%PDF-1.6
%
1 0 obj
<>
endobj
2 0 obj
<>stream
2021-06-18T13:44:59+09:00
2021-06-18T13:44:59+09:00
2021-06-18T13:44:59+09:00
Adobe Acrobat 21.0
application/pdf
Ritsumeikan Univ.KO-555
uuid:ee713ea3-9597-48e9-8923-62bc4679ceaa
uuid:e44f4072-d12a-4847-b26b-fb80203549c8
Acrobat Web Capture 15.0
endstream
endobj
5 0 obj
<>
endobj
6 0 obj
<>
endobj
3 0 obj
<>
endobj
7 0 obj
<>
endobj
10 0 obj
<>/ProcSet[/PDF/Text]>>/Type/Page>>
endobj
11 0 obj
<>stream
1 g
10 36 574.5 780 re
f
BT
0 g
/TT0 1 Tf
14.25 0 0 14.25 126.4553 788.25 Tm
(On the Representation of Violence in Murakami Haruki)Tj
/C0_0 1 Tf
12 0 0 12 391 757.5 Tm
<0322031603290328032A031A03190316>Tj
/TT1 1 Tf
8 0.187 Td
( )Tj
/C0_0 1 Tf
0.25 -0.187 Td
<032203160320032403290324>Tj
/TT1 1 Tf
-37.125 -2.125 Td
(This paper focuses on examining the various aspects of violence in the w\
ork of Murakami Haruki,)Tj
-1 -1.5 Td
(including Kaze no uta wo kike, 1973-nen no Pinball, Hitsuji wo meguru bo\
uken, Dansu dansu dansu, and)Tj
0 -1.5 TD
(Nejimakidori chronicle, as they touch on modernization and capitalism in\
postwar Japan and the actualization)Tj
T*
(in the present of memories of the Sino-Japanese War.)Tj
1 -2.5 Td
(It goes without saying that the so-called postwar peace and recovery in \
Japan were built on the wartime)Tj
-1 -1.5 Td
(framework of violence, expressing itself anew in the Korean War and Japa\
n's economic invasion of Asia.)Tj
T*
(This trend became visible domestically in postwar Japan in the form of d\
iscrimination and exclusion of)Tj
T*
(minorities, but such violence was invariably concealed and erased by the\
high-speed economic growth of the)Tj
T*
(sixties and thereafter and the urbanization which accompanied it.)Tj
1 -2.5 Td
(In Murakami's work as well, the city post-1970-which is to say after the\
student riots-becomes the setting,)Tj
-1 -1.5 Td
(and the main character leads a pleasure-seeking life in a consumer socie\
ty. The violence he himself is)Tj
T*
(participating in is hidden. However, in the novels, it is the uprushing \
memories of Asian violence that reveal)Tj
T*
(this setting as an illusion. Murakami's work tries to use the depiction \
of these uprushing memories not to)Tj
T*
(conceal them but to anchor them to the present day and give them continu\
ance. This paper seeks to examine)Tj
T*
(these memories in order to actualize the violence which has been conceal\
ed and erased, and to consider the)Tj
T*
(idea of responsibility for the violence which continues today.)Tj
1 -2.5 Td
(Subsequently, Murakami brings together the violence depicted in his work\
with the Aum Shinrikyo gas)Tj
-1 -1.5 Td
(attack and the Hanshin-Awaji Earthquake, considering the responsibility \
of the author toward these events. I)Tj
T*
(want here to explore the author's work as he does himself, constructing \
a new space in which to stand against)Tj
T*
(violence.)Tj
ET
endstream
endobj
12 0 obj
<>
endobj
13 0 obj
(vF:{)
endobj
14 0 obj
<>
endobj
15 0 obj
<>
endobj
16 0 obj
<>
endobj
21 0 obj
<>
endobj
22 0 obj
<>stream
H\n@Ey
3ԄXm{? a$u #>nz(0{Xf݅n47{?c/56٢0mgos,O2.L.^x3w?Y.ݿ~fu>هjeZLk}&b6]}_6xSL4}/CXϪyL>̇udpl>UX
ސ7-y~"?%.--$`YbrI^&\oZ;?)&G0=-<-=-<=<p_GOOM
rfVfYY,`)Ӟ""""""""|/%%%%GWʎJ_W+J_W+J?0lSKoc
`R
K ,P
endstream
endobj
23 0 obj
<>stream
H|y\TG5o^p "fFcb\nCEPT(I/Uݯz >H=Ha _ ƎL54W{
$jм H{80>&aRغRz0V/NW:09u͗zq1R|TmcF
u $Z|F }#R]u-pSǧlo1{}@ޡ,VEƟd%Y+k$
btH]tggj3H]_C5p?ѣzBFj41_Sʬ{xzy_+ vP70+F9$T
kVo7[xf[lNwۼ(];u{Ϯ>O{g>/b88)yДaG~=r1cv MIL6}F̬Y̝=?gB,^tY+W^cYni㦼[n۾cg~{_x!):Z|Ns/\+Wkס
G!ɥ1j54JJJӥR\.7?ɓL@~
إK#+8-xYJbP:)ݔ^JGRPsUyn9\J,>>9sdw/(?[BF&|P|O˫V"K}%XUTq" ~d"c)<3FG16+"KdN4Npe(Gf<>옂D`$# C|T(h|qX4z!vS6'
I%TR-UppbZBKir O"oZA+/h5dH(6Jh;~Jh|*]C5h7!_jQ }Hi:B:@ Bu"O
@t_E
Df:FI*StB(TCʨY:G籇[Ԉ6x:LY.{x/\ |(1>'Or)\Jm֩uɐŏϐeu^=e/>g_|/V5||o?=?.%LW*Yu~:]-].P;Uu}}m,"{] 3c" M齃tIc1j.-u+;3uNI:YTu\k\W*_|o-=y^Wy^ܫ^xU~wtuy:_28^zPO3L=K=WP/ҋ4r:REz^uzޠ?&9r.r>r!r9r&rIo[6]Пzޭ?{^OY\8S88386gsr^tQt1#v%.vn{`O셽~@qa18&p]7'w7<p!.Ÿ2\+p%ո+檹kqnnz|G#AS