【摘要】 空间是意义的浓缩,它无法完全脱离于社会意义而对立存在。石黑一雄在《浮世画家》中对杉村明府邸、左右宫以及毛利君别墅三个空间的回忆与重写再现了时代变化带给个人的焦虑感。府邸中女性的空间僭越和逃离揭示出战后日本国民无法适从的性别空间。左右宫象征身份和民族精神的地理空间,其毁灭暗含了精神家园的挥之不去的迷失感。别墅是资本主义化的消费空间,展现了背离这一空间而追求正义空间的个人理想的破灭。石氏以战后日本空间为剖面勾勒出战争背景下的时代质感:异质文化入侵、精神家园坍塌、个人理想幻灭使得战争幸存者们无法消解内心的焦虑,成为精神上无尽流浪的"浪荡者"。更多还原

【Abstract】 Space is the concentration of social meaning,which cannot independently exist without any relation to social meaning. In An Artist of the Floating World,Kazuo Ishiguro recalls and rewrites three spaces:Sugimura’s house,Migi-Hidari and Mori-san’s villa,which reflect the sense of anxiety towards individuals caused by tremendous world change. Women’s overstep and escape in Sugimura’s house reveals the unadaptable sexualized spaces to Japanese after World War II. As the geographical space of symbolizing national spirits and status,the ruin of the Migi-Hidari indicates the unavoidable lost sense of their spiritual condition. The villa is the capitalized consumption space,presenting the disillusion of people’s ideal for pursuing the righteous space after escaping the villa. Through depictions of various spaces in Japan after war,Kazuo Ishiguro unfolds the characteristics of the times: the assault of heterogeneous cultures,the collapse of spiritual homeland,and the disillusionment of personal ideals make survivors of war have no way to dispel their internal anxiety and become wandering man of endless vagrancy in spirit.更多还原