[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.

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.

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...

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In this essay Murakami Haruki’s novel The Wind Up Bird Chronicle was analysed from the perspective of Mikhail Bakhtin’s theory of the chronotope. The aim was to explore the concept of time and space as presented in the novel. In particular, the analysis focused on how Bakhtin’s chronotopes can be applied to The Wind Up Bird Chronicle, how the chronotopes can enhance our understanding of the novel, and finally how the chronotope theory can be applied to the concept of ‘magic realism’ that is often used to describe Murakami’s authorship. Four chronotopes, presented by Bachtin, were selected and applied to the novel: every-day life, the road, crisis and the castle. The concept of the chronotope allows analysis of how time and space work together in literature and how they form patterns of correlation in the sujet. Results showed that the four chronotopes were found in the novel, and that they also interacted with each other. The chronotope of everyday-life was apparent throughout the novel, and the narrator was under its control. The narrator also seemed to create every-day life out of the chronotopes of the road and crisis by re-living the crises in the road. These three chronotopes seemed inseparable in The Wind Up Bird Chronicle. Finally, the fourth chronotope, the castle, illustrated how a concrete room in the novel, a house, became a part of time and space through a character who, by his presence, gave the impression of slowing down time. When this character disappeared, time made its way through space, making the chronotope of the castle visible. The essay concludes that the chronotope theory was a relevant way to analyse The Wind Up Chronicle as it provided a concept of how time and space appeared together in a novel where time and space is always present. The analysis helped creating a way of understanding the patterns in the novel, which were not always clear, thereby also increasing the understanding of The Wind Up Bird Chronicle.