Haruki Murakami's information and the characteristics of his work, the philosophical significance of expression

Haruki Murakami (むらかみ はるき, Haruki Murakami), a modern Japanese novelist, was born in Murakami Haruki Fushimi Ward, Kyoto. He graduated from Waseda University's First Faculty of Literature, Department of Theatre and Drama, and also specializes in the translation of American literature. He is a popular author in Japan, Taiwan and Korea. In China, Murakami's novels, translated by Lin Shaohua, are popular, and in 2001, Shanghai Translation Publishing House published the complete works of Haruki Murakami in simplified Chinese. In Taiwan, most of Murakami's works are translated by Lai Ming-chu and published by Times Publishing House. Murakami is also known for his self-training to run long-distance marathons, and for his love of jazz and classical music, as well as American author Scott Fitzgerald.

Haruki Murakami's works are so full of his own unique style that those who are familiar with them can tell they are his just by reading a page or two! His writing is concise, without too much unnecessary language, and through abstraction, symbolization, fragmentation, and allegory, he speaks of the helplessness and sadness of modern people; although his works seem to be light-hearted, after chewing and thinking y, they have a certain flavor. Every reader has a different understanding and experience of Haruki Murakami's work, and every person's interpretation of his style is different, so here is a summary of three, with quotes from articles to illustrate them.

Protagonists often have no official names

In Murakami Haruki's works, both men and women are often unnamed, and either pronouns or code names are used in place of names. In long novels, such as "Song of Listening to the Wind," "Marble Toys of 1973," "Adventures in Finding Sheep," "The End of the World and the Cold Otherworld," and "Dance Dance Dance," the male protagonist is not given a name, but is replaced by the word "I." Especially in "The End of the World and the Cold and Strange Realm", which is so long and features the intersection of two different time zones, the main character has no name, which is really admirable to his writing skills. Other characters such as the 208 and 209 twins, Mouse, Dr. Goat, and River Cow are also shown with code names or nicknames.

Other characters, such as the Sheep Man, who appears several times, and the Sea Donkey, are more fanciful characters. What they represent, whether they are surrogates for certain people in the real world, or whether they are purely characters created by the author's writing, I'm afraid that only Murakami himself can know!

Shipping \with lots of metaphors

1. According to him, this figure is a little easier than a rookie pitcher hitting no-hit-no-run with the Giants as his target, though it's a little harder to the degree than a complete shutout. (Listen to the wind's song)

2. Naoko shook her head and smiled alone like. The kind of laugh those girls with whole rows of all A's on their report cards often have. (1973 pinball toy)

3. Her disappearance seems to me like something that can't be helped in a sense. What has happened is what has happened. No matter how well we got along these four years, it doesn't matter anymore. It's like a photo book whose photos have been taken away. (Adventures in Goat Hunting)

4. In some places the water has dried up and the bottom of the river is exposed. Stiff, lumpy white mud floated up like the crepey carcasses of huge ancient creatures. (The End of the World and the Cold Biz)

5. My sleep seemed like a cheap auction. Everyone took turns running and kicking at my sleep as if they were testing out the tires of medieval times. (The End of the World and the Cold Otherworld)

6. My footsteps sounded like those of a man walking on the bottom of the ocean, and they sounded as if they were coming sluggishly from a completely different direction. (Norwegian Wood)

7. Midori was silent on the other end of the phone for a long time. It was as if the world's rain was falling on the world's grass, and the silence continued. (Norwegian Wood)

8. It was total darkness, a darkness so deep that there were no gaps in it, as if it had been overlaid with layers and layers of black paint. (Dance Dance Dance)

9. Therefore, like a dog that has been deprived of its power and sniffs the scent of a female dog's buttocks based on the memory of the past, it wanders around the literary world. (Mai Mai Mai)

10.When I looked at the street from the slope, neon lights of various colors began to light up, and the expressionless office workers wrapped in black coats were moving at an even pace like salmon heading upstream on the undercurrent. (Mai Mai Mai)

11. But after I lost sight of Shimamoto, I often felt like I was on the surface of the moon with no air. (South of the Border, West of the Sun)

12. Even though it is a meal, it is only to the extent of eating a burger or a pizza pie at McDonald's. Even so, it's better than the restaurant food in the hospital where the grilled fish looks like a corpse. (Clockwork Bird Chronicles)

Like to put a number on it

1. The Mouse and I spent an entire summer drinking as much beer as the entire pool of a 25-meter swimming pool as if we were under the spell of something. Peeling off peanut shells that would cover the floor of Jay's Bar five centimeters thick. And it was one of those boring summers where if you didn't do it, you wouldn't survive. (Listen to the Wind)

2. Between August 15, 1969 and April 3, 1969, I went to 358 classes, had sex 54 times, and smoked 692 cigarettes a ****. (Listen to the wind song)

3. After the elevator door closes and you are sure that the sound of a shooing compressor does come from behind you, close your eyes. Then collect fragments of consciousness and take sixteen steps from the hallway of your apartment toward the door of your room. (Adventures in Goat Hunting)

4. Then the phone hangs up. The method of hanging up the phone with a bad aftertaste. I did 30 push-ups and 20 sit-ups to get rid of the bad taste before I went to do the dishes and three days' worth of laundry. I was almost back to my old self. （

5. At that time, I had three five-hundred-dollar coins, eighteen one-hundred-dollar coins, seven fifty-dollar coins, and sixteen ten-dollar coins in my pocket. The total amount was 3,810 dollars, which was not at all difficult to calculate. (The End of the World and the Cold Biz)

6. "Thirty-six hours." I say, there's no need to look at your watch. One and a half revolutions of the earth. In that time, the morning paper is delivered twice and the evening paper once. The alarm clock goes off twice, and the men shave twice. A lucky man might have sex two or three times in that time. (The End of the World and the Cold and Strange)

7. They generally smile a lot, but depending on the situation the smile can be applied in about twenty-five different ways. From the polite cold smile to the moderately restrained smile of satisfaction, the rank of the smile has a number attached to it. They are numbered from No.1 to No.25. （I was born on January 4, 1951, the first week of the first month of the first year of the second half of the twentieth century. (South of the Border, West of the Sun)

Let's review Haruki Murakami's works, from 1979's "And Listen to the Wind," to 2002's "Kafka by the Sea," and more recently, his full-length novel, "After Dark," and his collection of short stories, "The Book of Strange Tales of the Orient," which all share an easy-to-spot ****iness - the understatement and idiosyncratic space. The former embodies a realist atmosphere of life, while the latter represents a postmodernist concept of creation. In other words, the literature of Haruki Murakami can only be described as a transition from realism to postmodernism in Japan and even in the world. This transition is like the bridge between the Cowherd and the Weaving Maiden, which is hazy and splendid, beautiful and disoriented. I. Modernism, Postmodernism, and the Positioning of Haruki Murakami First of all, we must make a distinction between modernism and postmodernism. The so-called modernist literature, also known as modernist literature or modern literature, is an international literary trend that was popular in Europe and America between 1890 and 1950. Vertically, it is preceded by classical, romantic and realist literature, and followed by postmodernist literature. Horizontally, it includes six subgenres: Symbolism, Expressionism, Futurism, Stream of Consciousness, Imagism and Surrealism. Its aesthetic characteristics have an obvious tendency to complexity, they believe that the individual can not change the world, so the performance of the work is mainly reflected in the decadence, cynicism, the storyline is mostly developed through the scene of the nightmare, the human being is incapable of grasping the reality of the result, the emphasis is on the "waking up from the state of enchantment", is the "the end of naivety." Postmodernism, on the other hand, is the inheritance, transcendence and paradox of modernist literature, both of which are based on irrationalism and show a fierce anti-traditional tendency. It opposes not only the old traditions of realism but also the new rules of modernism, advocates unrestricted openness, diversity and relativity, and opposes the constraints of any norms, models, centers and so on on literary creation. It was far more receptive to the popular, commercial, democratic and mass-consumption market than modernism. The scope of its artistic aesthetics was expanded indefinitely, and street culture, popular literature, underground culture, advertising slogans, common sense consumerism, life guides, etc., were carefully packaged to ascend to the hallowed halls of literature and art. Haruki Murakami, as a representative of contemporary new Japanese literature, spent most of his life in traveling, with unique life experiences intertwined in the dual cultural atmosphere of Japan and the West, thus showing more diversified perspectives of local and foreign cultures. As for the current situation of Japanese literature, in a Japan where foreign cultures and traditional Japanese literature have been mixed with each other for decades, lifestyles have long been diversified and are already in a post-modernist and post-industrial society. This suggests that Haruki Murakami's works have largely moved toward postmodernism, and it is no wonder that many scholars have defined Haruki Murakami's works as being in the category of postmodernism. But in fact, Murakami's works cannot be said to belong to postmodernism in the true sense; we can only position him in a transitional stage - from modernism to postmodernism, and more often than not, they are manifested as postmodernism. Ms. Gao Wenhui thought, "It is true that Haruki Murakami's creations are full of many elements of postmodernist culture, but this does not mean that it contradicts the artistic spirit of the spirit of modernism embodied in his works. ...... Therefore, the kind of rigidly framing the writer within the theoretical framework of a certain ism is undesirable." (3) Mr. Wu Yuping, Associate Professor of the College of Humanities, Soochow University, in his article "Haruki Murakami: Exponent of Cultural Mixed Phenomenon" (Foreign Literature Studies, No. 5, 2003), refers to this concept of transition as the "cultural mixed phenomenon", of which Haruki Murakami is the exponent. Therefore, it is scientific and reasonable to position Haruki Murakami's works in a transitional stage, and it can also be reflected in his works.