Complicit Fictions: The Subject in the Modern Japanese Prose Narrative
Complicit Fictions: The Subject in the Modern Japanese Prose Narrative
复制标题
同谋小说：现代日本散文叙事的主题
DOI：
10.2307/2059382
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发表时间：
1993
影响因子：
1.9
通讯作者：
H. Hirata
中科院分区：
文献类型：
--
作者：
H. Hirata
在《同谋小说》一书中，詹姆斯·藤井挑战了研究日本叙事和日本文化的传统方法。他运用当前的西方文学批评理论，揭示了现代日本文学中固有的社会和政治竞争，并面对日本文学研究的最新突破。其结果是一部重要的作品，明确质疑我们现代性概念的欧洲中心维度。长期以来，西方和日本的评论家都是根据现代日本文学是否符合西方现实主义标准来评判它的——这些标准假定了一个本质自我或主体的中心地位。因此，它显得有缺陷、有衍生性或有异域风情。藤井通过重新思考主题的概念来挑战这种普遍的特征。他关注的是20世纪截然不同的作家，如夏目漱石、德田漱石、岛崎聪和口信信，尤其是他们在叙事形式中肯定主体性的不同策略。作者探讨了在早期的研究中被忽视或压抑的东西——现代民族国家中不可避免地标志着主体创造的争论。他表明，当作家们就国家利益的社会要求（总是试图规定主体性的界限）进行谈判时，他们最终无法避免与国家的目标串通一理。藤井面对几个历史问题的方式将启发历史学家和文学评论家。他运用理论来强调主流批评通常忽略的东西：城市化对日本家庭生活的影响；文学与新兴帝国和大众文化的关系；以及明治社会对性别、家庭和性的表现。最重要的是他揭示了国家形成与文化生产之间的关系。他将文学理论、文本解释和文化史巧妙地编织在一起，使这本书成为研究现代日本文化的学生和学者今后几年都会参考的书。
In "Complicit Fictions", James Fujii challenges traditional approaches to the study of Japanese narratives and Japanese culture in general. He employs current Western literary-critical theory to reveal the social and political contest inherent in modern Japanese literature and also confronts recent breakthroughs in literary studies coming out of Japan. The result is a major work that explicitly questions the eurocentric dimensions of our conception of modernity. Modern Japanese literature has long been judged by Western and Japanese critics alike according to its ability to measure up to Western realist standards - standards that assume the centrality of an essential self, or subject. Consequently, it has been made to appear deficient, derivative, or exotically different. Fujii challenges this prevailing characterization by reconsidering the very notion of the subject. He focuses on such disparate twentieth-century writers as Natsume Soseki, Tokuda Shusei, Shimazaki Toson, and Origuchi Shinobu, and particularly on their divergent strategies to affirm subjecthood in narrative form. The author probes what has been ignored or suppressed in earlier studies - the contestation that inevitably marks the creation of subjects in a modern nation-state. He demonstrates that as writers negotiate the social imperatives of national interests (which always attempt to dictate the limits of subjecthood) they are ultimately unable to avoid complicity with the aims of the state. Fujii confronts several historical issues in ways that will enlighten historians as well as literary critics. He engages theory to highlight what prevailing criticism typically ignores: the effects of urbanization on Japanese family life; the relation of literature to an emerging empire and to popular culture; and, the representations of gender, family, and sexuality in Meiji society. Most important is his exposure of the relationship between state formation and cultural production. His skillful weaving of literary theory, textual interpretation, and cultural history makes this a book that students and scholars of modern Japanese culture will refer to for years to come.