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首页> 外文学位 >Ethnographies of modernity: Nakagami Kenji's counter-history of national literature (1968--1983).
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Ethnographies of modernity: Nakagami Kenji's counter-history of national literature (1968--1983).

机译：现代人种志：中上贤次的民族文学反史（1968--1983）。

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摘要

With the 1975 publication of the novella The Cape (Misaki), fiction-writer Nakagami Kenji began to re-write the system of indigenous Japanese literature (kokubungaku) by re-writing the narrative operations of its foundational myths, beginning with the Kojiki. This dissertation analyzes three modes in which Nakagami used the term of monogatari to organize this alternate cosmology. Monogatari holds together ideas of language, property rights and political sovereignty in Nakagami's cosmology of fiction and criticism. Conventionally associated with classical literature, the signature properties of monogatari ---articulating collective enunciation, displaying polysemic inter-textuality, and retaining traces of orality in written accounts---prove equally useful for connecting modern issues of linguistic representation to political representation in ways that self-consciously graft and extend prior rhetorical styles and contexts.; Each chapter demonstrates how monogatari allows Nakagami to talk about seizing the means of signification in the public sphere. Monogatari accounts for the narrative operations and social legibility of a group of people who have contributed to the making of a national archive of literature, yet were not granted the status of historical subjects---residents of the modern hisabetsu buraku. I locate four moments of linguistic sovereignty within which the emerging contours of Nakagami's cosmology become meaningful. "Linguistic sovereignty" designates the process of seizing the means of signification in order to further the goals of collective political self-determination in a symbolically-mediated public sphere.; Chapter 1 introduces the category of a "people's intellectual property," and shows how national identity is composed by claiming family members as protagonists of modernity in Oe Kenzaburo's fiction. Nakagami's early stories, in contrast, highlight narrative operations as the means of dis-possession from the public sphere. Chapter 2 situates Nakagami's stories of dis-possession in the particular historical character of nineteen-seventies discourse on the buraku, and the rhetorical traditions of buraku activism. Chapter 3 discusses the cosmologies of Claude Levi-Strauss and William Faulkner as models for the "fieldwork" in monogatari Nakagami undertakes through essays of ethnographic reportage. Nakagami's fiction shifts from viewing language as a totalizing performance of power, to conceive a socially-embedded process which assumes the reader of monogatari as a co-producer of meaning.
机译：随着1975年中篇小说《海角》（中崎）的发行，小说家中上贤次开始通过重写其基本神话的叙事操作（从《小曲》开始）来重写日本本土文学体系。本文分析了中神用物语一词组织这种替代宇宙学的三种模式。在中上的小说和批评宇宙论中，物语系将语言，财产权和政治主权的思想结合在一起。传统上与传统文学有关，物语的签名属性-阐明集体的宣告，显示多义的互文性，并在书面账目中保留口头的痕迹-证明以同样的方式将语言表达与政治表达联系起来同样有用自觉地嫁接并扩展了先前的修辞风格和语境。每章都说明了物语是如何使中神谈论在公共领域抓住意义手段的。物语是对一群人的叙事活动和社会可读性的解释，这些人为建立国家文学档案馆做出了贡献，但没有被授予历史题材的地位，即现代久部部族的居民。我确定了语言主权的四个时刻，在其中，中上宇宙学的新兴轮廓变得有意义。 “语言主权”是指抓住象征手段的过程，以便在象征性调解的公共领域中促进集体政治自决的目标。第一章介绍了“人民知识产权”的类别，并说明了大江健三郎小说中声称家庭成员是现代性的主角如何构成民族身份。相比之下，中上的早期故事强调叙事操作是从公共领域剥夺财产的手段。第2章将中神的剥夺故事置于关于buraku的七十年代话语的特殊历史特征以及buraku行动主义的修辞传统中。第三章讨论克劳德·列维·斯特劳斯和威廉·福克纳的宇宙论，作为中神物语中“实地考察”的模型，通过民族志报道文学来进行。 Nakagami的小说从将语言视为一种力量的整体表现转变为构想一种社会嵌入的过程，该过程假定Monogatari的读者是意义的共同产生者。

著录项

  • 作者

    McKnight, Anne Kirstin.;

  • 作者单位

    University of California, Berkeley.;

  • 授予单位 University of California, Berkeley.;
  • 学科 Literature Comparative.; Literature Asian.
  • 学位 Ph.D.
  • 年度 2001
  • 页码 213 p.
  • 总页数 213
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 文学理论;
  • 关键词

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