村上春樹初期作品における〈喪失〉の構造化–「直子」から、「直子」へ–

村上春樹初期作品中的＜喪失＞構造──從「直子」，到「直子」（NAOKO, or the structuralization of the lost: A study on the early works of Haruki Murakami）

在村上春樹早期作品《1973年的彈珠玩具》與《挪威的森林》當中，都有名為「直子」的少女以不同形態登場。本論文企圖透過追究早期村上作品中被認定的「直子」系譜，來釐清這位作家在文學創作出發點上的特色。論文當中，首先將村上展開作家活動後的10年間所發表的作品，以長篇為主分為三類：「四部曲」系列、「挪威」系列、「世界末日」系列之後，再過濾出呈現「隨行者」、「表面喪失」、「深層喪失」等三種與男主角「我」有關的女性類型。分析過程中特別談到，透過「默說法」來強調其深刻性的「直子」才是真正體現「深層喪失」的存在。此外，透過探討被作家親手「封印」的中篇作品＜城市及那不確定的牆壁＞可知，這部嘗試要直接面對「深層喪失」的「直子」的作品並未成功，而構成這部作品的要素當中，關於作者世界觀的部份後來被《世界末日與冷酷異境》所繼承，而「喪失」的主題則是被《挪威的森林》所繼承。 In ”Pinball, 1973” and ”Norwegian Wood”, which are the early works of Haruki Murakami, we can see the girls named 'NAOKO' both of them put in different situations. This paper tries to investigate the implication of 'NAOKO's, and to make clear how did Murakami start his career as a writer. The works written in his first decade might be grouped into three classes, which are 'the tetralogy' series, 'the Norwegian' series and 'the End of the World' series. From each of them, we could extract three types of the women who are concerned with 'me', the protagonist of the novels: 'the accompanist', 'the lost in the surface' and 'the lost in the depth'. It is 'NAOKO' that represents 'the lost in the depth', whose importance of the role is emphasized by reticence as a strategy. Next, analyzing 'The city, and its elusive wall', a novelette sealed by Murakami himself, we would indicate that it was a failure the author directly tried to face to 'NAOKO' as 'the lost in the depth' but in vain, and furthermore, about the elements of this often overlooked work, that it was ”Hard-Boiled Wonderland and the End of the World” which inherited its original world, and on the other hand, the successor of the theme of 'the lost' was ”Norwegian Wood”.