"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."

[pt] O treinamento consiste em se propor metas ainda inalcançáveis. É imaginar o improvável e, a partir daí, alcançar o possível proposto. A ideia de pôr o corpo à prova, de testá-lo, vem do trato com os animais. Treinar é preparar o corpo para uma ação, exigir dele, atingir objetivos e alcançar domínios desconhecidos, lidar com limites, alterá-los. A escrita é um corpo visual que ganha forma no treinamento do corpo físico. Na criação de uma escrita é preciso deixar que as frases sejam construídas em diferentes partes do corpo. Haruki Murakami, Michel Serres e Jacques Henri Lartigue treinam o corpo para inventarem gestos sensíveis: a literatura, a filosofia, a fotografia. O gesto relativo ao corpo não é apenas uma ação. O gesto se inscreve entre o pré-movimento, atitude em relação à gravidade, e o movimento. Há, nele, um desejo de se projetar no espaço que carrega a sua expressividade. Este corpo cria espaço, molda-se nele. Tem em si todas as forças que regem o espaço e está em contato ininterrupto com elas. As forças do corpo agem e reagem às forças que o circundam. É com elas, na fricção, no confronto, no embate com essas forças e com outros corpos, que há o acontecimento. / [en] The training consists of proposing oneself goals still unreachable. It is to imagine the improbable and, from there, reach the possible that was proposed. The idea of bringing the body to proof, to test it, comes from the handling with animals. Training is to prepare the body for an action, to demand on it, to achieve goals and reach unknown areas, to handle with limits, to change them. The writing is a visual body that takes shape in the training of the physical body. In the creative process of writing it is necessary to let the sentences be built in different parts of the body. Haruki Murakami, Michel Serres and Jacques Henri Lartigue train the body to invent sensitive gestures: literature, philosophy, photography. The gesture of the body is not just an action. The gesture signs up between the pre-movement – the attitude about gravity – and the movement. There is in it a desire to project itself into the space that carries its expressiveness. This body creates space, shapes up in it. It mixes all the forces that govern the space and it is in continuous contact with them. The forces of the body act and react to the forces that surround it. It is with them, in the friction, in the clash, in the battle against these forces and other bodies that the event arises.

In the mid-1990s, Japanese artists Mariko Mori (b. 1962) and Takashi Murakami (b. 1967) began creating works that referenced Japanese popular culture tropes such as sexuality, technology and the idea of kawaii, or cute. These tropes were associated with emerging youth cultures instigating a “soft rebellion” against social conventions. While emancipated female youths, or shōjo, were criticized for lifestyles based on the consumption of kawaii goods, their male contemporaries, the otaku were demonized for a fetishization of kawaii girls and technology through anime and manga, or animation and comic books. Destabilizing the nation’s patriarchal theory of cultural uniqueness, or nihonjinron, the youth triggered fears of a growing infantilized, feminized automaton ‘alien’ society during Japan’s economically tumultuous 1990s. In response to these trends, Mori and Murakami create works and personae that celebrate Japan’s emerging heterogeneity and reveal that Japan’s fear of the ‘alien within’ is a result of a tenuous post-war Japanese-American relationship. But in denoting America’s position in Japan’s psyche, Mori’s and Murakami’s illustration of Japan as both victim and threat encourages Orientalist and Techno-Orientalist readings. The artists’ ambivalence towards Western stereotypes in their works and personae, as well as their distortion of boundaries between commercial and fine art, intimate a collusion between commercialization, art and cultural identity. Such acts suggest that in the global economy of art production, Japanese cultural identity has become as much as a brand, as art a commodity. In this ambivalent perspective, the artists isolate the relatively recent difficulty of enunciating Japanese cultural identity in the international framework. With the downfall of its cultural homogeneity theory, Japan faced a crisis of representation. Self-Orientalization emerged as a cultural imperative for stabilizing a coherent national identity, transposing blame for Japan’s social and economic disrepair onto America. But by relocating Japanese self-Orientalization within the global art market, Mori and Murakami suggest that as non-Western artists, economic viability is based upon their ability to cultivate desirability, not necessarily authenticity. In the international realm, national identity has become a brand based upon the economies of desire, predicated by external consumption, rather than an internalized production of meaning.

In the mid-1990s, Japanese artists Mariko Mori (b. 1962) and Takashi Murakami (b. 1967) began creating works that referenced Japanese popular culture tropes such as sexuality, technology and the idea of kawaii, or cute. These tropes were associated with emerging youth cultures instigating a “soft rebellion” against social conventions. While emancipated female youths, or shōjo, were criticized for lifestyles based on the consumption of kawaii goods, their male contemporaries, the otaku were demonized for a fetishization of kawaii girls and technology through anime and manga, or animation and comic books. Destabilizing the nation’s patriarchal theory of cultural uniqueness, or nihonjinron, the youth triggered fears of a growing infantilized, feminized automaton ‘alien’ society during Japan’s economically tumultuous 1990s. In response to these trends, Mori and Murakami create works and personae that celebrate Japan’s emerging heterogeneity and reveal that Japan’s fear of the ‘alien within’ is a result of a tenuous post-war Japanese-American relationship. But in denoting America’s position in Japan’s psyche, Mori’s and Murakami’s illustration of Japan as both victim and threat encourages Orientalist and Techno-Orientalist readings. The artists’ ambivalence towards Western stereotypes in their works and personae, as well as their distortion of boundaries between commercial and fine art, intimate a collusion between commercialization, art and cultural identity. Such acts suggest that in the global economy of art production, Japanese cultural identity has become as much as a brand, as art a commodity. In this ambivalent perspective, the artists isolate the relatively recent difficulty of enunciating Japanese cultural identity in the international framework. With the downfall of its cultural homogeneity theory, Japan faced a crisis of representation. Self-Orientalization emerged as a cultural imperative for stabilizing a coherent national identity, transposing blame for Japan’s social and economic disrepair onto America. But by relocating Japanese self-Orientalization within the global art market, Mori and Murakami suggest that as non-Western artists, economic viability is based upon their ability to cultivate desirability, not necessarily authenticity. In the international realm, national identity has become a brand based upon the economies of desire, predicated by external consumption, rather than an internalized production of meaning.

In the mid-1990s, Japanese artists Mariko Mori (b. 1962) and Takashi Murakami (b. 1967) began creating works that referenced Japanese popular culture tropes such as sexuality, technology and the idea of kawaii, or cute. These tropes were associated with emerging youth cultures instigating a “soft rebellion” against social conventions. While emancipated female youths, or shōjo, were criticized for lifestyles based on the consumption of kawaii goods, their male contemporaries, the otaku were demonized for a fetishization of kawaii girls and technology through anime and manga, or animation and comic books. Destabilizing the nation’s patriarchal theory of cultural uniqueness, or nihonjinron, the youth triggered fears of a growing infantilized, feminized automaton ‘alien’ society during Japan’s economically tumultuous 1990s. In response to these trends, Mori and Murakami create works and personae that celebrate Japan’s emerging heterogeneity and reveal that Japan’s fear of the ‘alien within’ is a result of a tenuous post-war Japanese-American relationship. But in denoting America’s position in Japan’s psyche, Mori’s and Murakami’s illustration of Japan as both victim and threat encourages Orientalist and Techno-Orientalist readings. The artists’ ambivalence towards Western stereotypes in their works and personae, as well as their distortion of boundaries between commercial and fine art, intimate a collusion between commercialization, art and cultural identity. Such acts suggest that in the global economy of art production, Japanese cultural identity has become as much as a brand, as art a commodity. In this ambivalent perspective, the artists isolate the relatively recent difficulty of enunciating Japanese cultural identity in the international framework. With the downfall of its cultural homogeneity theory, Japan faced a crisis of representation. Self-Orientalization emerged as a cultural imperative for stabilizing a coherent national identity, transposing blame for Japan’s social and economic disrepair onto America. But by relocating Japanese self-Orientalization within the global art market, Mori and Murakami suggest that as non-Western artists, economic viability is based upon their ability to cultivate desirability, not necessarily authenticity. In the international realm, national identity has become a brand based upon the economies of desire, predicated by external consumption, rather than an internalized production of meaning. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

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.

1979年，村上春樹（Murakami Haruki）以小說《聽風的歌》奪得日本講談社群象新人獎，由於風格新穎廣受年輕人歡迎，被評論家視為日本文學新旗手，同時也代表日本當代文學的轉折。1987年《挪威的森林》以七百萬冊的銷售量晉身日本有史以來最暢銷的文學作品，奠定村上春樹在日本文壇的地位。至今他是目前全球最負盛名的作家之一，一系列的作品被翻譯為多國語言，在一定程度上，村上春樹也成為當今日本文化的代表。八○年代中期，村上春樹的名字首度出現在台灣媒體上。這位隨後在台灣被塑造成巨星形象的日本作家，以其獨特的符號和囈語寫作風格，創造的「村上式」文風及思考模式，在台灣成為一種流行的閱讀、創作以及生活品味象徵。結合行銷體系、網際網路及其作品具備發展成大眾文學的潛力，「村上春樹現象」由小眾、精英轉變為大眾蔓延開來，成為台灣社會特定時期鮮明的流行文化圖騰。本研究主要採取文獻與影音的跨文本閱讀，以探討村上春樹流行現象之文獻與村上文本為起點，並透過和村上讀者的深入訪談記錄，檢視國內村上論述之發展與內涵交相型構出的辯證過程，由產製到閱讀一一爬梳，勾勒一個由多種論述共同織就的村上春樹圖譜，進而解答為何村上作品能穿透地域和語言的限制，成為台灣九○年代唯一常踞書市的外文暢銷書，而村上春樹現象又為本地文化研究者和創作者帶來何種啟發。

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.

GEISAI自2001年開始，以每年兩次的頻率於日本舉行，至今已逾十年，2009年起原裝移植台灣，於台北市中心華山1914文創園區盛大開辦。GEISAI中文翻譯為「藝祭」，命名取自美術大學學園祭，由日本當代藝術家村上隆所領導的Kaikai Kiki公司所主辦，為一個讓各式各樣的藝術家齊聚一堂一同展覽的藝術活動。它不僅是「挖掘夢想出道藝術家的場所」，同時也是個「像跳蚤市場一樣輕鬆展示買賣藝術作品的場所」和「跟已開創的美術界接軌的新起點」。 時至今日，GEISAI儼然已成為台灣藝術家每年的一個重要活動。GEISAI最吸引人的莫過於其「無先前審查制度」，以及「黃金評審團」，提供藝術家、藝術相關人士與一般藝術迷相遇的場所，不僅給予對藝術有熱情者展演舞台，也造就了許多藝術新秀。 本研究得出幾點結論如下： 1. GEISAI的核心價值主張十年來皆本著「如何建立東方新型態的藝術市場」的態度去執行，從未改變。台日GEISAI由於國家習慣、資金組成不同，而有相對應的舉行方式。 2. 活動若能長久經營，必須堅持一核心的價值主張。明確的價值主張除能使活動更為聚焦外，也能持續吸引未被滿足的潛在消費者加入。 3. 具強烈信任感、合作無間的執行團隊為活動長期經營的要件之一。 4. 對實質付出大於無形收穫的活動而言，理想的堅持是持續經營的原動力。 / Since 2001, GEISAI has been held bi-annually in Japan for over 10 years. It took place at Huashan1914 Creative Park in Taiwan since 2009. The name GEISAI is derived from the Japanese word for "art festival." Such festivals would typically take place within a university or art school. It held by Kaikaikiki Co., Ltd belongs to Takashi Murakami. GEISAI presents a new art-collecting concept, allowing artists to exhibit their own works directly. It is a place where new artists can make their mark, where art work can be easily traded, and where the new and old can connect. Nowadays, GEISAI became an important activity of artists every year. The most attractions of GEISAI are "Non-Entry-Requirement" and "All-Star panel of judges". GEISAI provides a place where many artists gather to exhibit their works. It also provides artists and fans a place to meet face-to-face. More importantly, GEISAI provides new artists show-off opportunities and creates many new stars of art. The conclusions of this research can be summarized as below: 1. The core value proposition of GEISAI is based on "how to establish new ear art market" for 10 years. GEISAI&GEISAI Taiwan held in different way due to their national habit and capital composition. 2. Activity has to insist on its core value for the sustainable development. Specific value can not only focus on the activity but also attract unsatisfied potential customers continually. 3. A team with strong faith and cooperation is one of the key factors of sustainable development. 4. As an activity which its tangible devotion is more over than intangible income, the insist of ideal is the motivation of sustainable development.

This thesis deals with a motive, very frequent in the novels of Haruki Murakami: a male protagonist trying to save his spouse, who has disappeared in a "different world". This can be of course interpreted as an orphic myth variation. However, the version used by Murakami resembles the story of Izanagi and Izanami deities in the Kojiki, ancient Japanese chronicle, more than the Greek orphic myth. Therefore, the motive is treated like a specific "Izanagi myth" variation here in the thesis, and the examination of its function is focused on the novels, the most important segment of Murakami's work. Murakami intentionally uses a very complicated form of narration in the novels. Therefore, to examine the exact function of Izanagi myth motive in the novel stories, a method of abstraction of these stories from their narrative discourses is used, based on the theories of Seymour Chatman. According to these theories, stories are strictly chronological sequences of events, while narrative discourses are more specific forms of these sequences, processed by the narrators. To abstract "exact" stories from Murakami's novels' specific discourses, we concentrate on all time-related data in their texts and use them to reconstruct the minute chronological orders of events - the stories of the novels. After that, we...