UTokyo Repository 東京大学

UTokyo Repository >
118 総合文化研究科・教養学部 >
90 アメリカ太平洋地域研究センター >
アメリカ太平洋研究 >

このページ(論文)をリンクする場合は次のURLを使用してください: http://hdl.handle.net/2261/33973

タイトル: 「自己という現象」の自壊 : カート・ヴォネガットの『母なる夜』と「スローターハウス5』を中心に
その他のタイトル: The Collapse of Narratives of Self : Kurt Vonnegut's Mother Night and Slaughterhouse-Five
著者: 宮本, 文
著者(別言語): Miyamoto, Aya
発行日: 2003年3月
出版者: 東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター
掲載誌情報: アメリカ太平洋研究. 3, 2003.3,pp. 163-177
抄録: In 1945, during WW II, Kurt Vonnegut experienced the bombing in Dresden. After almost 25 years, he wrote Slaughterhouse-Five (1969) based on this experience. His main worry in this novel, also in his early works to a lesser extent, was that writing about one's war experience may result in encouraging another war, because the very act of narrating stories about war makes war meaningful, when war itself is meaningless. Even when one is entirely anti-war, one cannot avoid simplifying and conventionalizing war. It took Vonnegut such a long time, and six novels, to find the right way to narrate his experience without simplifying it. This paper attempts to show that Vonnegut avoids turning his experience into cliches in Slaughterhouse-Five by breaking apart destruction of narrative structures. For Vonnegut, who emphasizes that we have no right discourse for telling about war that is the ultimate and only way of telling his war experience. In order to do so, he resorts to his plain style and science-fiction devices. I also discuss Mother Night (1961) in the same context. The novel is Vonnegut's first attempt to examine the danger of narrative. He gives the protagonist too many narratives of his true "self" and those multiple selves ruin the protagonist. At last, the protagonist gives up the narrative of his true "self" and kills himself, instead of trying to prove its truth by telling about it.
URI: http://hdl.handle.net/2261/33973
ISSN: 13462989


ファイル 記述 サイズフォーマット
atk003010.pdf1.08 MBAdobe PDF見る/開く



Valid XHTML 1.0! DSpace Software Copyright © 2002-2010  Duraspace - ご意見をお寄せください