi-Strauss puts it, are “good to think with”. I draw on the work of Erica Fudge in an overview of thinking with animals and examine the role of anthropomorphism and how it complements animal advocacy and liberationism in Irving’s Setting Free the Bears. I compare and contrast anthropomorphism and zoomorphism in The Hotel New Hampshire. In doing this, I complicate and challenge Wendy Doniger’s assertion that “sexuality makes humans into animals; language makes animals into humans”. This also applies to Murakami’s animals, who have further roles including enabling engagement with a magical dimension. I argue that, as instantiated in both writers’ fiction, animals evoke thought effectively largely because they are, as John Berger puts it, “both like and unlike”, and as Fudge identifies, that the “paradox of like and not like…exists in our fascination with animals”. My argument is that it is this very paradox, that they are simultaneously both “them” and “us”, along with other factors, such as the diversity, versatility and the inherent ambiguity of animals, that renders them fascinating. Furthermore, Murakami’s magically real animals link conceptual realms that are conventionally separate and facilitate criticism and challenging of conventional human hegemonic structures while operating outside national and cultural boundaries. In summary, Irving’s and Murakami’s animals are good to think with for many reasons, not despite their enigmatic furry ambiguity, but largely because of it.
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Akins, Midori Tanaka. "Time and space reconsidered : the literary landscape of Murakami Haruki." Thesis, SOAS, University of London, 2012. http://eprints.soas.ac.uk/15631/.
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Bates, David Christopher. "Religion and the sacred in the works of Haruki Murakami." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/192981.
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This dissertation demonstrates how the Japanese novelist Haruki Murakami infuses religious concepts and sacred motifs into his works, generally through surreal events and otherworldly encounters that defy purely realist interpretations. The literary use of these images and themes encourage the author’s unique stylistic mood as well as subsequent magic realist readings, where everyday occurrences are interjected by providential asides and often overt references to the supernatural.
This study of Murakami also helps to demonstrate how his postmodern works might be viewed in light of widely accepted narratives from varying religions. Certain trends are established in Murakami, especially via themes like isolation and loneliness, which help replace the traditional search for God with an internal quest for meaning through investigations of identity. This is especially accomplished using the Japanese I-Novel form. The addition of dreams and alternative realities, another common topic, represent other worlds in his fiction that mask Heaven and Hell. The sacred is also habitually linked with the profane and cultish behaviour, casting traditional religious concepts in a negative light.
Throughout his career, Murakami has often incorporated a range of ideas from all manner of religious systems, specifically Buddhism, Christianity, and folk mythology. This dissertation, then, addresses a range of critical views on Murakami's fiction, especially considering thematic shifts in later works like 1Q84, which feature concepts of religion and the sacred in a more blatant way.<br>published_or_final_version<br>English Studies<br>Master<br>Master of Arts
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Strecher, Matthew Carl. "Hidden texts and nostalgic images : the serious social critique of Murakami Haruki /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/11134.
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Karashima, David James. "The translating, rewriting and reproducing of Haruki Murakami for the anglophone market." Doctoral thesis, Universitat Rovira i Virgili, 2013. http://hdl.handle.net/10803/127107.
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Haruki Murakami es el escritor japonés contemporáneo más leído en la actualidad. Sus libros han sido traducidos a más de cuarenta idiomas, se han convertido en un superventas en muchos países y han cosechado elogios de la crítica internacional. Los críticos suelen señalar ciertas características y temas en la obra de Murakami para explicar su éxito en variados contextos culturales y nacionales. Sin embargo, si bien no hay ninguna duda de que los mundos ficticios de Murakami han logrado conectarse con lectores a nivel mundial, su éxito no se puede entender solo con el análisis de sus obras. La mayoría de la literatura japonesa traducida al inglés es producida y publicada de forma marginal por industrias editoriales estadounidenses e inglesas para audiencias relativamente limitadas. En gran medida, esto ha sido posible gracias al patrocinio del gobierno y organizaciones culturales para ayudar a los autores que han alcanzado un estatus en el campo literario japonés a incursionar en mercados extranjeros. Murakami podría parecer una excepción a esta tendencia ya que disfruta de prestigiosos medios de difusión en inglés, como la casa editorial, Knopf (Random House) y la revista The New Yorker, y no se benefició de apoyo gubernamental para lanzar su carrera en el extranjero. Sin embargo, su caso es similar al de otros escritores japoneses contemporáneostraducidos ya que mejorar su posición dentro de los círculos editoriales japoneses le permitió publicar en inglés. Lo que distingue a Murakami de otros escritoreses que pudo alcanzar una posición estable en el mercado anglófono y, ya dentro, logró mejorar gradualmente su posición con la ayuda de editores, académicos, agentes literarios, traductores y otros personajes. Esta tesis examina el papel de estos actores clave involucrados en la traducción, (re)escritura y reproducción de "Haruki Murakami" para el mercado anglófono y, por extensión, para el mercado japonés y el internacional.<br>Haruki Murakami is the most widely read contemporary Japanese author today. His books have been translated into more than forty languages, have become bestsellers in many countries, and have garnered critical acclaim internationally. Critics often point tocertain characteristics and themes in his work to explain Murakami’s success within various cultural and national contexts. However, while there is no question that Murakami’s fictional worlds have spoken to readers worldwide, his success cannot be fully understood through an analysis of his works alone. The majority of Japanese literature in English translation is produced and published on the margins of the US/UK publishing industries for relatively niche audiences. This has been possible largely due to patronage extended by government and cultural organizations that assist authors who have achieved a certain status within the Japanese literary field to make inroads into the foreign markets. Murakami might seem an exception to this trend. He enjoys prestigious mainstream outlets in English in the form of his publisher, Knopf (Random House), and the New Yorker magazine, and he did not benefit from government support in launching his career abroad. Nevertheless, Murakami’s case is similar to other translated Japanese authors in that it was by improving his position within Japanese publishing circles that he initially gained the opportunity to be published in English. What sets Murakami apart from other contemporary Japanese writers, however, is how he was able to gain a firm foothold in the Anglophone market and gradually improve his positions within it with the help of editors, scholars, literary agents, translators, and other individuals. This dissertation examines the role of these various key players involved in translating, (re)writing, and reproducing “Haruki Murakami” for the Anglophone (and by extension Japanese and international) markets.
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Barone, Jason B. "The Search for the Jungian Stranger in the Novels of Haruki Murakami." Case Western Reserve University School of Graduate Studies / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=case1207319408.
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Li, Chengyuan, and Chengyuan Li. "Murakami Haruki: A Serious Literature Writer Under the Cover of Pop Culture." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626394.
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As a famous contemporary writer, Murakami Haruki has a wide-reaching influence throughout the world, especially in East Asia. In my thesis, I intend to analyze his novels and short stories from 1979 to 2014. In doing so, I will reveal why Murakami Haruki is so popular in Asia, particularly China. This analysis will demonstrate that East Asian public culture has been undergoing changes during the past 20 years. I will analyze four of Murakami’s works: Wild Sheep Chase (1982), Norwegian Wood (1987), to The Wind-up Bird Chronicle (1995), and finishing with Colorless Tsukuru Tazaki And His Year Of Pilgrimage (2013). Though the evolution of his works, Murakami makes it clear that Japanese society has been under transformation since World War II. After the end of the war, this society changed from a capitalist to cosmopolitan one. I will also discuss how his novels are associated with China, as well as his works’ adaptation in China and among Chinese readers. Since becoming famous, Murakami’s work has been highly criticized. These criticisms has come primarily from Komori Yōichi, Fujii Shozo, Kuroko Kazuo and Kato Norihiro. By discussing these critics, I want to reveal the true meaning for Murakami to be a writer and why I consider him as a serious literature writer under the cover of pop culture.
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Nygren, Johanna. ""She's just not there" : A study of psychological symbols in Haruki Murakami’s work." Thesis, Halmstad University, School of Humanities (HUM), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-5143.
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<p>In this essay a novel by the Japanese author Haruki Murakami, <em>The Wind-up Bird Chronicle</em>, is examined through dreams as a psychoanalytical phenomenon or spectacle. The novel is a complex work but mainly circles around the main character Toru, a middle-aged man in modern Japan whose wife leaves him unexpectedly. The focus in this essay is on the dream symbols in this novel and how they have a narrative function, i.e., how the symbols can be tied to the main character Toru’s real life problems, more specifically, his problems with femininity. The psychoanalytical approaches used in this essay are Sigmund Freud’s and C G Jung’s theories on dreams. Material from another novel by Murakami, <em>Norwegian Wood</em>, which contains the same type of symbolic imagery as <em>The Wind-up Bird</em>, is also included.</p>
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Zuromski, Jacquelyn. "GETTING TO THE PULP OF HARUKI MURAKAMI'SNORWEGIAN WOOD:TRANSLATABILITY." Master's thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3163.
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Haruki Murakami's Norwegian Wood (1987) veers from his favored detective-fiction genre by offering readers a 1960s coming-of-age romance, a story whose plot nonetheless spins around the protagonist seeking out his personal identity. The conflicts between Japanese tradition and modern, global perspectives are illustrated through the inclusion of popular culture elements such as music, literature and films. This thesis seeks to show how the novel's references to popular culture of the 1960s combine to help the protagonist establish an identity for himself as well as his place within the universal community. First, though, the project explores the impact of the translatability issues that arise with each of the novel's two English translations, variations dictated by the needs of differing audiences. The introduction provides an overview of the study, as well as historical background pertinent to the understanding of the Sixties-era popular culture iconography privileged by Murakami. My methodology favors a cultural studies approach and utilizes reader response and reception theories. Separate chapters then compare specifics between the two translations and examine the functionality and significance of music, literature and film within the novel. The conclusion justifies the subsequent deviations between the translations and argues for the necessity and value of both English versions, but claims Rubin's as the definitive English translation. Likewise, the study of the novel's many popular culture references exemplifies the roles that music, books, and film play in the creation of the protagonist's individual identity in Norwegian Wood while simultaneously illustrating the effectiveness of using globally recognizable media as a bridge between cultures.<br>M.A.<br>Department of English<br>Arts and Sciences<br>English
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Fisher, Susan Rosa. "A genre for our times: the Menippean satires of Russell Hoban and Murakami Haruki." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25047.pdf.
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Mullins, Michelle D. ""Twins and the Sunken Continent" and "Lexington Ghosts": Two short stories by Murakami Haruki." Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1449643.
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Reive, Ronald James. "Crossing boundaries: postmodern realities in the selected works of Haruki Murakami and Rana Dasgupta." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B4670114X.
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Bigay, Michael. "Solitude et communauté humaine dans « L’Invention de la solitude » de Paul Auster, « Le Salon du Wurtemberg » de Pascal Quignard, et « La fin des temps » de Murakami Haruki." Thesis, Paris Est, 2016. http://www.theses.fr/2016PESC0008.
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Les trois oeuvres de notre corpus déclinent les données d'un vivre-ensemble tissé de solitude, d’une existence qui est coexistence. La solitude affecte des personnages qui constituent les témoins de l'humaine condition. L’oubli qui les hante est également solitude. Dès lors, la mémoire constitue l’antidote communautaire à une amnésie menaçante, et l’intertexte permet d’unir les solitudes par la matérialisation d'une communauté humaine aux prises avec l’altérité du réel. Cette communauté s'exprime de manière privilégiée dans ces trois récits qui donnent libre cours aux tensions et contradictions d'un réel toujours étranger à l'homme. Murakami, Auster et Quignard reflètent cette solitude communautaire dans des récits ouverts au dèmos qui accueillent cette altérité à laquelle le sacré et les mythes donnent voix. Chez les trois auteurs, c’est le problème de l'absolument autre et de sa traduction mythique qui permet de comprendre ce qui unit les hommes, mais aussi ce qui en eux – et dans le réel –, résiste à la socialité. Ce problème est donc éminemment communautaire. Présente dans les trois ouvrages, la musique, expression du génie humain, est également solitude. Elle traduit dans les oeuvres une présence/absence du souvenir, donne voix à l’indicible, renvoie à une moralité infinie, ou reste liée à l’animalité. Quant à la présence de l’auteur ou du narrateur dans les textes, le lecteur est confronté à trois manières différentes de donner voix à la communauté humaine, que ce soit par le deuil du lyrisme auctorial, en dotant au contraire sa voix d'une forte expressivité, ou à travers une voix narrative qui gagne en puissance au fil de l'ouvrage, illustrant ainsi l'engagement graduel du personnage dans le texte. La dimension historique, mémorielle et politique des communautés représentées, l’effort vers l’être-pour, qui constitue à la fois une théorisation du partage du sensible et une forme non militante de l’engagement personnel et collectif, sont également analysés dans ces trois oeuvres, qui mettent en évidence l’impossibilité d’une solitude non peuplée<br>The three novels under scrutiny confront the very fact of existence as coexistence; they express solitude, considered as an unquestionable fact of life. Solitude affects characters who represent all mankind. The oblivion which haunts the protagonists is also an expression of solitude. Memory then becomes the common antidote to an impending amnesia, and intertextuality provides a way to bring solitudes together in a human community confronted to the strangeness of reality. Giving a voice to human community is the aim of these three contemporary novels, which express the tensions and contradictions of a reality filled with an undeniable otherness. Murakami, Auster and Quignard reflect on this common solitude in narratives that are open to that very strangeness, which is conveyed by mythology and the presence of sacred people or objects in the novels. For the three writers, it is the question of otherness and its mythical transcription that allows to understand what brings men together, and the things which, within people and reality, resist to socializing. Therefore, otherness must be considered as an eminently communal element in the novels. Music, an expression of human genius, is also a product of solitude. It expresses the presence/absence of things past, the unspeakable, refers to the infinity of morality, or else remains linked with animality. The reader is confronted to three different ways of expressing human community in the narratives, whether by accepting to give up one's lyricism, or on the contrary by using a very expressive style, or else by allowing the narrative voice to gather momentum throughout the text, to match the gradual social commitment of the protagonist. Therefore music, memory, the historical and political dimension of the depicted communities, the efforts of the characters towards involvement, a non-militant form of commitment, emphasize the fact that solitude, in these novels, is essentially communal
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Koizumi, Kaori. "The unknown core of existence : representations of the self in the novels of Haruki Murakami." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395919.
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Mattsson, Philippa. "Portraying characteristics in English translation of Japanese : A case study of the speech of Kobayashi Midori in Murakami Haruki's Norwegian Wood." Thesis, Högskolan Dalarna, Japanska, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-30472.
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The distinguishing traits of characters in novels may appear to change in translation. One of the main means of conveying the individualities, personalities and moral qualities of characters is through dialogue, using the possibilities opened by, for example, the selection of register and use of gendered language. In order to gain insight on how apparent changes to characteristics can arise, this case study investigates whether, why and how the character Midori in Murakami Haruki's Norwegian Wood appears to change in translation, based on her dialogue. The study demonstrates how linguistic differences between the source and target languages and the adoption of an overall approach to translation, such as a foreignising or domesticating strategy, are major factors in determining the nature and magnitude of any observed change. Two of the most influential speech elements identified and studied are gendered language and casual language. Both terms represent similar but not identical concepts in the source and target languages and are manifested differently in the two languages, giving rise to wide-ranging translation problems. The study further suggests that a domestication approach, as well as modifying the fluency and cultural flavour of the text in general, can affect the characterisation of novels both indirectly and directly. The influence of a domesticating approach to translation focusing on its application specifically to dialogue or influence on characterisation may be a fruitful area for further research.
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Hughey, David Jonathan 1969. "Confronting Japan's war in China in modern Japanese literature: Takeda Taijun, Murakami Haruki and Inoue Yasushi." Thesis, The University of Arizona, 1998. http://hdl.handle.net/10150/278659.
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Japan has borrowed much from its continental neighbor, China: a writing system, ideas of government, religion and aspects of culture. The importation of Chinese exemplars and the strong sense of cultural indebtedness have been balanced by a belief in the modern period that China was somehow inferior, or had lost its claim to civilizational greatness. Japan's contradictory view of China continues to this day. In the post-war era, writers such as Inoue Yasushi, Takeda Taijun and Murakami Haruki have written about the legacy of World War Two and Japan's lingering guilt and concomitant revisionism. I intend to demonstrate, via an examination of these authors, how World War Two, specifically Japan's war-time activities in China and Manchuria, and its aftermath are portrayed in fiction.
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kawashita, Kamyla katsue. "Uma análise da tradução de marcadores culturais em Kafka à beira-mar e Kafka on the Shore, à luz dos estudos da tradução baseados em corpus." Universidade Estadual do Oeste do Paraná, 2017. http://tede.unioeste.br/handle/tede/3538.
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Previous issue date: 2017-12-19<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The aim of this study is to investigate cultural markers (MCs) in Umibe no Kafuka (2002), by the Japanese writer Haruki Murakami, and to analyze their respective translation in Kafka à beira-mar (2008) by Leiko Gotoda, and Kafka on the Shore (2005), by James Philip Gabriel, referred in this study as TO, TTp and TTi, respectively. We intended to study the choices made by the translators of the target texts when faced with cultural differences in order to observe similarities and differences in both texts. To accomplish so, we investigated translation modalities and features of explicitation, simplification and normalization found in the translation of the MCs. The theoretical and methodological approach consist in Camargo’s interdisciplinary proposal (2004, 2007), which is grounded on Corpus-Based Translation Studies (Baker, 1993, 1995, 1996, 2000), on Baker’s study on translation features (1996), and on Corpus Linguistics (Berber Sardinha, 2004). It also adopts the use of electronic tools provided by the computer software WordSmith Tools for investigating the corpus and analyzing the data. For the study of the MCs, we selected the works on cultural domains (Nida, 1945) and its reformulation (Aubert, 1981, 2006), and the study on translation modalities (Aubert, 1984, 1998). The results show significant keyness for the MCs jinja/shrine (185,20), futon (112,79), udon (82,56) and pachinko (54,00) in TTi, and jinja/santuário (172,49) and ikiyou (70,80) in TTp. Adaptation and Calque are the most representative translation modalities found in the translation of the MCs. We also identified greater features of explicitation in TTp, and simplification and normalization in TTi.<br>O objetivo do presente trabalho é investigar marcadores culturais (MCs) encontrados na obra Umibe no Kafuka (2002), do escritor japonês Haruki Murakami, e analisar as respectivas traduções em Kafka à beira-mar (2008), por Leiko Gotoda, e em Kafka on the Shore (2005), por James Philip Gabriel, representadas ao longo do trabalho pelas siglas TO, TTp, e TTi, respectivamente. Foram examinadas as escolhas dos tradutores nos respectivos textos ao lidarem com as diferenças culturais, no intento de verificar aproximações e distanciamentos nas obras. Para tanto, foram observadas as modalidades tradutórias e examinados traços de simplificação, explicitação e normalização presentes nas traduções de trechos circundantes aos MCs. Para a realização do trabalho, recorremos à abordagem interdisciplinar adotada por Camargo (2004; 2007), a qual se apoia na proposta dos Estudos da Tradução Baseados em Corpus (BAKER 1993; 1995; 1996; 2000), nos estudos de Baker (1996) sobre as tendências de tradução, nas categorias de análise de normalização com base em Scott (1998) e na Linguística de Corpus (BERBER SARDINHA, 2004); e propõe também o uso de ferramentas eletrônicas disponibilizadas pelo programa computacional WordSmith Tools, para a investigação do corpus e levantamento dos dados. Para a investigação dos MCs recorremos aos trabalhos sobre domínios culturais de Nida (1945), à sua reformulação proposta por Aubert (1981; 2006) e aos estudos sobre as modalidades tradutórias de Aubert (1984; 1998). Os resultados apresentam índice de chavicidade significante para os MCs jinja/shrine (185,20), futon (112,79), udon (82,56) e pachinko (54,00) no TTi, e jinja/santuário (172,49) e ikiyou (70,80) no TTp. Destacaram-se, entre as modalidades tradutórias para tradução dos MCs, a adaptação e o decalque. Observou-se, também, maior tendência à explicitação no TTp, e à simplificação e à normalização no TTi.
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Fujimoto, Hiroko. "The New Voice of Murakami Haruki: Workable Identity and the Power of the Story in The Wind-up Bird Chronicle." Thesis, The University of Arizona, 1999. http://hdl.handle.net/10150/560507.
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García-Valero, Benito Elías. "La ciencia y la palabra mágica. Confluencias del realismo mágico y la física cuántica en Kenzaburō Ōe y Haruki Murakami." Doctoral thesis, Universidad de Alicante, 2014. http://hdl.handle.net/10045/45881.
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Las relaciones literarias entre la cultura latinoamericana y la japonesa no han disfrutado del desarrollo que han tenido los estudios comparatistas centrados en los intercambios de Occidente con Japón. Este estudio pretende incidir en la influencia del realismo mágico literario latinoamericano en Japón a través de momentos puntuales en la escritura de K. Oé (M/T y la historia de las maravillas del bosque) y H. Murakami (Kafka en la orilla, 1Q84). A pesar de que este último autor sí ha sido analizado desde los postulados del realismo mágico, aquí discutimos sus resultados interpretativos. Más bien lo adscribimos al ámbito de la literatura fantástica, sin renunciar al análisis de sus mundos con modelos ficcionales inspirados en la física cuántica, por lo que aplicamos a sus novelas el principio de incertidumbre y las consecuencias de la no-localidad y de la dualidad 'onda-partícula'. En cuanto a K. Oé, nos aproximamos a su novela desde los presupuestos de la llamada «ética cuántica» para justificar cómo el realismo mágico coincide en ciertas intuiciones con lo descrito por la física cuántica. Desde esa perspectiva, lo inverosímil (bajo el paradigma newtoniano) se torna (en el paradigma cuántico) verosímil, y en el proceso se amplía el concepto de realismo.
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Trottier, Anne-Sophie, and Anne-Sophie Trottier. "Les empreintes du mythe d'Œdipe dans Kafka sur le rivage d'Haruki Murakami et Les Gommes d'Alain Robbe-Grillet." Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/30371.
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"Ce mémoire porte sur les réécritures du mythe d’OEdipe dans Kafka sur le rivage d’Haruki Murakami et Les Gommes d’Alain Robbe-Grillet. Plus spécifiquement, il vise à cerner les stratégies par lesquelles ces auteurs se réapproprient le mythe d’OEdipe, d’abord en explorant les liens hypertextuels qui associent ces romans avec OEdipe roi, leur texte fondateur, ainsi qu’avec la psychanalyse freudienne. Ensuite, il sera question d’examiner les modalités entourant la transposition de ce mythe en un contexte moderne, en mettant en lien les thématiques et motifs qui sous-tendent chaque réécriture. Le mémoire procède, en dernier lieu, à l’analyse d’une philosophie de la métaphore dans ces romans, philosophie qui semble dans les deux cas (malgré les divergences fondamentales de point de vue des auteurs sur la question) liée de près à la question du mythe dans leurs oeuvres respectives."<br>"Ce mémoire porte sur les réécritures du mythe d’OEdipe dans Kafka sur le rivage d’Haruki Murakami et Les Gommes d’Alain Robbe-Grillet. Plus spécifiquement, il vise à cerner les stratégies par lesquelles ces auteurs se réapproprient le mythe d’OEdipe, d’abord en explorant les liens hypertextuels qui associent ces romans avec OEdipe roi, leur texte fondateur, ainsi qu’avec la psychanalyse freudienne. Ensuite, il sera question d’examiner les modalités entourant la transposition de ce mythe en un contexte moderne, en mettant en lien les thématiques et motifs qui sous-tendent chaque réécriture. Le mémoire procède, en dernier lieu, à l’analyse d’une philosophie de la métaphore dans ces romans, philosophie qui semble dans les deux cas (malgré les divergences fondamentales de point de vue des auteurs sur la question) liée de près à la question du mythe dans leurs oeuvres respectives."
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Pountney, Jonathan. "The afterlife of Raymond Carver : authenticity, neoliberalism and influence." Thesis, University of Manchester, 2017. https://www.research.manchester.ac.uk/portal/en/theses/the-afterlife-of-raymond-carver-authenticity-neoliberalism-and-influence(429c92c2-888e-4bde-90ab-037a112a6ea4).html.
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This thesis explores the afterlife of Raymond Carver in relation to a number of important writers and artists that claim Carver as an influence and who are working within countries or cultures that have recently made, or are in the process of making, the transition from embedded liberalism to neoliberalism. This project argues that while Carver's influence has been conventionally limited to what critic A.O. Scott calls 'a briefly fashionable school of experimental fiction', in recent years his writing has come to represent a 'return' to a more 'real' form of literature, one that, his advocates would argue, is more 'authentic' than other kinds of recent writing. Carver's 'authenticity' is closely tied to the idea that his fiction is a response to his own working-class experience and is seen to be more broadly synecdochic of the socioeconomic struggles faced by many other Americans during this period. Given the cultural and aesthetic differences between Carver's life and work, and those studied in the main chapters of this thesis - Jay McInerney, Haruki Murakami and Alejandro González Iñárritu - I argue that Carver's afterlife is best viewed as being a social phenomenon, born out of the social relations, historical circumstances and economic forms that resulted from the US's move to neoliberalism in the late-1970s. My introduction historicizes this transition and argues that while Carver may have struggled to make productive sense of his socioeconomic circumstance, it affected his life in very pointed and particular ways, trapping him between the conventional American dream of individual freedom and equal opportunity and the reality of inequality and social immobility. For those who claim Carver as an influence, his fiction represents a zone where the difference between hegemonic narratives and lived experience is explored and embodies a model of how to negotiate, for better or worse, the complex and shifting foundations of this recent political transition. My introduction then continues to argue that of equal importance to Carver's afterlife is the fact that, in his late-writing in particular, Carver's work represents a 'retreat' from the shortterm, competition-based notions of neoliberal labour towards a non-incorporated residual alternative that has particular artisanal tenets associated with craftsmanship. Carver's texts operate beyond their initial cultural and historical moment by becoming distinctive sites of resistance to the hegemonic norms of late-capitalism. In this way, I argue, Carver's 'authenticity' combines with a consolatory craftsmanship to become a coping mechanism that offers other writers and artists working in neoliberalism a way of navigating a world which seems to exceed the frame of conceptual mapping. By working through a series of short case studies on Stuart Evers, Denis Johnson and Ray Lawrence, and then moving on to more detailed explorations in my three central chapters, this thesis will consider how this is the case in relation to a number of important artists who claim Carver as an influence. Chapter one utilises my archival research to historicize the relationship between Carver and McInerney and argues that Carver's pedagogy pushed McInerney towards the idea that the writing process is connected to residual narratives of American craft. It also contends that many of the orthodox ideas that Carver held about literature proved particularly enabling for McInerney's novel Brightness Falls, which, through parody and satire, signals a retreat from postmodern experimentation towards a more 'Carveresque' realism. Chapter two similarly chronicles Carver's relationship with Murakami and argues that, for Murakami, Carver's fiction is an important example of writing that explores the difference between hegemonic narratives and lived experience. The chapter moves on to argue that what some critics view as Carver's reformed post-alcoholic fiction helped facilitate Murakami's own unorthodox spiritual response to the twin tragedies of the Kobe earthquake and Tokyo gas attack in 1995. Chapter three proceeds on slightly different lines in that it considers Iñárritu's Birdman or (The Unexpected Virtue of Ignorance) and argues that while Iñárritu uses Carver as the foundation for his film, the film is particularly interesting because it is, itself, a study of Carver's afterlife. My final chapter suggests that while there is merit in viewing Carver as an 'authentic' artist (a kind of model for negotiating neoliberal culture), the totality of that solution is more ambivalent than his advocates might initially suggest.
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Beyeme, Nze Alexis. "Esthétique et théorie de l'errance : regard littéraire et perspective de lecture sur les oeuvres romanesques d'Edouard Glissant, de John Maxwell Coetzee et de Haruki Murakami." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030078/document.
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L’errance cet être phénomène qui s’émeut et parcours la diégèse d’une production littéraire transgressive. Cette révolution du langage textuel dont le but premier est de mettre à mort la tradition de la littérature. Ici encore le genre représentatif des lettres, le roman, est bousculé jusqu’à son dernier retranchement, tant la transformation est évidente et perceptible dans la pensée moderne, postmoderne et postcoloniale. L’hybridation se convoque si bien que, le lecteur est une fois de plus aliéné, médusé d’un maillage scriptural qui le pousse à la transcendance de l’analyse basique. L’auteur s’érige ainsi en tant que héraut qui tue l’ancien et subvertit le caché avec une totale liberté. Alors, genres littéraires, personnages, temporalité et espace se reconfigurent inlassablement par le motif de l’errance à l’intérieur du texte. Par conséquent, l’errance devient un actant singulier et central qui anime l’actualité de manière générale du monde de l’art et en particulier de la littérature. Cette thèse unie les voix de trois écrivains : Glissant, Coetzee et Murakami, ces derniers respectivement mettent en relief une identité recherchée, une anomie qui affecte le logos, le pathos et l’éthos et un personnage tant singulier qu’hybride<br>The wandering this being phenomenon which is moved and travel (browse) the diégèse of a transgressive literary production. This revolution of the textual language, the first purpose of which is to put to death the tradition of literature. Here still the representative kind (genre) of letters, novel, is pushed aside (knocked down) up to its last cutting off, so much the transformation (processing) is obvious and perceptible in the modern, postmodern thought and postcolonial. The hybridization summons (convenes) so that, the reader is alienated, dumbfounded one more time by a scriptural meshing which pushes him (it) to the transcendence of the basic (basal) analysis. The author so sets up himself as herald who kills the former (old) and subverts the mask with a total freedom. Then, literary genres, characters, temporality and space re-configure indefatigably by the motive for the wandering becomes a singular and central agent which livens up (leads) the current events in a general way of the world of the art and in particular the literature. This united thesis the voice of three writers: Glissant, Coetzee and Murakami, the later respectively accentuate a sought identity, an anomie which affects (allocates) logos, the pathos and ethos and character so singular as hybrid
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Lindgren, Fanny. "Upp och ned, hit och dit : En romananalys av Haruki Murakamis Fågeln som vrider upp världen utifrån Michail Bachtins kronotopteori." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-66699.
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In this essay Murakami Haruki’s novel The Wind Up Bird Chronicle was analysed from the perspective of Mikhail Bakhtin’s theory of the chronotope. The aim was to explore the concept of time and space as presented in the novel. In particular, the analysis focused on how Bakhtin’s chronotopes can be applied to The Wind Up Bird Chronicle, how the chronotopes can enhance our understanding of the novel, and finally how the chronotope theory can be applied to the concept of ‘magic realism’ that is often used to describe Murakami’s authorship. Four chronotopes, presented by Bachtin, were selected and applied to the novel: every-day life, the road, crisis and the castle. The concept of the chronotope allows analysis of how time and space work together in literature and how they form patterns of correlation in the sujet. Results showed that the four chronotopes were found in the novel, and that they also interacted with each other. The chronotope of everyday-life was apparent throughout the novel, and the narrator was under its control. The narrator also seemed to create every-day life out of the chronotopes of the road and crisis by re-living the crises in the road. These three chronotopes seemed inseparable in The Wind Up Bird Chronicle. Finally, the fourth chronotope, the castle, illustrated how a concrete room in the novel, a house, became a part of time and space through a character who, by his presence, gave the impression of slowing down time. When this character disappeared, time made its way through space, making the chronotope of the castle visible. The essay concludes that the chronotope theory was a relevant way to analyse The Wind Up Chronicle as it provided a concept of how time and space appeared together in a novel where time and space is always present. The analysis helped creating a way of understanding the patterns in the novel, which were not always clear, thereby also increasing the understanding of The Wind Up Bird Chronicle.
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Gladding, Kevin. "NEGOTIATING PLACE: MULTISCAPES AND NEGOTIATION IN HARUKI MURAKAMI'S NORWEGIAN WOOD." Master's thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4057.
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In Murakami's Norwegian Wood, romance and coming-of-age confront the growing trend of postmodernity that leads to a discontinuity of life becoming more and more common in post-war Japan. As the narrator struggles through a monotonous daily existence, the text gives the reader access to the narrator's struggle for self- and societal identity. In the end, he finds his means of self-acceptance through escape, and his escape is a product of his attempts at negotiating the multiple settings or "scapes" in which he finds himself. The thesis follows the narrator through his navigation of these scapes and seeks to examine the different way that each of these scapes enables him to attempt to negotiate his role in an indifferent and increasingly consumerist society. The Introduction discusses my overview of the project, gives specifics about Murakami's life and critical reception and outlines my particular methodology. In the overview section, I address the cultural and societal tensions and changes that have occurred since the Second World War. Following this section, I provide a brief critical history of Murakami's texts, displaying not only his popularity, but also the multiple disagreements that arise over the Japanese-ness of his work. In my methodology section, I plot my eco-critical, eco-feminist, eco-psychological and deconstructive procedure for dissecting Murakami's text. The subsequent chapters perform a close reading of Murakami's text, outlining the different scapes and their attempts at establishing identity. Within these chapters, I have utilized subheadings as I felt they were needed to mark a change not on theme, but on character and emphasis. My conclusion reasserts my initial argument and further establishes the multiscapes as crucial negotiations, the price and product of which is self-identity.<br>M.A.<br>Department of English<br>Arts and Sciences<br>English
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Persson, Sofie. "”Jag är bara en dum, gammaldags flicka” : En feministisk karaktärsanalys av Haruki Murakamis Norwegian Wood." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-17482.
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NILSSON, Anna-Carin. "En gränsöverskridande resa i text och identitet : Magisk realism i Haruki Murakamis roman Kafka på stranden." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-20359.
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Magisk realism utgör ett sofistikerat berättagrepp i den japanske författaren Haruki Murakamis roman Kafka på stranden. I det realistiska ramverket av japansk vardag inträffar magiska inslag i form av fiskregn eller ikiryou en sorts 'gengångare'. Den magiska realismen utgör en artikulation mellan en medveten och en omedveten värld eller tar läsaren med på en gränsöverskridande resa för att utforska stil eller genre i texten samt identitet hos Jaget och den Andre.
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Kakoi, Naoko, and 栫直子. "Representation of war and history in Murakami Haruki's The wind-up bird chronicle." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38682783.
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Suen, Jenkin, and 孫靖乾. "The shadow of Japanese psyche : journey to the unconscious in Murakami Haruki's 1Q84." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196522.
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This dissertation conducts a critical analysis of the representation of the personal and collective unconscious of Japan in Murakami Haruki’s 1Q84. In particular, employing the concepts of Carl G. Jung and Jacques Lacan, this dissertation examines how Murakami showcases the shadow of Japanese psyche and society by reimagination of history. It contends that Murakami seeks to revisit the past in 1Q84 to reflect on history, make sense of the present and instill reflections on the System and moral complexity. Echoing the individuation process put forward by Jung, Murakami brings the repressed Japanese unconscious to consciousness with a view to integration with the same. Through fictional writing, Murakami embarks on a project of reconnecting Japanese to their past and history, which forms part of the Lacanian unconscious through the structure of language. Significantly, 1Q84 self-reflexively embodies Murakami’s vision of fiction and his literary world. It engages in dialogues with other literary world, and explores how fictional writing opens up new horizon and shapes history in an interweaving manner, thereby challenging the boundary between fiction and history. Through his literary world, Murakami travels beyond Japan, as he speaks to the world through the experience of the Japanese shadow and unconscious.<br>published_or_final_version<br>Literary and Cultural Studies<br>Master<br>Master of Arts
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Winblad, Julia. "Försvunna kvinnor : En undersökning av magisk realism i Haruki Murakamis Sputnik Älskling och Fågeln som vrider upp världen." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-49700.
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Skeen, Autumn Alexander. "Compassion as catalyst| The literary manifestations of Murakami Haruki's transformation from Underground to Kafka on the Shore." Thesis, California State University, Dominguez Hills, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10020164.
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<p> Murakami Haruki's primary readership consists of Japan's four million born between 1978 and 1990—an Ice Age of hiring freezes and layoffs. Murakami's cynical antiheroes modeled a blasé and passive cool. Japanese youth assimilated his tenor and tone. A moral struggle was missing. Following Tokyo's 1995 cult-instigated gas attacks, the repatriating author delved into his 1997-98 reportage, <i>Underground</i>. Despairing apocalyptic outlooks among the economically abandoned respondents rocked Murakami's insularity. The shock engendered his unprecedented compassion.</p><p> This thesis arises from phenomena revealed by current events' intersection with moral philosophy and disposition theory. This thesis claims that Murakami's compassion for Japan's stymied youth triggered his transformation from creating detrimental art to work of engaged responsibility, and that his moral turn manifests first as the 2002 didactic novel, <i>Kafka on the Shore</i>. Murakami's ensuing integration of moral values in his postmodernist narratives has led to the short-list for the Nobel Prize.</p>
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Tam, Siu-man, and 譚兆文. "Sense of loss in post-modern Japan as depicted in Murakami Haruki's Trilogy: "Hear the wind sing", "Pinball 1973" and "A wild sheepchase"." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29948708.
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SAGAWA, AI, and 佐川藍. "The acceptance of HARUKI MURAKAMI in Taiwan-About the actions related with HARUKI MURAKAMI-." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/nt5gm3.
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碩士<br>淡江大學<br>日本語文學系碩士班<br>106<br>Today, Globalization is progressing with development of internet and people, things and culture are continuously being exchanged. Although many thingsare being exchanged across borders, literature is also, too. In most cases that the booksof a country are published at overseas, they are translated the languages which are spoken in the countries. Japanese literature is read in Taiwan that has strong relationship with Japan through history and where books of HARUKI MURAKAMI have been also read. It is in 1985 whenhis novel was first introduced to Taiwan.
This thesis described the study of acceptance of HARUKI MURAKAMI in Taiwan. FirstI will reviewthe overseas acceptance of HARUKI MURAKAMI in preceding studies and research languages that have been translated overseas. Second I will research the characteristic acceptance of HARUKI MURAKAMI in Taiwan with being classified into academic and mercantile fields.In academic field I will focus on the activities of the center of HARUKI MURAKAMI and in mercantile fields I will research magazines on him and exchange sites of his information.Also from survey by questionnaire to college students and interview to graduate students,Iwill reveal that image of HARUKI MURAKAMI in Taiwan and accordingly consider it evermore.
The published translations of Murakami’s works have widespread toward East Asia, Europe, and East South Asia from 1985 and now translatedin over 50 languages. According to previous studies, his name has been known since his published translations were picked up by mass mediain several countries. In also Taiwan, the concerts of music which was used in his works have been held and coined word such as “small happiness” was drawn in advertisements all over the town. From the examinations of questionnaire and interview, questioneesregard his works as one of the readings. But, Icouldn’tclearly find that his works have influenced their way of thinking and life style.
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Ambury, Brad. "The multiple worlds of Murakami Haruki." Thesis, 1997. http://hdl.handle.net/2429/5909.
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The focus of this thesis is Murakami's consistent textual evocations of a parallel
world-within-a-world motif. By examining works in which these narrative
constructs are most prominent, the analysis will delineate and clarify the
structures and thematic significance of such constructs within his fictions and
their function in the creation and,even, interpretation of Murakami's other
realms.
This thesis will also explore the possibilities of links, whether conscious or
unconscious, between Murakami's fictions and a modern Japanese literary
paradigm for which the term, Mukogawa ('the other-side') fiction, has been
coined. It is hoped that the structural and thematic analyses outlined above
might aid in the tracing of connections to a Japanese literary tradition with
which, according to most critics, Murakami's fictions have nothing in common.
By examining similar topoi and textual manifestations of difference, I hope that
certain aspects of his fictions will better stand out. At the same time, recognizing
the need to keep one eye open to recent critical studies, I will incorporate aspects
of theoretical approaches to Magic Realism, a literary phenomenon not unlike
mukogawa fiction, that might better enable my analysis of the recurring fantasylike
parallel worlds of Murakami and shed more light on his relation to a literary
tradition that developed out of the perceived sense of 'loss' (identity, culture,
roots) that occurred during the rapid modernization of Japan from the Meiji
period onwards.
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Chang, Ming-Min, and 張明敏. "A Study on Haruki Murakami--Murakami as a Translator and Author." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/53349417096681541657.
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碩士<br>國立高雄第一科技大學<br>應用日語所<br>91<br>Translation is the main concept of this thesis. In this thesis, there are two points of view to review Haruki Murakami’s literary works: his translating works from American novels and his works translated into English in United States. By examining these two dimensions, this thesis tries to provide a different angle to study the most popular contemporary Japanese writer.
Haruki Murakami’s Norwegian Woods has been setting an unbeatable bestseller record in Japan since 1987. Since then, Haruki Murakami has been considered as a representative Japanese writer and welcomed by millions of readers not only in Japan but also in other countries. However, most of Haruki Murakami’s fans who marvel his novels hardly know that he has also been working on translating American novels. This thesis suggests that Haruki Murakami’s early writing style is deeply influenced by his translation practices.
On the other hand, this thesis examines how Haruki Murakami’s works are introduced into United States and why. By reviewing three American translators’ comments toward translating Haruki Murakami’s works, this thesis tries to provide a broader perspective to look at contemporary Japanese literature from the other side of the world.
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Chen, Pei-yu, and 陳珮瑜. "Leaves the cultural industry possibility——Centered on Murakami Haruki." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/xquev8.
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Cheng, Chih-chien, and 鄭智謙. "Signs and Machine：On《Kafka on the Shore》by Murakami Haruki." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/53918825534725841169.
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Hsiao, Ming-Li, and 蕭明莉. "Haruki Murakami in Taiwan：A Study of Literary Transplant and Cultural Production." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/22871988393846976919.
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Chang, Mingmin, and 張明敏. "The Translation and Culture Translation of Haruki Murakami in Taiwan: 1985-2008." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/39241836322727831061.
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博士<br>輔仁大學<br>比較文學研究所<br>97<br>This thesis exams the translation process of Japanese writer Haruki Murakami in Taiwan during 1985-2008. The major theory based on this thesis is the school of Translation Studies. Especially Andre Lefevere's theory of rewriting, and so on. Meanwhile, Haruki Murakami's best seller Norwegian Wood will be used in this thesis as a example to exam the application.
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Shin-Ning, Hwang, and 黃心寧. "A Comparison of the Chinese Translations of Murakami Haruki''s Norwegian Wood." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/28867621523172216474.
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Chiang, Hsi-Hao, and 姜錫昊. "The Research of Haruki Murakami''s Composition --From Cultural Perspective--." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/u5q4rf.
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碩士<br>國立高雄第一科技大學<br>應用日語研究所<br>102<br>The research would be started is because of the different appreciation from Japan and other foreign country. I am major in literary theory of eastern and western cultures when I studied at university. I have felt about the different influence from different sphere at that time. It is difficult to be discussed as a theme however there are association between culture and literature.
Therefore, I choose Haruki Murakami’s composition as the example to discuss how does culture affect literature.
The research is divided into three parts. First, I analyze the feature of Haruki Murakami’s composition. Then I stand on the readers'' point to consider what problem would occur when culture communicates with literature. Finally, I stand on the composer'' point to consider the association between culture and literature.
The purpose of the research is to deal in the association between culture and literature. The research not only provides another viewpoint of literary research but also a good opportunity to conclude what I have been learned before.
Literatures will be more and more global. Although the literary theory of eastern and western cultures only communicates a hundred years, the balance of theory has not been taken yet. Values of culture are still immature, but readers have been acquired enough inclusiveness to admit the impact.
Haruki Murakami’s composition show “world literature” can not be discussed in simplex theory at present gradually. I wish the thesis of the research could inspire researcher who want to study in literatures. Merging literature and culture, as well as creation and novel, I hope the thoughts and critics of readers could be fostered to global standard.
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ching-i, Chen, and 陳靜儀. "A Journey of Self-Pursuit in Kafka on the Shore by Murakami Haruki." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/cd38jg.
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碩士<br>國立臺東大學<br>兒童文學研究所<br>95<br>Murakami Haruki adopts the persona Kafka as both inner spiritual clues and a metaphorical framework in fiction to describe one’s existing loneliness and the absurdity of fate. This study aims to probe the images, circumstances and even precise languages in Franz Kafka’s fiction to contemplate the self-pursuit journey in Kafka on the Shore. The juvenile journey of self-pursuit went through three stages as below:
1. the dilemma: to run away from the curse; to flee from one’s foreordination
2. the discovery: a world of misunderstanding; reflections via actions
3. the reversal: the pursuit of self-identity
Murakami Haruki presented a great quantity of utilizing and exploring in the story just like Kafka’s. Also, Haruki masterly slipped the fate of the juvenile escape with Oedipus myth. By means of the deep marking of tragic fate, the story exhibits human existence via metaphoric-dialogue-scene and enriches the variety in the story discussion.
All the conundrums in the story tend to make the readers comprehend the purport of explanation/creation-metamorphosis rather than restoring/reshaping. The vivid characterizations of personas and the surreal dialogue lead the young hero toward an unreal and extremely real pursuit journey.
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Kuo, Ya-Han, and 郭雅涵. "The meaning of “cats” in the works of Murakami Haruki—Focusing on the novels—." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/92ftmf.
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碩士<br>淡江大學<br>日本語文學系碩士班<br>102<br>This thesis consists of four main subjects, which was analyzed with four chapters. The first chapter is the analysis of “A Wild Sheep Chase” and “Dance Dance Dance.” The second chapter is the analysis of “The Wind-Up Bird Chronicle.” The third chapter is the analysis of “Sputnik Sweetheart.” The fourth chapter is the analysis of “Kafka on the Shore.”
First subject is the attitude that protagonist takes toward the cats. According to the conclusion of this thesis, that could be divided into two kinds. First, the protagonists become care of the “cats” by the missing of the cats or the death of the “cats”. Second, the protagonists care about the “cats” from the beginning to the end. But consequently, the “cats” are missing or died in the end of the story.
Second subject is the analysis of the cats’ names. According to the conclusion of this thesis, the “cats” which is named by the name of the character in the story, are the symbol of relationship between the person who gave the name to the “cats” and the person who owned that name. Besides, the “cats” which is named by the name of the fish, are the symbol of regeneration in the story.
Third subject is the meaning of “cats” in the works of Murakami Haruki. According to the conclusion of this thesis, that could be divided into five kinds of meaning including, the symbol of the protagonist’s normal life, the symbol of self-reliant, the symbol of evil, the symbol of the fear toward different-dimension world, the guide show the protagonist to different-dimension world.
Forth subject is the relation between the meaning of “cats” in the works and the author, Murakami Haruki. According to the conclusion of this thesis, the “cats” are the symbol of regeneration in the story. Thus, Murakami Haruki makes his favorite cats to sacrifice in the story and bring a new beginning to the protagonist.
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Hsiao, Yu-lun, and 蕭煜倫. "Imagining the Contour: Japanese-ness in the Fiction of Haruki Murakami and Kazuo Ishiguro." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/17399114861058009644.
Full textAbstract:
碩士<br>國立中央大學<br>英美語文學研究所<br>98<br>Abstract
Identity problems have always been beleaguering people. In the present mainstream configuration of the Nation State, it is facing a predicament: on the one hand, it is tied with the conception of nationhood; on the other, the promise of a national identity is being tattered by globalization and leaves people in the state of uncertainty. Concerning this, the present study intends to examine the identity crisis in fictional literature, as it is often adopted or interpreted as a representation of the spirit of a nation. My targets of research focus on Kazuo Ishiguro’s Japanese setting English novel, A Pale View of Hills (1982), and the English translation of Haruki Murakami’s Japanese work, The wind-up Bird Chronicle (1994-5). Although such choices do not accord to the “standard” of national literature, which demands the fulfillment of pure nativism, it is exactly their outside-ness that would help to demystify the notion of national literature and provide another possibility for thinking about national boundary. Following a Deleuzian philosophy, it would be argued that the identification and sense of belonging would always be an ongoing process instead of a fixed solution for its rhizomatic quality.
In the meantime, although national boundary is no longer reliable, it is still one of the key factors in people’s conceptual frame of self-recognition and therefore should not be disposed at this stage. The confidence of the certainty about a clear-cut contour, now shattered, has turned into an emotional symptom of melancholia. As a result, the second part of this paper would dedicate to engaging this Freudian psychoanalytic entity in a political way to interpret the failed promise of identity as the loss of the loved object and propose a resistance to the naïve dream of returning to the origin for a more productive identity making, which does not treat the past as a fixed reference but a part of its continuing interaction with the present, to come. In the end, it is still possible to form a sense of belonging, but only achieved by incessant revision with the acknowledgement of the impossibility of accounting the historical totality, instead of the recourse to reterritorialization.