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Journal articles on the topic 'Haruki murakami'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Le Huy, Bac. "Intersignality in Haruki Murakami’s short stories." Journal of Science Social Science 66, no. 2 (May 2021): 3–13. http://dx.doi.org/10.18173/2354-1067.2021-0019.

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Applying the theory of intersignality to study the Murakami's short stories, I found that although he was a master of storytelling, his short stories were mostly based on the stories of a certain author. We do not see it as a plagiarism phenomenon because Murakami has a sense of dialogue or writing differently than previous writers. But that shows a limitation in Murakami's artistic creation. In addition, he aimed to make money in writing so he wrote long and so much. Reading Murakami's stories has a certain boredom. During his writing career, Murakami was influenced by Kafka, Hemingway and especially Raymond Carver. He has little influence from Japanese writers. And even though Japanese writers criticize his writing as a detachment from his tradition, Murakami is still a Japanese writer. The only difference is that he wants to target a global audience.

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2

Dao Thi Thu, Hang. "Haruki Murakami’s magical short stories." Journal of Science Social Science 66, no. 3 (August 2021): 12–19. http://dx.doi.org/10.18173/2354-1067.2021-0042.

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Murakami is one of the masters of Magical literature. In his writing, the magical world appeared in a variety of colors. As a writer who follows Poe, Kafka, Marquez, etc., Murakami has both inherited and developed magicalism to a new level. The spirit world is an important fulcrum for him to exploit the magical and fanciful elements. He has a knack for turning both the unconscious with its hidden memories and also the guilt and regret from it into magical signs. Murakami's magicality weaves both mystery and comedy. Thereby, the writer illuminates the hidden corners of the soul that in a busy life, people often forget.

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3

Phan Thi Huyen, Trang. "Symbol of Sheep in Haruki Murakami’s novels." Journal of Science Social Science 65, no. 8 (August 2020): 31–38. http://dx.doi.org/10.18173/2354-1067.2020-0046.

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Murakami is a writer who has a talent for using symbols. In addition to the Cat, the Well, the Wall,... the Sheep, which is a familiar object in his life, has become one of the unique symbols. In his novel, Murakami portrayed the sheep as the symbol of Japanese strength, of evil, of material and power desires... In particular, the sheep also participates in the process of magical narration and creates many unexpected meanings for readers. In summarize, the Sheep have contributed significantly to increase the ranks of meanings in the writer’s narration, and at the same time affirm Japanese cultural identity in Murakami’s narration.

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4

Dortier, Jean-François. "Haruki Murakami : écrivain marathonien." Sciences Humaines N°205, no. 6 (June 1, 2009): 4. http://dx.doi.org/10.3917/sh.205.0004.

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5

Kovalenin, D., and E. S. Maksimova. "“Isn't it weird if a contemporary Japanese girl speaks Church Slavonic?”." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 3 (September 1, 2020): 7–20. http://dx.doi.org/10.18522/2415-8852-2020-3-7-20.

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Dmitry Kovalenin is an orientalist, graduate of the Far Eastern State University, translator into Russian of Haruki Murakami’s books “Th e Wild Sheep Chase”, “Dance Dance Dance”, “Hard-Boiled Wonderland and the End of the World”, “Aft er Dark”, “1Q84”. Author of the books, “Entertaining Murakami studies” (2004), “Made in Hipponia” (2005), “Zombies of our century. Entertaining Murakami studies from ‘Subway’ to ‘1Q84’” (2020). In this issue of PI, chief inspirator of Murakami fandom in Russia, Dmitry Kovalenin, explains why Japanese people laugh at Russian jokes only out of politeness, why translators “improve” Dostoevsky, and where to look for “Chekhov's infl uence” in Murakami’s texts.

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6

Mukherjee, Susmita, and Sumathy K Swamy. "Redefining Masculinity in Haruki Murakami's Men Without Women." Shanlax International Journal of English 8, no. 1 (December 1, 2019): 67–70. http://dx.doi.org/10.34293/english.v8i1.852.

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For centuries, the concept of the ideal man being macho has dominated over all forms of culture. In literature too male protagonists have been portrayed as strong men who are in control of their emotions. Any form of emotional expression from a man is deemed to be weak and labeled as effeminate. However, contemporary writers like Haruki Murakami are changing the ways in which men are portrayed in literature. Murakami makes his male characters vulnerable to pain and sadness thereby challenging the hegemonic notions of masculinity. The paper focuses on Murakami’s collection of short stories titled Men without Women, and studies the male characters in some of these short stories. It attempts to understand the changing definitions of masculinity and probes into what constitutes masculinity.

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7

Hansen, Gitte Marianne, and Michael Tsang. "40 years with Murakami Haruki." Japan Forum 32, no. 3 (February 26, 2020): 311–15. http://dx.doi.org/10.1080/09555803.2019.1691631.

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8

Papinchak, Robert Allen. "Killing Commendatore by Haruki Murakami." World Literature Today 92, no. 6 (2018): 68–69. http://dx.doi.org/10.1353/wlt.2018.0104.

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9

Hillenbrand, Margaret. "Murakami Haruki in Greater China: Creative Responses and the Quest for Cosmopolitanism." Journal of Asian Studies 68, no. 3 (August 2009): 715–47. http://dx.doi.org/10.1017/s0021911809990039.

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The relationship between popular culture and East Asian identity is now an established field of enquiry, with the products of Japan's mass media industries—television series, pop stars, and manga—still providing much of the fuel for debate. This paper, however, moves away from the dominant notion of “culture as industry,” and explores animated personal responses to the fiction of Japanese writer Murakami Haruki in Hong Kong, China, and Taiwan through art house cinema, popular fiction, and online creative communities. The vogue for Murakami has swept across the region in recent years, and for many of those inspired by his work, it is Murakami's role as a conduit to cosmopolitan cultural citizenship that is so alluring. Yet rather than crude imitation, the filmmakers, writers, and Internet fans analyzed here misappropriate the “Murakami mood” in different ways, and in the process, they reveal the diverse meanings that attach to cosmopolitanism across contemporary East Asia.

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10

Honda, Sandra Delmonte Gallego. "Romancista como vocação de Haruki Murakami." Dialogia, no. 27 (October 6, 2017): 169–75. http://dx.doi.org/10.5585/dialogia.n27.7749.

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11

Nihei, Chikako. "The Forbidden Worlds of Haruki Murakami." Asian Studies Review 39, no. 4 (February 5, 2015): 697–98. http://dx.doi.org/10.1080/10357823.2015.1006319.

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12

Otomo, Rio. "Risk and Home:After Darkby Murakami Haruki." Japanese Studies 29, no. 3 (December 2009): 353–66. http://dx.doi.org/10.1080/10371390903298045.

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13

Franssen, Gaston. "Introduction: the celebrity of Haruki Murakami." Celebrity Studies 9, no. 2 (April 3, 2018): 244–47. http://dx.doi.org/10.1080/19392397.2018.1458522.

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14

Afrillah, Mohammad Rizky, Ely Triasih Rahayu, Dian Bayu Firmansyah, and Eko Kurniawan. "Pandangan Dunia Pengarang dalam Novel 1Q84 Karya Murakami." J-Litera: Jurnal Kajian Bahasa, Sastra dan Budaya Jepang 1, no. 1 (November 26, 2019): 6. http://dx.doi.org/10.20884/1.jlitera.2019.1.1.2089.

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This researches disscuses author’s world view in 1Q84, a novel by Haruki Murakami using Goldmann genetic structuralism analyses. The purpose of this researches is author world views in that novel. Research method being used is descriptive qualitative. Data collect method being used are “Simak catat” technique and also library research technique. The result of this research shown that Murakami’s world views that he expressed in this novel is negative views about religious people.

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15

Thị Huyền Trang, Phan. "Symbols in Haruki Murakami’s novels." Journal of Science, Social Science 61, no. 5 (2016): 44–52. http://dx.doi.org/10.18173/2354-1067.2016-0058.

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16

Fauziyati, Kuni, and Sulistyaningsih. "An Analysis of Stylistic in After Dark by Haruki Murakami." JournEEL (Journal of English Education and Literature) 2, no. 1 (June 1, 2020): 47–53. http://dx.doi.org/10.51836/journeel.v2i1.82.

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Haruki Murakami features some unique stylistic. One of the reasons could be the voluminous nature of a novel to apply stylistic analysis. However, if it is applied on a novel, one can better understand and enjoy the different styles used in a certain novel in addition to arousing curiosity for more studies. Not only arouse curiosity, according to some recent researches, stylistic analysis could serve as the best way to learning English as a foreign language for a pedagogy purpose. This article limits itsself to stylistic analysis of After Dark by Haruki Murakami. This novel contains 18 chapters and because of time constrains. this article will focus on selected chapters that are considered to be stylistically representative in the novel. Existing methods might be able to formulate ideas and thoughts based on scientific approaches. This study used literary stylistic analysis as the actual approach. Literary stylistic analysis was selected because it gave an apportunity to intergret linguistic description with critical interpretation. Based on the results of the analysis carried out on After Dark by Haruki Murakami, it can be concluded that the novel consists of figurative languange and syntactic language.

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17

Yama, Megumi. "Haruki Murakami: Modern-Myth Maker beyond Culture." Jung Journal 10, no. 1 (January 2, 2016): 87–95. http://dx.doi.org/10.1080/19342039.2016.1119003.

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18

Fadli, Zaki Ainul. "Pemaknaan Cerpen Hitokui Neko Karya Murakami Haruki." KIRYOKU 3, no. 1 (June 23, 2019): 45. http://dx.doi.org/10.14710/kiryoku.v3i1.45-57.

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(Title: The Interpretasion of Murakami Haruki’s Hitokui Neko) This article aims to reveal the meaning of cats in the short story of Hitokui Neko. The method used is a structural method, namely by analyzing the basic narrative structure of the short story and the main marker of the short story. Then the interpretation of the meaning of the cat in a short story is carried out both in the first or second level interpretation. The results of the analysis show that there are three meanings of cats in the short story of Hitokui Neko. First, denotative-associative meaning. Cats are interpreted as pets, but are also used as associative meanings for children. The use of this associative meaning is used by Izumi when she wants to know the response of “I” if Izumi is pregnant and then has children. Secondly, cats are denotative-neutral, meaning cats as human pets in general. The use of denotative-neutral meanings can be seen, among others, when “I” tells of his experience of losing his pet cat. Third, denotative-mystical meaning. This meaning appears in the hallucinations of “I”. A cat that is likened to a witch Macbeth appears as an antagonistic force that eats “I” without resistance.

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19

Iwamoto, Yoshio. "A Voice from Postmodern Japan: Haruki Murakami." World Literature Today 67, no. 2 (1993): 295. http://dx.doi.org/10.2307/40149070.

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20

Muto, Takashi. "Acceptance and Commitment Therapy is “Murakami Haruki”." Pragmatic Case Studies in Psychotherapy 11, no. 4 (January 1, 2016): 285. http://dx.doi.org/10.14713/pcsp.v11i4.1933.

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<p align="left">In response toKanazawa's (2015) commentary on my case study of Taro (Muto & Mitamura, 2015), I reflect on the issue of the degree of "Japaneseness" in my approach to the case study. I pursue this by anchoring the perspective of my work in the perspective of the well-known Japanese novelist, Murakami Haruki. I also respond to a point made by Hayes (2015) in his commentary on my case study.  </p>

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21

Cassegard, Carl. "Murakami Haruki and the Naturalization of Modernity." International Journal of Japanese Sociology 10, no. 1 (November 2001): 80–92. http://dx.doi.org/10.1111/1475-6781.00009.

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22

Francisco, Rafael da Cunha Duarte. "Temporalização e espacialização nas distopias de Haruki Murakami e George Orwell em 1Q84/1984." Aletria: Revista de Estudos de Literatura 25, no. 3 (April 28, 2016): 147–60. http://dx.doi.org/10.17851/2317-2096.25.3.147-160.

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O presente trabalho tem como seu principal objetivo pensar as questões da espacialização e da temporalização da distopia no romance 1Q84 do escritor japonês Haruki Murakami a partir de uma comparação com a obra homônima escrita por George Orwell. Procuramos pensar como esse processo de uma narrativa temporalizada no romance de Orwell é apropriado e transformado pelo projeto estético de Murakami. Portanto, a nossa investigação se concentrará em tentar refletir sobre esse processo de espacialização da distopia, levado a cabo por Haruki Murakami em seu romance, procurando pensar como ele é capaz de inaugurar também uma nova experiência do tempo na qual a distopia não mais se encontra no futuro distante mas sim no passado (ou no presente) dos seus leitores. O ano de 1984 que em George Orwell virou símbolo do terror que estava à espreita de seus leitores e leitoras, agora – em 2009 – é retomado por Murakami como um passado distópico, como um outro lugar no qual o terrível mundo de 1Q84 tem lugar. Funda-se assim uma distopia espacializada que é, ao mesmo tempo, uma distopia do passado.

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23

Underriner, Chaz. "Mimesis, Murakami and Multimedia Art: Parallel Worlds in Performance." Leonardo Music Journal 29 (December 2019): 31–36. http://dx.doi.org/10.1162/lmj_a_01059.

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The artistic techniques of mimesis—the representation of reality in art—make it possible to “render the unreal familiar or the real strangely unfamiliar.” The author, a composer and intermedia artist, uses mimetic techniques in acoustic composition, video art and field recording to reimagine everyday experience, as in his multimedia piece Landscape: Home. The author analyzes passages from the novel Sputnik Sweetheart by Haruki Murakami to understand Murakami’s use of “parallel worlds” and the “reality effect.” This literary analysis aims to highlight the potential of mimetic techniques for artistic practice in sound and image, particularly in the author’s Landscape series.

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24

Phan Thi Huyen, Trang. "Symbol “Cat” in Haruki Murakami’s Novels." Journal of Science Social Science 65, no. 5 (May 2020): 33–40. http://dx.doi.org/10.18173/2354-1067.2020-0026.

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25

Polatovna Berdimuratova, Sarbinaz. "THE EVOLUTION OF THE PROTAGONIST IN THE TRILOGY OF THE RAT BY HARUKI MURAKAMI." International Journal of Advanced Research 8, no. 10 (October 31, 2020): 647–55. http://dx.doi.org/10.21474/ijar01/11887.

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This article examines the evolution of the protagonist in Haruki Murakamis Hear the Wind Sing, Pinball, 1973 and A Wild Sheep Chase. Murakami is one of the most widely read writers of our time. His books have been translated into many languages of the world and are published in millions of copies. He is called the most non-Japanese of Japanese writers. Murakamis heroes are outsiders of the era of advanced capitalism, consumer society and globalization, who sit in their Japanese kitchens and try to understand the meaning of their existence. It is easy for us to put ourselves in their place, because they are the same as we, who at least once in their life faced the problem of choice. Therefore, in this article we also wanted to reveal the characters nature, analyze their actions and deeds.

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26

Sá, Michele Eduarda Brasil de. "Murakami on the Shore: beyond the dialogue between Japan and the West." Acta Scientiarum. Language and Culture 42, no. 1 (June 1, 2020): e51791. http://dx.doi.org/10.4025/actascilangcult.v42i1.51791.

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The novel Kafka on the Shore is one of the most enigmatic works of contemporary writer Haruki Murakami. Since its very release, critics and scholars have been sharing their impressions and interpretations on various aspects of the book, one of them being the abundant references to Western elements (myths, songs, writers, icons and so forth). The present paper is the final draft of the postdoctoral research ‘Murakami on the shore: the dialogue with the West in the construction of the novel’, developed from July 2015 to June 2016. It aims at rethinking (as well as questioning) the way the study of the relation between Japan and the West can be addressed in the novel. The research, conducted as a bibliographical investigation, used key concepts like cultural identity (Hall, 2006) and border-blurring (Auestad, 2008). It defies the tendency of studying cosmopolitan authors like Haruki Murakami from the perspective of East-West duality, and defends that such analysis ought to consider East and West as complementary, almost inextricable, not regarding them as opposite or impermeable, and never as a limitation to the author himself.

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27

Auda, Maxime. "Le statut de la métaphore chez Murakami Haruki." Essaim 14, no. 1 (2005): 125. http://dx.doi.org/10.3917/ess.014.0125.

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28

Hantke, Steffen. "Haruki Murakami and the Music of Words (review)." MFS Modern Fiction Studies 49, no. 4 (2003): 886–88. http://dx.doi.org/10.1353/mfs.2003.0069.

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29

Juen, Sarah Anna. "Between Jazz, Cherry Blossoms, and Baseball: Transculturality in the Publications of Murakami Haruki." Vienna Journal of East Asian Studies 9, no. 1 (December 1, 2018): 59–84. http://dx.doi.org/10.2478/vjeas-2017-0003.

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Abstract In this day and age a continuous flow of ideas and culture takes place, which is part of the globalisation process. These exchanges influence the development of a transcultural literature. Murakami Haruki is not only a transcultural writer, but one of the most popular and internationally acclaimed authors of contemporary Japanese literature who has changed the literary scene in Japan since the publication of his debut novel Kaze no uta o kike (Hear the Wind Sing). Murakami has experimented with postmodern expressions and eventually developed his own writing style, which integrates elements of Western cultures into his works. This paper focuses on the author’s transcultural strategy, which is often reflected in his choice of the setting and time frame, the frequent mentioning of cultural consumer goods and linguistic features such as the utilisation of loanwords. In particular, references to music and literature play a major role in Murakami’s publications. This paper analyses how and to what extent transculturality influences the characters, their actions, and the storyline on the basis of the short story “Nemuri” (Sleep) published in 1989. In the process it is concluded that, above all, these references underpin aspects such as the search for identity, the escape into ‘another world’, and the rejection of societal norms and values.

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30

Unsriana, Linda. "Masalah Oedipus Complex Dalam Novel Umibe No Kafuka Karya Haruki Murakami." Lingua Cultura 5, no. 1 (May 31, 2011): 10. http://dx.doi.org/10.21512/lc.v5i1.370.

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Haruki Murakami, a Japanese novelist is an example of a great novelist who has produced his works which have been translated in various languages for a variety of readers in the world. He has also been awarded the Yomiuri Literary Award for his novel Wind-up Bird Chronicle in 1996. In his novel Umibe no Kafuka, Murakami describes the life of a young man and the Oedipus complex problems he experienced. This study will look for root causes of problems in the Oedipus complex problem of Kafka Tamura, to analyze them through methods of role characterization.

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31

Namekata, Márcia Hitomi. "Após o anoitecer e Kafka à beira-mar, de Haruki Murakami: relações com o mítico e o maravilhoso." Estudos Japoneses, no. 35 (March 7, 2015): 58–70. http://dx.doi.org/10.11606/issn.2447-7125.v0i35p58-70.

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This article intends to analyze two works of Haruki Murakami, After Dark and Kafka on the Shore, by the viewpoint of myths, fairy tales and mukashi banashi, considering the references constantly made by the author to the fantastic and marvelous elements in his work.

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32

KUDO, Akira, Hajime MURAI, and Akifumi TOKOSUMI. "Structual Analysis for an Early Trilogy by Haruki Murakami." Joho Chishiki Gakkaishi 19, no. 2 (2009): 126–31. http://dx.doi.org/10.2964/jsik.19-126.

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33

Elliott, Anna. "Matthew Carl Strecher,The Forbidden Worlds of Haruki Murakami." Japanese Studies 35, no. 2 (May 4, 2015): 255–57. http://dx.doi.org/10.1080/10371397.2015.1067943.

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34

Strecher, Matthew. "Murakami Haruki: The Simulacrum in Contemporary Japanese Culture (review)." Journal of Japanese Studies 34, no. 1 (2008): 221–25. http://dx.doi.org/10.1353/jjs.2008.0016.

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35

Baik, Jiwoon. "Murakami Haruki and the historical memory of East Asia." Inter-Asia Cultural Studies 11, no. 1 (March 2010): 64–72. http://dx.doi.org/10.1080/14649370903403603.

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36

Matsuoka, Naomi. "Murakami Haruki and Anna Deavere Smith: Truth by Interview." Comparative Literature Studies 39, no. 4 (2002): 305–13. http://dx.doi.org/10.1353/cls.2002.0030.

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37

Stewart, Rachel. "World Literature and Japan: Tokyo, Worlding and Murakami Haruki." Literature Compass 12, no. 4 (April 2015): 146–60. http://dx.doi.org/10.1111/lic3.12223.

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38

Tapia, Alejandra. "Haruki Murakami y el aleteo de Eros y Tánatos." KOBAI CONTACTO CON JAPÓN, no. 2 (June 30, 2021): 20–25. http://dx.doi.org/10.53010/kobai02.2021.03.

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39

Castellón Alcalá, Heraclia. "El universo narrativo de Haruki Murakami en algunos cuentos de Hombres sin mujeres." Literatura: teoría, historia, crítica 22, no. 1 (January 1, 2020): 271–305. http://dx.doi.org/10.15446/lthc.v22n1.82300.

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El análisis de algunos relatos breves de Haruki Murakami, incluidos en el volumen Hombres sin mujeres, permite descubrir ciertos rasgos específicos que van desde el propio estilo elocutivo a la construcción metanarrativa, la creación de imágenes sugestivas, así como las múltiples referencias culturales (musicales y cinematográficas) o intertextuales que caracterizan la obra de este autor. Aunque Murakami considera que sus cuentos son un trabajo menor, resultan una muestra significativa de toda su riqueza literaria. Para analizar esto, se parte de las consideraciones del autor ante la dicotomía novela-cuento y se atiende a la cronología y a las ediciones de los cuentos traducidos al español.

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40

Wakatsuki, Tomoki. "Haruki Murakami as a cosmopolitan phenomenon: from ‘ordinary’ to ‘celebrity’." Celebrity Studies 9, no. 2 (April 3, 2018): 248–54. http://dx.doi.org/10.1080/19392397.2018.1458525.

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41

Gabriel, Philip. "Back to the Unfamiliar: The Travel Writings of Murakami Haruki." Japanese Language and Literature 36, no. 2 (October 2002): 151. http://dx.doi.org/10.2307/3250884.

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42

Zhao, Linan. "The Image of the Father in 1Q84 of Murakami Haruki." Journal of Asian Culture Society International 17, no. 17 (2010): 137–47. http://dx.doi.org/10.6031/jacsi.17.137.

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43

김영찬. "Murakami Haruki, Vanishing Mediator and Korean Literature in the 1990s." 한국학논집 ll, no. 72 (September 2018): 7–30. http://dx.doi.org/10.18399/actako.2018..72.001.

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44

Treat, John Whittier. "Murakami Haruki and the cultural materialism of multiple personality disorder." Japan Forum 25, no. 1 (March 2013): 87–111. http://dx.doi.org/10.1080/09555803.2012.741142.

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45

Hansen, Gitte Marianne. "The Forbidden Worlds of Haruki Murakami, by Matthew Carl Strecher." Japan Forum 31, no. 1 (September 28, 2017): 134–36. http://dx.doi.org/10.1080/09555803.2017.1378701.

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46

Napier, Susan. "The Forbidden Worlds of Haruki Murakami by Matthew Carl Strecher." Journal of Japanese Studies 42, no. 1 (2016): 161–64. http://dx.doi.org/10.1353/jjs.2016.0025.

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47

Clerici, Nathen. "History, “Subcultural Imagination,” and the Enduring Appeal of Murakami Haruki." Journal of Japanese Studies 42, no. 2 (2016): 247–78. http://dx.doi.org/10.1353/jjs.2016.0045.

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48

Boulter, Jonathan. "Writing Guilt: Haruki Murakami and the Archives of National Mourning." ESC: English Studies in Canada 32, no. 1 (2007): 125–45. http://dx.doi.org/10.1353/esc.2007.0065.

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49

Varnika Raizada et al.,, Varnika Raizada et al ,. "Loneliness and Isolation in Men without Women by Haruki Murakami." International Journal of Mechanical and Production Engineering Research and Development 10, no. 3 (2020): 2767–72. http://dx.doi.org/10.24247/ijmperdjun2020261.

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Hằng, Lê Thị Diễm. "DIỄN NGÔN LỊCH SỬ TRONG TIỂU THUYẾT CỦA MURAKAMI HARUKI." Hue University Journal of Science: Social Sciences and Humanities 129, no. 6A (March 24, 2020): 131–42. http://dx.doi.org/10.26459/hueuni-jssh.v129i6a.5650.

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Abstract:

Murakami Haruki là một trong những nhà văn nhận được sự quan tâm của các học giả trên toàn thế giới. Ông được xem là hiện tượng văn học mang tính toàn cầu. Sự ảnh hưởng này một phần được tạo nên bởi sự kiến tạo diễn ngôn lịch sử trong tiểu thuyết của ông. Bằng việc phân tích hình tượng kí ức, yếu tố ẩn dụ và huyền ảo, bài báo này lí giải chân dung lịch sử song hành trong tiểu thuyết của ông. Đồngt thời, chúng tôi chỉ ra lịch sử mang tinh thần hậu hiện đại trong sự diễn giải của nhà văn về lịch sử trong văn học.

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